The Edda Volume I Part 2

(1) _Vafthrudnismal_:

V. "What is the plain called where Surt and the blessed G.o.ds shall meet in battle?"

O. "Vigrid is the name of the place where Surt and the blessed G.o.ds shall meet in battle. It is a hundred miles every way; it is their destined battle-field."

O. "Whence shall the sun come on the smooth heaven when Fenri has destroyed this one?"

V. "Before Fenri destroy her, the elf-beam shall bear a daughter: that maid shall ride along her mother's paths, when the G.o.ds perish."

O. "Which of the Aesir shall rule over the realms of the G.o.ds, when Surt's fire is quenched?"

V. "Vidar and Vali shall dwell in the sanctuary of the G.o.ds when Surt's fire is quenched. Modi and Magni shall have Mjollni at the end of Vingni's (_i.e._, Thor's) combat."

O. "What shall be Odin's end, when the G.o.ds perish?"

V. "The Wolf will swallow the father of men; Vidar will avenge it. He will cleave the Wolf's cold jaws in the battle."

(2) _Voluspa_:

"A hag sits eastward in Ironwood and rears Fenri's children; one of them all, in troll's shape, shall be the sun's destroyer. He shall feed on the lives of death-doomed men; with red blood he shall redden the seat of the G.o.ds. The suns.h.i.+ne shall grow black, all winds will be unfriendly in the after-summers.... I see further in the future the great Ragnarok of the G.o.ds of Victory.... Heimdal blows loudly, the horn is on high; Yggdrasil's ash trembles as it stands, the old tree groans."

The following lines tell of the fire-giants and the various combats, and the last section of the poem deals with a new world when Baldr, Hod and Hoeni are to come back to the dwelling-place of the G.o.ds.

The whole points to a belief in the early destruction of the world and the pa.s.sing away of the old order of things. Whether the new world which _Vafthrudnismal_ and _Voluspa_ both prophesy belongs to the original idea or not is a disputed point. Probably it does not; at all events, none of the old Aesir, according to the poems, are to survive, for Modi and Magni are not really G.o.ds at all, Baldr, Hod and Vali belong to another myth, Hoeni had pa.s.sed out of the hierarchy by his exchange with Njord, and Vidar's origin is obscure.

_The Einherjar_, the great champions or chosen warriors, are intimately connected with Ragnarok. All warriors who fall in battle are taken to Odin's hall of the slain, Valhalla. According to _Grimnismal_, he "chooses every day men dead by the sword"; his Valkyries ride to battle to give the victory and bring in the fallen. Hence Odin is the giver of victory. Loki in _Lokasenna_ taunts him with giving victory to the wrong side: "Thou hast never known how to decide the battle among men. Thou hast often given victory to those to whom thou shouldst not give it, to the more cowardly"; this, no doubt, was in order to secure the best fighters for Valhalla. That the defeated side sometimes consoled themselves with this explanation of a notable warrior's fall is proved by the tenth-century dirge on Eirik Bloodaxe, where Sigmund the Volsung asks in Valhalla: "Why didst thou take the victory from him, if thou thoughtest him brave?" and Odin replies: "Because it is uncertain when the grey Wolf will come to the seat of the G.o.ds." There are similar lines in Eyvind's dirge on Hakon the Good. In this way a host was collected ready for Ragnarok: for _Grimnismal_ says: "There are five hundred doors and eighty in Valhalla; eight hundred Einherjar will go out from each door, when they go to fight the wolf." Meanwhile they fight and feast: "All the Einherjar in Odin's courts fight every day: they choose the slain and ride from the battle, and sit then in peace together"

(_Vafthrudnismal_,) and the Valkyries bear ale to them _(Grimnismal_).

It is often too hastily a.s.sumed that the Norse Ragnarok with the dependant Valhalla system are in great part the outcome of Christian influence: of an imitation of the Christian Judgment Day and the Christian heaven respectively. Owing to the lateness of our material, it is, of course, impossible to decide how old the beliefs may be, but it is likely that the Valhalla idea only took form at the systematising of the mythology in the Viking age. The belief in another world for the dead is, however, by no means exclusively Christian, and a reference in _Grimnismal_ suggests the older system out of which, under the influence of the Ragnarok idea, Valhalla was developed. The lines, "The ninth hall is Folkvang, where Freyja rules the ordering of seats in the hall; half the slain she chooses every day, Odin has the other half," are an evident survival of a belief that all the dead went to live with the G.o.ds, Odin having the men, and Freyja (or more probably Frigg) the women; the idea being here confused with the later system, under which only those who fell in battle were chosen by the G.o.ds. Christian colouring appears in the last lines of _Voluspa_ and in Snorri, where men are divided into the "good and moral," who go after death to a hall of red gold, and the "perjurers and murderers," who are sent to a hall of snakes.

For Ragnarok also a heathen origin is at least as probable as a Christian one. I would suggest as a possibility that the expectation of the Twilight of the G.o.ds may have grown out of some ritual connected with the eclipse, such as is frequent among heathen races. Such ceremonies are a tacit acknowledgment of a doubt, and if they ever existed among the Scandinavians, the possibility, ever present to the savage mind, of a time when his efforts to help the light might be fruitless, and the darkness prove the stronger, would be the germ of his more civilised descendant's belief in Ragnarok.

By turning to the surviving poems of the Skalds, whose dates can be approximately reckoned from the sagas, we can fix an inferior limit for certain of the legends given above, placing them definitely in the heathen time. Reference has already been made to the corroboration of the Valhalla belief supplied by the elegies on Eirik Bloodaxe and Hakon the Good. In the former (which is anonymous, but must have been written soon after 950, since it was composed, on Eirik's death, by his wife's orders), Odin commands the Einherjar and Valkyries to prepare for the reception of the slain Eirik and his host, since no one knows how soon the G.o.ds will need to gather their forces together for the great contest. Eyvind's dirge on Hakon (who fell in 970) is an imitation of this: Odin sends two Valkyries to choose a king to enter his service in Valhalla; they find Hakon on the battle-field, and he is slain with many of his followers. Great preparation is made in Valhalla for his reception, and the poet ends by congratulating Hakon (who, though a Christian, having been educated in England, had not interfered with the heathen altars and sacrifices) on the toleration which has secured him such a welcome. A still earlier poet, Hornklofi, writing during the reign of Harald Fairhair (who died in 933), alludes to the slain as the property of "the one-eyed husband of Frigg."

Several Skalds mention legends of Thor: his fis.h.i.+ng for the World-Snake is told by Bragi (who from his place in genealogies must have written before 900), and by Ulf Uggason and Eystein Valdason, both in the second half of the tenth century; and Thjodulf and Eilif (the former about 960, the latter a little later) tell tales of his fights with the giants. Turning to the other G.o.ds, Egil Skallagrimsson (about 970) names Frey and Njord as the givers of wealth; Bragi tells the story of Gefion's dragging the island of Zealand out of Lake Wener into the sea; and Ulf Uggason speaks of Heimdal's wrestling with Loki.

The legend of Idunn is told by Thjodulf much as Snorri tells it: Odin, Hoeni and Loki, while on a journey, kill and roast an ox. The giant Thiazi swoops down in eagle's shape and demands a share; Loki strikes the eagle, who flies off with him, releasing him only on condition that he will betray to the giants Idunn, "the care-healing maid who understands the renewal of youth." He does so, and the G.o.ds, who grow old and withered for want of her apples, force him to go and bring her back to Asgard.

The poet of _Eiriksmal_, quoted above, alludes to the Baldr myth: Bragi, hearing the approach of Eirik and his host, asks "What is that thundering and tramping, as if Baldr were coming back to Odin's hall?" The funeral pyre of Baldr is described by Ulf Uggason: he is burnt on his s.h.i.+p, which is launched by a giantess, in the presence of Frey, Heimdal, Odin and the Valkyries.

Though heathen writers outside of Scandinavia are lacking, references to Germanic heathendom fortunately survive in several Continental Christian historians of earlier date than any of our Scandinavian sources. The evidence of these, though scanty, is corroborative, and the allusions are in striking agreement with the Edda stories in tone and character.

Odin (Woda.n.u.s) is always identified by these writers with the Roman Mercurius (whom Tacitus named as the chief German G.o.d). This identification occurs in the eighth-century Paulus Diaconus, and in Jonas of Bobbio (first half of the seventh century), and probably rests on Odin's character as a wandering G.o.d (Mercury being diaktoros), his disguises, and his patronage of poetry and eloquence (as Mercury is logios). Odin is not himself in general the conductor of dead souls (psychopompos), like the Roman G.o.d, his attendant Valkyries performing the office for him. The equation is only comprehensible on the presumption of the independence of Germanic mythology, and cannot be explained by transmission. For if Odin were in any degree an imitation of the Roman deity, other notable attributes of the latter would have been a.s.signed to him: whereas in the Edda the thieving G.o.d (kleptis) is not Odin but Loki, and the founder of civilisation is Heimdal.

The legend of the origin of the Lombards given by Paulus Diaconus ill.u.s.trates the relations of Odin and Frigg. The Vandals asked Wodan (Odin) to grant them victory over the Vinili; the latter made a similar prayer to Frea (Frigg), the wife of Wodan. She advised them to make their wives tie their hair round their faces like beards, and go with them to meet Wodan in the morning. They did so, and Wodan exclaimed, "Who are these _Long-beards_?" Then Frea said that having given the Vinili a name, he must give them the victory (as Helgi in the Edda claims a gift from Svava when she names him). As in _Grimnismal_, Odin and Frigg are represented as supporting rival claims, and Frigg gains the day for her favourites by superior cunning. This legend also shows Odin as the giver of victory.

Few heathen legends are told however by these early Christian writers, and the G.o.ds are seldom called by their German names. An exception is the Frisian Fosite mentioned by Alcuin (who died 804) and by later writers; he is to be identified with the Norse Forseti, the son of (probably at first an epithet of) Baldr, but no legend of him is told. It is disappointing that these writers should have said so little of any G.o.d except the chief one. A very characteristic touch survives in Gregory of Tours (died 594), when the Frank Chlodvig tells his Christian wife that the Christian G.o.d "cannot be proved to be of the race of the G.o.ds," an idea entirely in keeping with the Eddic hierarchy. Before leaving the Continental historians, reference may be made to the abundant evidence of Germanic tree-wors.h.i.+p to be gathered from them. The holy oak mentioned by Wilibald (before 786), the sacred pear-tree of Constantius (473), with numerous others, supply parallels to the World-Ash which is so important a feature of Norse mythology.

A study of this subject would be incomplete without some reference to the mythology of Saxo Grammaticus. His testimony on the old religion is unwilling, and his effort to discredit it very evident. The bitterness of his attack on Frigg especially suggests that she was, among the Northmen, a formidable rival to the Virgin. When he repeats a legend of the G.o.ds, he transforms them into mortal heroes, and when, as often happens, he refers to them accidentally as G.o.ds, he invariably hastens to protest that he does so only because it had been the custom. He describes Thor and Odin as men versed in sorcery who claimed the rank of G.o.ds; and in another pa.s.sage he speaks of the latter as a king who had his seat at Upsala, and who was falsely credited with divinity throughout Europe. His description of Odin agrees with that in the Edda: an old man of great stature and mighty in battle, one-eyed, wearing a great cloak, and constantly wandering about in disguise. The story which Saxo tells of his driving into battle with Harald War-tooth, disguised as the latter's charioteer Brun, and turning the fight against him by revealing to his enemy Ring the order of battle which he had invented for Harald's advantage, is in thorough agreement with the traditional character of the G.o.d who betrayed Sigmund the Volsung and Helgi Hundingsbane. Saxo's version of the Baldr story has been mentioned already. Baldr's transformation into a hero (who could only be slain by a sword in the keeping of a wood-satyr) is almost complete. But Odin and Thor and all the G.o.ds fight for him against his rival Hother, "so that it might be called a battle of G.o.ds against men"; and Nanna's excuse to Baldr that "a G.o.d could not wed with a mortal," preserves a trace of his origin. The chained Loki appears in Saxo as Utgarda-Loki, lying bound in a cavern of snakes, and wors.h.i.+pped as a G.o.d by the Danish king Gorm Haraldsson. Dr. Eydberg sees the Freyja myth in Saxo's story of Syritha, who was carried away by the giants and delivered by her lover Othar (the Od of the Edda): an example, like _Svipdag and Menglad_, of the complete transformation of a divine into an heroic myth. In almost all cases Saxo vulgarises the stories in the telling, a common result when a mythical tale is retold by a Christian writer, though it is still more conspicuous in his versions of the heroic legends.

END OF VOL 1.

The Edda: II. The Heroic Mythology of the North

Sigemund the Waelsing and Fitela, Aetla, Eormanric the Goth and Gifica of Burgundy, Ongendtheow and Theodric, Heorrenda and the Heodenings, and Weland the Smith: all these heroes of Germanic legend were known to the writers of our earliest English literature. But in most cases the only evidence of this knowledge is a word, a name, here and there, with no hint of the story attached. For circ.u.mstances directed the poetical gifts of the Saxons in England towards legends of the saints and Biblical paraphrase, away from the native heroes of the race; while later events completed the exclusion of Germanic legend from our literature, by subst.i.tuting French and Celtic romance. Nevertheless, these few brief references in _Beowulf_ and in the small group of heathen English relics give us the right to a peculiar interest in the hero-poems of the Edda. In studying these heroic poems, therefore, we are confronted by problems entirely different in character from those which have to be considered in connexion with the mythical texts. Those are in the main the product of one, the Northern, branch of the Germanic race, as we have seen (No. 12 of this series), and the chief question to be determined is whether they represent, however altered in form, a mythology common to all the Germans, and as such necessarily early; or whether they are in substance, as well as in form, a specific creation of the Scandinavians, and therefore late and secondary. The heroic poems of the Edda, on the contrary, with the exception of the Helgi cycle, have very close a.n.a.logues in the literatures of the other great branches of the Germanic race, and these we are able to compare with the Northern versions.

The Edda contains poems belonging to the following heroic cycles:

(_a_) _Weland the Smith_.--Anglo-Saxon literature has several references to this cycle, which must have been a very popular one; and there is also a late Continental German version preserved in an Icelandic translation. But the poem in the Edda is the oldest connected form of the story.

(_b_) _Sigurd and the Nibelungs_.--Again the oldest reference is in Anglo-Saxon. There are two well-known Continental German versions in the _Nibelungen Lied_ and the late Icelandic _Thidreks Saga_, but the Edda, on the whole, has preserved an earlier form of the legend. With it is loosely connected

(_c_) _The Ermanric Cycle_.--The oldest references to this are in Latin and Anglo-Saxon. The Continental German version in the _Thidreks Saga_ is late, and, like that in the Edda, contaminated with the Sigurd story, with which it had originally nothing to do.

(_d_) _Helgi_.--This cycle, at least in its present form, is peculiar to the Scandinavian North.

All the above-named poems are contained in Codex Regius of the Elder Edda. From other sources we may add other poems which are Eddic, not Skaldic, in style, in which other heroic cycles are represented. The great majority of the poems deal with the favourite story of the Volsungs, which threatens to swamp all the rest; for one hero after another, Burgundian, Hun, Goth, was absorbed into it. The poems in this part of the MS. differ far more widely in date and style than do the mythological ones; many of the Volsung-lays are comparatively late, and lack the fine simplicity which characterises the older popular poetry.

_Volund_.--The lay of Volund, the wonderful smith, the Weland of the Old English poems and the only Germanic hero who survived for any considerable time in English popular tradition, stands alone in its cycle, and is the first heroic poem in the MS. It is in a very fragmentary state, some of the deficiencies being supplied by short pieces of prose. There are two motives in the story: the Swan-maids, and the Vengeance of the Captive Smith. Three brothers, Slagfinn, Egil and Volund, sons of the Finnish King, while out hunting built themselves a house by the lake in Wolfsdale. There, early one morning, they saw three Valkyries spinning, their swancoats lying beside them. The brothers took them home; but after seven years the swan-maidens, wearied of their life, flew away to battle, and did not return.

"Seven years they stayed there, but in the eighth longing seized them, and in the ninth need parted them." Egil and Slagfinn went to seek their wives, but Volund stayed where he was and worked at his forge. There Nithud, King of Sweden, took him captive:

"Men went by night in studded mailcoats; their s.h.i.+elds shone by the waning moon. They dismounted from the saddle at the hall-gable, and went in along the hall. They saw rings strung on bast which the hero owned, seven hundred in all; they took them off and put, them on again, all but one. The keen-eyed archer Volund came in from hunting, from a far road.... He sat on a bear-skin and counted his rings, and the prince of the elves missed one; he thought Hlodve's daughter, the fairy-maid, had come back. He sat so long that he fell asleep, and awoke powerless: heavy bonds were on his hands, and fetters clasped on his feet."

They took him away and imprisoned him, ham-strung, on an island to forge treasures for his captors. Then Volund planned vengeance:

"'I see on Nithud's girdle the sword which I knew keenest and best, and which I forged with all my skill. The glittering blade is taken from me for ever; I shall not see it borne to Volund's smithy. Now Bodvild wears my bride's red ring; I expect no atonement.' He sat and slept not, but struck with his hammer."

Nithud's children came to see him in his smithy: the two boys he slew, and made drinking-cups for Nithud from their skulls; and the daughter Bodvild he beguiled, and having made himself wings he rose into the air and left her weeping for her lover and Nithud mourning his sons.

In the Old English poems allusion is made only to the second part of the story; there is no reference to the legend of the enchanted brides, which is indeed distinct in origin, being identical with the common tale of the fairy wife who is obliged to return to animal shape through some breach of agreement by her mortal husband. This incident of the compact (_i.e._, to hide the swan-coat, to refrain from asking the wife's name, or whatever it may have been) has been lost in the Volund tale. The Continental version is told in the late Icelandic _Thidreks Saga_, where it is brought into connexion with the Volsung story; in this the story of the second brother, Egil the archer, is also given, and its antiquity is supported by the pictures on the Anglo-Saxon carved whale-bone box known as the Franks Casket, dated by Professor Napier at about 700 A.D. The adventures of the third brother, Slagfinn, have not survived. The Anglo-Saxon gives Volund and Bodvild a son, Widia or Wudga, the Wittich who appears as a follower of Dietrich's in the Continental German sources.

_The Volsungs_.--No story better ill.u.s.trates the growth of heroic legend than the Volsung cycle. It is composite, four or five mythical motives combining to form the nucleus; and as it took possession more and more strongly of the imagination of the early Germans, and still more of the Scandinavians, other heroic cycles were brought into dependence on it. None of the Eddic poems on the subject are quite equal in poetic value to the Helgi lays; many are fragmentary, several late, and only one attempts a review of the whole story. The outline is as follows: Sigurd the Volsung, son of Sigmund and brother of Sinfjotli, slays the dragon who guards the Nibelungs' h.o.a.rd on the Glittering Heath, and thus inherits the curse which accompanies the treasure; he finds and wakens Brynhild the Valkyrie, lying in an enchanted sleep guarded by a ring of fire, loves her and plights troth with her; Grimhild, wife of the Burgundian Giuki, by enchantment causes him to forget the Valkyrie, to love her own daughter Gudrun, and, since he alone can cross the fire, to win Brynhild for her son Gunnar. After the marriage, Brynhild discovers the trick, and incites her husband and his brothers to kill Sigurd.

The series begins with a prose piece on the Death of Sinfjotli, which says that after Sinfjotli, son of Sigmund, Volsung's son (which should be Valsi's son, Volsung being a tribal, not a personal, name), had been poisoned by his stepmother Borghild, Sigmund married Hjordis, Eylimi's daughter, had a son Sigurd, and fell in battle against the race of Hunding. Sigmund, as in all other Norse sources, is said to be king in Frankland, which, like the Niderlant of the _Nibelungen Lied_, means the low lands on the Rhine. The scene of the story is always near that river: Sigurd was slain by the Rhine, and the treasure of the Rhine is quoted as proverbial in the Volund lay.

_Grip.i.s.spa_ (the Prophecy of Gripi), which follows, is appropriately placed first of the Volsung poems, since it gives a summary of the whole story. Sigurd rides to see his mother's brother, Gripi, the wisest of men, to ask about his destiny, and the soothsayer prophesies his adventures and early death. This poem makes clear some original features of the legend which are obscured elsewhere, especially in the Gudrun set; Grimhild's treachery, and Sigurd's unintentional breach of faith to Brynhild. In the speeches of both Gripi and Sigurd, the poet shows clearly that Brynhild had the first right to Sigurd's faith, while the seer repeatedly protests his innocence in breaking it: "Thou shalt never be blamed though thou didst betray the royal maid.... No better man shall come on earth beneath the sun than thou, Sigurd." On the other hand, the poet gives no indication that Brynhild and the sleeping Valkyrie are the same, which is a sign of confusion. Like all poems in this form, _Grip.i.s.spa_ is a late composition embodying earlier tradition.

The other poems are mostly episodical, though arranged so as to form a continued narrative. _Grip.i.s.spa_ is followed by a compilation from two or more poems in different metres, generally divided into three parts in the editions: _Reginsmal_ gives the early history of the treasure and the dragon, and Sigurd's battle with Hunding's sons; _Fafnismal_, the slaying of the dragon and the advice of the talking birds; _Sigrdrifumal_, the awakening of the Valkyrie. Then follows a fragment on the death of Sigurd. All the rest, except the poem generally called the _Third_, or _Short, Sigurd Lay_ (which tells of the marriage with Gudrun and Sigurd's wooing of Brynhild for Gunnar) continue the story after Sigurd's death, taking up the death of Brynhild, Gudrun's mourning, and the fates of the other heroes who became connected with the legend of the treasure.