Home of the Edda. (Page 2.)
The chief apologists for the British theory are Professor Bugge (Studien über die Entstehung der nordischen Götter- und Heldensagen, München, 1889), and the editors of the Corpus Poeticum Boreale (see the Introduction to that work, and also the Prolegomena prefixed to their edition of the Sturlunga Saga, Oxford). The case for Norway and Greenland is argued by Dr. Finnur Jónsson (Den oldnorsk og oldislandske Literaturs-Historie, Copenhagen). The cases for both British and Norwegian origin are based chiefly on rather fanciful arguments from supposed local colour. The theory of the Corpus Poeticum editors that many of the poems were composed in the Scottish isles is discredited by the absence of Gaelic words or traces of Gaelic legend. Professor Bugge's North of England theory is slightly stronger, being supported by several Old English expressions in the poems, but these are not enough to prove that they were composed in England, since most Icelanders travelled east at some time of their lives.
(Page 3.)
A later study will deal with the Heroic legends.
Ynglinga Saga. (Page 3.)
Ynglinga Saga is prefixed to the Lives of the Kings in the collection known as Heimskringla (edited by Unger, Christiania, 1868, and by Finnur Jónsson, Christiania, 1893); there is an English translation in Laing's Lives of the Kings of Norway (London, 1889).
Völuspa. (Page 4.)
A poem of similar form occurs among the heroic poems. Gripisspa, a prophetic outline of Sigurd's life, introduces the Volsung poems, as Völuspa does the Asgard cycle.
Riddle-poems. (Page 6.)
So many of the mythological poems are in this form that they suggest the question, did the asking of riddles form any part of Scandinavian ritual?
The Aesir. (Page 11.)
Ynglinga Saga says that Odin and the Aesir came to Norway from Asia; a statement due, of course, to a false etymology, though theories as to the origin of Norse mythology have been based on it.
Tyr. (Page 12.)
Tyr is etymologically identical with Zeus, and with the Sanskrit Dyaus (Sky-God).
Baldr. (Pages 16 to 22.)
The Baldr theories are stated in the following authorities:
(1) Ritual origin: Frazer, The Golden Bough, vol. 3.
(2) Heroic origin: Golther, Handbuch der Germanischen Mythologie (Leipzig, 1895); Niedner, Eddische Fragen (Zeitschrift für deutsches Altertum, new series, 29), Zur Lieder-Edda (Zeitschr. f. d. Alt. vol. 36).
(3) Solar myth: Sir G.W. Cox, Mythology of the Aryan Nations (London, 1870); Max Müller, Chips from a German Workshop, vol. 4.
(4) Borrowed: Bugge, Studien über die Entstchung der nordischen Götter- und Heldensagen (transl. Brenner, München, 1889).
Vegtamskvida. (Page 17.)
The word hroðrbaðm (which I have given as “branch of fame”) would perhaps be more accurately translated “tree of fame,” which Gering explains as a kenning for Baldr. But there are no kennings of the same sort in the poem, and the line would have no meaning. If it refers to the mistletoe, as most commentators agree, it merely shows that the poet was ignorant of the nature of the plant, which would be in favour of its antiquity, rather than the reverse.
Saxo Grammaticus. (Page 18.)
English translation by Professor Elton (London, D. Nutt, 1894). As Saxo's references to the old Gods are made in much the same sympathetic tone as that adopted by Old Testament writers towards heathen deities, his testimony on mythological questions is of the less value.
The Mistletoe. (Page 20.)
It seems incredible that any writers should turn to the travesty of the Baldr story given in the almost worthless saga of Hromund Gripsson in support of a theory. In it “Bildr” is killed by Hromund, who has the sword Mistilteinn. It must be patent to any one that this is a perverted version of a story which the narrator no longer understood.
Loki. (Page 26.)
It is hardly necessary to point out the parallel between Loki and Prometheus, also both helper and enemy of the Gods, and agent in their threatened fall, though in the meantime a prisoner. In character Loki has more in common with the mischievous spirit described by Hesiod, than with the heroic figure of Aeschylus. The struggles of Loki (p. 28) find a parallel in those of the fire-serpent Typhon, to which the Greeks attributed earthquakes.
Eclipse Ritual. (Page 35.)
Mr. Lang, in Myth, Ritual, and Religion, (London, 1887) gives examples of eclipse ritual. Grimm, in the Teutonic Mythology, vol. 2, quotes Finnish and Lithuanian myths about sun-devouring beasts, very similar to the Fenri myth.
The Skalds. (Page 35.)
All the Skaldic verses will be found, with translations, in the Corpus Poeticum.
Some explanation is needed of the form of spelling I have adopted in transcribing Norse proper names. The spirants þ and ð are represented by th and d, as being more familiar to readers unacquainted with the original. Marks of vowel-length are in all cases omitted. The inflexional -r of the nominative singular masculine is also omitted, whether it appears as -r or is assimilated to a preceding consonant (as in Odinn, Eysteinn, Heindall, Egill) in the Norse form, with the single exception of the name Tyr, where I use the form which has become conventional in English.
Manchester,
December 1901.
The Icelandic Eddas are the only vernacular record of Germanic heathendom as it developed during the four centuries which in England saw the destruction of nearly all traces of the heathen system. The so-called Elder Edda is a collection of some thirty poems, mythic and heroic in substance, interspersed with short pieces of prose, which survives in a thirteenth-century MS., known as the Codex Regius, discovered in Iceland in 1642; to these are added other poems of similar character from other sources. The Younger Edda is a prose paraphrase of, and commentary on, these poems and others which are lost, together with a treatise on metre, written by the historian Snorri Sturluson about 1220.
This use of the word Edda is incorrect and unhistorical, though convenient and sanctioned by the use of several centuries. It was early used as a general term for the rules and materials for versemaking, and applied in this sense to Snorri's work. When the poems on which his paraphrase is founded were discovered, Icelandic scholars by a misunderstanding applied the name to them also; and as they attributed the collection quite arbitrarily to the historian Saemund (1056–1133), it was long known as Saemundar Edda, a name now generally discarded in favour of the less misleading titles of Elder or Poetic Edda. From its application to this collection, the word derives a more extended use, (1) as a general term for Norse mythology; (2) as a convenient name to distinguish the simpler style of these anonymous narrative poems from the elaborate formality of the Skalds.
The poems of the Edda are certainly older than the MS., although the old opinion as to their high antiquity is untenable. The majority probably date from the tenth century in their present form; this dating does not necessitate the ascription of the shape in which the legends are presented, still less of their substance, to that period. With regard to the place of their composition opinions vary widely, Norway, the British Isles and Greenland having all found champions; but the evidence is rather questionable, and I incline to leave them to the country which has preserved them. They are possibly of popular origin; this, together with their epic or narrative character, would account for the striking absence from them of some of the chief characteristics of Skaldic poetry: the obscuring of the sense by the elaborate interlacing of sentences and the extensive use of kennings or mythological synonyms, and the complication of the metre by such expedients as the conjunction of end-rhyme with alliteration. Eddie verse is governed solely by the latter, and the strophic arrangement is simple, only two forms occurring: (1) couplets of alliterative short lines; (2) six-line strophes, consisting of a couplet followed by a single short line, the whole repeated.
Roughly speaking, the first two-fifths of the MS. is mythological, the rest heroic. I propose to observe this distinction, and to deal in this study with the stories of the Gods. In this connexion, Snorri's Edda and the mythical Ynglinga Saga may also be considered, but as both were compiled a couple of centuries or more after the introduction of Christianity into Iceland, it is uncertain how much in them is literary explanation of tradition whose meaning was forgotten; some also, especially in Snorri, is probably pure invention, fairy tale rather than myth.
Many attempts have been made to prove that the material of the Edda is largely borrowed. The strength and distinction of Icelandic poetry rest rather on the fact that it is original and national and, like that of Greece, owes little to foreign sources; and that it began in the heathen age, before Christian or Romantic influences had touched Iceland. Valuable as the early Christian poetry of England is, we look in vain there for the humour, the large-minded simplicity of motive, the suggestive character-drawing, the swift dramatic action, which are as conspicuous in many poems in the Edda as in many of the Sagas.
Omitting the heroic poems, there are in Codex Regius the following: (1) Of a more or less comprehensive character, Völuspa, Vafthrudnismal, Grimnismal, Lokasenna, Harbardsljod; (2) dealing with episodes, Hymiskvida, Thrymskvida, Skirnisför. Havamal is a collection of proverbs, but contains two interpolations from mythical poems; Alvissmal, which, in the form of a dialogue between Thor and a dwarf Alviss, gives a list of synonyms, is a kind of mythologico-poetical glossary. Several of these poems are found in another thirteenth-century vellum fragment, with an additional one, variously styled Vegtamskvida or Baldr's Dreams; the great fourteenth-century codex Flateybook contains Hyndluljod, partly genealogical, partly an imitation of Völuspa; and one of the MSS. of Snorri's Edda gives us Rigsthula.
Völuspa, though not one of the earliest poems, forms an appropriate opening. Metrical considerations forbid an earlier date than the first quarter of the eleventh century, and the last few lines are still later. The material is, however, older: the poem is an outline, in allusions often obscure to us, of traditions and beliefs familiar to its first hearers. The very bareness of the outline is sufficient proof that the material is not new. The framework is apparently imitated from that of the poem known as Baldr's Dreams, some lines from which are inserted in Völuspa. This older poem describes Odin's visit to the Sibyl in hell-gates to inquire into the future. He rides down to her tomb at the eastern door of Nifl-hell and chants spells, until she awakes and asks: “What man unknown to me is that, who has troubled me with this weary journey? Snow has snowed on me, rain has beaten me, dew has drenched me, I have long been dead.” He gives the name Wegtam, or Way-wise, and then follow question and answer until she discovers his identity and will say no more. In Völuspa there is no descriptive introduction, and no dialogue; the whole is spoken by the Sibyl, who plunges at once into her story, with only the explanatory words: “Thou, Valfather, wouldst have me tell the ancient histories of men as far as I remember.” She describes the creation of the world and sky by Bor's sons; the building by the Gods of a citadel in Ida-plain, and their age of innocence till three giant-maids brought greed of gold; the creation of the dwarfs; the creation of the first man and woman out of two trees by Odin, Hoeni and Lodur; the world-ash and the spring beside it where dwell the three Norns who order the fates of men. Then follows an allusion to the war between the Aesir and the Vanir, the battle with the giants who had got possession of the goddess Freyja, and the breaking of bargains; an obscure reference to Mimi's spring where Odin left his eye as a pledge; and an enumeration of his war-maids or Valkyries. Turning to the future, the Sibyl prophesies the death of Baldr, the vengeance on his slayer, and the chaining of Loki, the doom of the Gods and the destruction of the world at the coming of the fire-giants and the release of Loki's children from captivity. The rest of the poem seems to be later; it tells how the earth shall rise again from the deep, and the Aesir dwell once more in Odin's halls, and there is a suggestion of Christian influence in it which is absent from the earlier part.
Of the other general poems, the next four were probably composed before 950; in each the setting is different. Vafthrudnismal, a riddle-poem, shows Odin in a favourite position, seeking in disguise for knowledge of the future. Under the name of Gangrad (Wanderer), he visits the wise giant Vafthrudni, and the two agree to test their wisdom: the one who fails to answer a question is to forfeit his head. In each case the questions deal first with the past. Vafthrudni asks about Day and Night, and the river which divides the Giants from the Gods, matters of common knowledge; and then puts a question as to the future: “What is the plain where Surt and the blessed Gods shall meet in battle?” Odin replies, and proceeds to question in his turn; first about the creation of Earth and Sky, the origin of Sun and Moon, Winter and Summer, the Giants and the Winds; the coming of Njörd the Wane to the Aesir as a hostage; the Einherjar, or chosen warriors of Valhalla. Then come prophetic questions on the destruction of the Sun by the wolf Fenri, the Gods who shall rule in the new world after Ragnarök, the end of Odin. The poem is brought to a close by Odin's putting the question which only himself can answer: “What did Odin say in his son's ear before he mounted the pyre?” and the giant's head is forfeit.
In the third poem of this class, GrimnismalVafthrudnismal