All posts tagged Odin

The Book of Imaginary Beings by Jorge Luis Borges (1967)

This is an alphabetical list of fantastical and imaginary beasts from myth and legend, compiled by Borges with the assistance of his friend, Margarita Guerrero, and, to be honest, it’s a bit boring.

The Penguin paperback edition of The Book of Imaginary Beings has three prefaces which, among other things, point out that the collection grew, from 82 pieces in 1957, to 116 in 1967, to 120 in the 1969 edition. It’s an example of the pleasurable way all Borges’s collections – of poems, essays or stories – accumulate additional content over successive editions and, in doing so, hint at the scope for infinite expansion, and the dizzying sense of infinite vistas which lie behind so many of his fictions.

Imaginary beings

Strictly speaking there’s an endless number of imaginary beings since every person in every novel or play ever written is an imaginary being – but, of course, the authors have in mind not imaginary people but imaginary animals, fabulous beasts concocted by human fantasy. They have aimed to create:

a handbook of the strange creatures conceived through time and space by the human imagination

The book was created in collaboration with Borges’s friend Margarita Guerrero, and between them they tell us they had great fun ransacking ‘the maze-like vaults of the Biblioteca Nacional’ in Buenos Aires, scouring through books ancient and modern, fictional and factual, for the profiles of mythical beings from folklore and legend.

One of the conclusions they make in the preface was that it is quite difficult to make up new monsters. Many have tried, but most new-fangled creatures fall by the wayside. For example, Flaubert had a go at making new monsters in the later parts of The Temptation of Saint Anthony, but none of them really stir the imagination. There appear to be some archetypal patterns which just seem to gel with the human imagination, which chime with our deepest fears or desires and so have lasted through the centuries in folklore and myth, and are found across different cultures.

We are as ignorant of the meaning of the dragon as we are of the meaning of the universe, but there is something in the dragon’s image that appeals to the human imagination, and so we find the dragon in quite distinct places and times. It is, so to speak, a necessary monster, not an ephemeral or accidental one, such as the three-headed chimera or the catoblepas.

There are entries for 120 imaginary beasts, arranged in alphabetical order across 142 pages, making an average of 1.2 pages per entry, much shorter even than his short stories, about the same length as the ‘parables’ included in Labyrinths. Where possible, the authors include references to the source documents or texts where they discovered good descriptions of the beast in question.

But book actually references quite a few more than the 120 nominal beasts since many of the entries are portmanteau headings of, for example, the imaginary fauna of Chile (6 beasts); the Fauna of China entry (taken from the T’ai P’ing Kuang Chi) describes 12 imaginary beasts and 3 types of mutant human (people whose hands dangle to the ground or have human bodies but bat wings); the Fauna of America entry describes nine weird and wonderful animals. In other words, the book actually contains names and descriptions of many times 120 beasts, at a rough guess at least three times as many.

Thoughts

This should all be rather wonderful, shouldn’t it? But although it’s often distracting and amusing, The Book of Imaginary Beings almost entirely lacks the sense of wonder and marvel which characterises the extraordinary contents of Labyrinths.

Ultimately, the long list becomes rather wearing and highlights the barrenness of even the most florid creations if they are not brought to life by either a chunky narrative (I mean a narrative long enough for you to become engaged with) or by Borges’s magic touch, his deployment of strange and bizarre ideas to animate them.

Borges’s best stories start with wonderful, mind-dazzling insights and create carapaces of references or narrative around them. These encyclopedia-style articles about fabulous creatures, on the other hand, occasionally gesture towards the strange and illuminating but, by and large, remain not much more than a succession of raw facts.

For example, we learn that the word ‘basilisk’ comes from the Greek meaning ‘little king’, that the fabulous beast it refers to is mentioned in the authors Pliny and Chaucer and Aldrovani, in each of which it has a different appearance; we are given a long excerpt about the basilisk from Lucan’s Pharsalia.

Well, this is all very well and factual, but where are the ideas and eerie insights which make Borges’s ficciones so mind-blowing? Nowhere. The entries read like raw ingredients which are waiting to be cooked by Borges into a dazzling essay… which never materialises. More than that, it’s full of sentences which are uncharacteristically flaccid and banal.

Suggested or stimulated by reflections in mirrors and in water and by twins, the idea of the Double is common to many countries.

Really? In some of his stories this idea comes to dazzling life; in this collection of articles, it lies dead on the page.

A bestiary manqué

You could argue that the whole idea is an updating of the popular medieval genre of the ‘bestiary’. Wikipedia gives a pithy summary of the genre:

A bestiary is a compendium of beasts. Originating in the ancient world, bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals and even rocks. The natural history and illustration of each beast was usually accompanied by a moral lesson.

I think the key is in that final phrase: bestiaries may well have fired the imaginations of their readers, amused and distracted them, but they had a purpose. Indeed, to the medieval mind the whole natural world was full of meaning and so every single creature in it existed to point a moral, to teach humans something (about God, about the Christian life, and so on). Bolstering every anecdote about this or that fabulous animal was a lesson we could all take away and benefit from.

Whereas, being 20th century agnostics and, moreover, of a modernist turn of mind which prefers clipped brevity to Victorian verbosity, the authors write entries which are deliberately brief and understated, and shorn of any moral or reflection, or analysis.

Whereas Borges’s fictions tend to build up to a bombshell insight which can haunt you for days, these entries just end and then you’re onto another item on the list, then another, then another, and after a while the absence of analysis or insight begins to feel like an almost physical lack.

Pictures

Given its static nature as a rather passive list written in often lifeless prose, what this book would really, really have have benefited from would have been being published in a large, coffee table format with an illustration for each monster.

I googled a lot of the entries in the book and immediately began having more fun on the internet, looking at the weird and wonderful illustrations of the beasts – comparing the way the basilisk or chimera or behemoth have depicted through the ages (and in our age which has seen an explosion of fantastical illustrations) than I had in reading Borges and Guerrero’s rather drab texts.

The two-headed bird-dragon Ouroboros from the Aberdeen bestiary illuminated manuscript

Favourites

On the up-side, here are some things I enjoyed:

I was delighted that The Book of Imaginary Beings contains not one but two entries for made-up creatures in C.S. Lewis’s science fiction novel, Perelandra.

To be reminded of the strange fact that Sleipnir, the horse belonging to Odin, king of the Norse gods, had eight legs.

A Chinese legend has it that the people who lived in mirrors were a different shape and size and kind from the people in this world. Once there were no borders and people could come and go between the real world and the mirror world. Then the mirror people launched an attack on our world but were defeated by the forces of the Yellow Emperor who compelled them to take human form and slavishly ape all the behaviour of people in this world, as if they were simply our reflections. But one day they will rise up and reclaim their freedom (Fauna of Mirrors).

The Hidebehind is always hiding behind something. No matter how many times or whichever way a man turns, it is always behind him, and that’s why nobody has been able to describe it, even though it is credited with having killed and devoured many a lumberjack. The Goofus Bird builds its nest upside down and flies backward, not caring where it’s going, only where it’s been.

At one point Borges lingers on the dogma of the Kabbalists and, for a moment, the real deep Borges appears, the one fascinated by the paradoxes of infinity:

In a book inspired by infinite wisdom, nothing can be left to chance, not even the number of words it contains or the order of the letters; this is what the Kabbalists thought, and they devoted themselves to the task of counting, combining, and permutating the letters of the Scriptures, fired by a desire to penetrate the secrets of God.

A Platonic year is the time required by the sun, the moon, and the five planets to return to their initial position; Tacitus in his Dialogus de Oratoribus calculates this as 12,994 common years.

In the middle of the twelfth century, a forged letter supposedly sent by Prester John, the king of kings, to the Emperor of Byzantium, made its way all over Europe. This epistle, which is a catalogue of wonders, speaks of gigantic ants that dig gold, and of a River of Stones, and of a Sea of Sand with living fish, and of a towering mirror that reflects whatever happens in the kingdom, and of a sceptre carved of a single emerald, and of pebbles that make a man invisible or that light up the night.

Threes

The Greek gods ruled three realms, heaven ruled by Zeus, the sea ruled by Poseidon, and hell ruled by Hades.

In ancient Greek religion the Moirai, called by the Romans the Parcae, known in English as the Fates, were the incarnations of destiny: Clotho (the ‘spinner’), Lachesis (the ‘allotter’) and Atropos (the ‘unturnable’, a metaphor for death).

Cerberus, the huge dog guarding hell, had three heads.

In Norse mythology, the Norns are female beings who rule the destiny of gods and men. In Snorri Sturluson’s interpretation of the Völuspá, there are three main norns, Urðr (Wyrd), Verðandi and Skuld. They are invoked in the three weird sisters who appear in Shakespeare’s Macbeth.

There are many valkyries – choosers of the dead –but tradition names three main ones as Hildr, Þrúðr and Hlökk.

Hinduism has Trimurti (Sanskrit for ‘three forms’) referring to the triad of the three gods Brahma, Vishnu, and Shiva.

The Christian God is a Trinity of God the Father, God the Son and God the Holy Spirit.

Jesus is resurrected on the third day after his crucifixion (counting Good Friday, Saturday and Sunday as days), an event prefigured by the three days the prophet Jonah spent in the belly of the whale.

In The Divine Comedy Dante journeys through the three parts of the afterworld, hell, purgatory and paradise.

According to Moslem tradition, Allah created three different species of intelligent beings: Angels, who are made of light; Jinn (‘Jinnee’ or ‘Genie’ in the singular), who are made of fire; and Men, who are made of earth.

Jinnee or genies grant three wishes.

Humans divide time (if it exists, that is) into the past, the present and the future.

The three billygoats gruff. The three bears. The three little pigs.

Fours

The four horsemen of the apocalypse.

The four gospels of the four evangelists, each one symbolised by an animal: to Matthew a man’s face, Mark the lion; Luke the calf; and John, the eagle.

In Babylon, the prophet Ezekiel saw in a vision four beasts or angels, ‘And every one had four faces, and every one had four wings’ and ‘As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle.’

John the Divine in the fourth chapter of Revelations: ‘And before the throne there was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle. And the four beasts had each of them six wings about him; and they were full of eyes within…’

In the most important of Kabbalistic works, the Zohar or Book of Splendour, we read that these four beasts are called Haniel, Kafziel, Azriel, and Aniel and that they face east, north, south, and west.

Dante stated that every passage of the Bible has a fourfold meaning: the literal, the allegorical, the moral, and the spiritual.

The four corners of the earth. The four points of the compass.

The Greeks divided visible matter into the four elements of fire, earth, air, and water, and attributed the four humours which match them, black bile, yellow bile, phlegm, and blood, themselves the basis of the four temperaments of mankind, choleric, melancholic, phlegmatic and sanguine, respectively.

The four magic animals of Chinese cosmogony.

The four animals of good omen, being the unicorn, the dragon, the phoenix, and the tortoise.

A Borges reading list

This is an incomplete list of the texts most frequently referred to in The Book of Imaginary Beings. Laid out like this you can see how, beyond the respectable tradition of the classics, this is a kind of greatest hits selection of the esoteric and mystical traditions of world literature.

Reflecting on the list of texts, I realised they have one thing in common which is that they are all pre-scientific and non-scientific. Personally, I believe in modern cosmology’s account of the creation of the universe in a big bang, in the weird discoveries of particle physics which account for matter, gravity, light and so on; and, when it comes to life forms, I believe in a purely mechanistic origin for replicating life, and in Darwin’s theory of natural selection as improved by the discovery of the helical structure of DNA in 1953 and the 70 subsequent years of genetic science, to explain why there are, and inevitably have to be, such an enormous variety of life forms on earth.

For me, taken together, all the strands of modern science explain pretty much everything about the world around us and about human nature: why we are why we are, why we think and behave as we do.

None of that is recorded in any of these books. Instead everything in the books listed here amounts to various types of frivolous entertainment and speculation. It could be described as highly decorative rubbish. Homer and the Aeneid may well be the bedrocks of Western literature and Dante one of the central figures of European civilisation but, having lived and worked in the world for over 40 years, I’m well aware that the vast majority of people neither know nor care, and care even less about the more remote and obscure books on this list. They are for the pleasure of antiquaries and lovers of the obscure; people, dear reader, like thee and me.

Ancient world

The Epic of Gilgamesh
The Iliad and the Odyssey by Homer
Hesiod’s Theogony and Book of Days (700 BC)
The Old Testament
The Tibetan Book of the Dead
The Mahābhārata (3rd century BC?)
The Argonautica by Apollonius Rhodius (3rd century BC)
The Aeneid by Virgil (29 to 19 BC)
Metamorphoses or the Books of Transformations by Ovid (8 AD)
De Bello Civili or the Pharsalia by Lucan (30 AD?)
On the Nature of the Gods by Cicero
The Natural History by Pliny the Elder (77 AD)
History of the Jewish Wars by Flavius Josephus
The New Testament (1st century AD)

Middle Ages

Beowulf
The Exeter Book (tenth century)
The Song of Roland (11th-century)
The Poetic Edda (13th century)
The Prose Edda (13th century)
The Zohar, primary text of the Kabbalists
The 1001 Arabian Nights
The Golden Legend compiled by Jacobus de Voragine (thirteenth century)
The Travels of Marco Polo (1300)
The Divine Comedy by Dante Alighieri (1320)
Travels of Sir John Mandeville (1360s)
Autobiography by Benvenuto Cellini (1563)
Orlando Furioso by Ludovico Ariosto (1532)

Early modern

The Ingenious Gentleman Don Quixote of La Mancha by Miguel de Cervantes (1605 and 1615)
The Anatomy of Melancholy by Robert Burton (1621)
Hydriotaphia, Urn Burial, or, a Discourse of the Sepulchral Urns lately found in Norfolk by Sir Thomas Browne (1658)
Peter Wilkins by Robert Paltock (1751)
The World as Will and Representation (1844) by Arthur Schopenhauer
The Temptation of Saint Anthony by Gustave Flaubert (1874)
The Golem by Gustav Meyrink (1915)

Would be a challenge, fun and interesting to read all these books, in this order. A nutritious slice through Western civilisation.

Borges reviews

A Universal History of Infamy (1935 trans. 1972)
Labyrinths (1962)
The Book of Imaginary Beings (1967, trans. 1969)
Dr. Brodie’s Report (1970)
The Book of Sand (1975 trans. 1977)
Jorge Luis Borges on Franz Kafka (1981)

1 Comment

by Simon on May 7, 2021 • Permalink

Posted in Latin America, Literature, Middle Ages, Mythology

Tagged 1001 Arabian Nights, Aldrovani, Allah, angels, Apollonius Rhodius, Argonautica, Arthur Schopenhauer, Atropo, autobiography, Æneid, Þrúðr, basilisk, Benvenuto Cellini, Beowulf, bestiary, Biblioteca Nacional, Book of Imaginary Beings, Book of Splendour, Books of Transformations, Borges, Brahma, Buenos Aires, Byzantium, C.S. Lewis, Cerberus, Chaucer, China, Cicero, Clotho, cosmogony, Crucifixion, Dante, Dante Alighieri, Darwin, De Bello Civili, Divine Comedy, DNA, dragon, Epic of Gilgamesh, evangelists, Exeter Book, Ezekiel, Fantasy, Fates, Flaubert, Flavius Josephus, God the Father, God the Holy Spirit, God the Son, Golden Legend, gospels, Greek gods, Gustav Meyrink, Gustave Flaubert, Hades, Hell, Hesiod, hidebehind bird, Hildr, Hinduism, History of the Jewish Wars, Hlökk, Homer, Hydriotaphia, Iliad, imaginary beasts, imaginary beings, Jacobus de Voragine, Jesus, Jinn, John the Divine, Kabbala, Labyrinths, Lachesis, legend, Lucan, Ludovico Ariosto, Macbeth, Mahābhārata, Margarita Guerrero, Metamorphoses, Middle Ages, Miguel de Cervantes, Moirai, myth, Natural History, natural selection, New Testament, Norns, Norse gods, Odin, Odyssey, Old Testament, On the Nature of the Gods, Orlando Furioso, Ouroboros, Ovid, Paradise, Parcae, Perelandra, Pharsalia, Phoenix, Pliny, Pliny the Elder, Poetic Edda, Poseidon, Prester John, Prose Edda, Purgatory, Revelations, Robert Burton, Sanskrit, Shakespeare, Shiva, Skuld, Sleipnir, Snorri Sturluson, Song of Roland, Tacitus, Temptation of Saint Anthony, The Anatomy of Melancholy, The Book of Imaginary Beings, The Golem, The Ingenious Gentleman Don Quixote of La Mancha, The World as Will and Representation, The Zohar, Theogony and Book of Days, Thomas Browne, Tibetan Book of the Dead, tortoise, Travels of Marco Polo, Travels of Sir John Mandeville, Trinity, unicorn, Urðr, Urn Burial, Völuspá, Verðandi, Virgil, Vishnu, Zeus, Zohar

Posted by Simon on May 7, 2021

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The Poetic Edda – the heroic poems

The Icelandic poem Helgakviða Hundingsbana starts, in the Codex Regius manuscript, with an unusually large letter A (starting the word ‘Ar’ meaning ‘Early’ or ‘Once upon a time’) which suggests the scribe was well-aware that he was transitioning from the sequence of mythological poems – stories about the unruly Norse gods – to the second part of the Poetic Edda, which records the deeds of heroes and mortal men and women.

The most striking thing about the 19 heroic poems is the way they focus on the same cycle of stories which dominate Snorri’s Prose Edda and are also the subject of the Volsungsaga, namely the legends of King Sigmund, his sons Helgi and Sigurd, the latter’s fight with the dragon Fafnir, his ill-fated love triangle with Brynhild and Gudrún, the latter’s ill-starred marriage to Atli, and then to king Jörmunrekkr. The Greeks have many cycles of legends – the Trojan War, or Theseus, or Perseus, or Jason and the Argonauts. But Norse legend seems fixated on this one, rather fissile tragedy of Sigurd and Gudrún.

The 14 poems about this legend have the added distinction of having a massive hole ripped out of the heart of them. 8 folios which could have contained anything between 200 and 250 stanzas – at an average of 50 stanzas per poem, some 5 entire poems – have at some stage been removed from the Codex, right in the middle of the Sigurd cycle of poems, giving rise to endless speculation about the missing content.

The heroic poems

The heroic poems fall easily into three sections:

The story of Helgi Hundingsbani
The story of the Nibelungs
The story of Jörmunrekkr, king of the Goths

…respectively, Scandinavian, German and Gothic in origin.

The story of Helgi Hundingsbani

Immediately (and typically of the Poetic Edda) there are textual issues, because poems 1 and 3 are about Helgi Hundingsbana (so-called because he kills king Hunding in battle) but poem 2 is about a completely different Helgi, Helgakviða Hjörvarðssonar, who lived a generation before Helgi Hundingsbana and who Helgi Hundingsbana was named after. It makes for a much simpler experience just to read poems 1 and 3. When you do this you realise that number 3 covers a lot of the same ground as number 1, and both – after the heroic birth and heroic deeds and comic flyting before the big battle – are about the surprisingly romantic story of Helgi the hero and his true love Sigrun the valkyrie. The poems lead up to the climactic scene of Sigrun’s nightly visits to Helgi’s funeral barrow, hoping to meet and talk with her dead lover, a subject which endeared itself to the sentimental Victorians. The (as usual) rather confusing story of Helgi Hundingsbane is usefully summarised on Wikipedia.

Helgakviða Hundingsbana I – The First Lay of Helgi Hundingsbane or Helgi the Hunding-Slayer
(Helgakviða Hjörvarðssonar – The Lay of Helgi the Son of Hjörvard)
Helgakviða Hundingsbana II – The Second Lay of Helgi Hundingsbane or Helgi the Hunding-Slayer

As usual, I quote the Henry Adams Bellows translation because it is both out of copyright and easily available online:

1. In olden days, | when eagles screamed,
And holy streams | from heaven’s crags fell,
Was Helgi then, | the hero-hearted,
Borghild’s son, | in Bralund born.

2. ‘Twas night in the dwelling, | and Norns there came,
Who shaped the life | of the lofty one;
They bade him most famed | of fighters all
And best of princes | ever to be.

3. Mightily wove they | the web of fate,
While Bralund’s towns | were trembling all;
And there the golden | threads they wove,
And in the moon’s hall | fast they made them.

The Niflung or Nibelung cycle (the story of Sigurd, Bryinhild and Gudrún)

Frá dauða Sinfjötla (Sinfjötli’s Death)

This is a short prose text which summarises the story found in the saga and elsewhere: Sinfjötli, son of Sigmund, who had been prominent in the Helgi poems for carrying out dialogues of abuse with various enemies, is poisoned in front of his father by his step-mother in revenge for killing her husband/brother (delete as appropriate, depending on which version you’re reading). In all the versions the grieving Sigmund does nothing to the poisoner but carries the body to a fjord and calls a ferryman to take him across but the boat is only big enough for one passenger and the ferryman takes Sinfjötli’s body and then mysteriously disappears. Was he Odin?

Grípisspá (Grípir’s Prophecy)

53 stanzas – Sigurd abruptly appears in the cycle of poems, rides up to his uncle Gripir’s who prophesies his destiny. It’s not a pretty sight.

“Ever remember, ruler of men,
That fortune lies in the hero’s life;
A nobler man shall never live
Beneath the sun than Sigurth shall seem.”

Reginsmál (The Ballad of Regin)

The editors point out that the next three poems might very well be one long one; they are in a similar style, with frequent short prose inserts to move the story along. The third one breaks off abruptly where vital pages have been torn from the Codex. In Reginsmál the young Sigurd is apprenticed to Regin at the court of king Hjalprek. The king gives Sigurd ships to sail back to Volsung land and take revenge for his father. A stranger shouts at the ships from the shore. It is Hnikar (?) and they ask him what are the best omens before a battle:

20. “Many the signs, | if men but knew,
That are good for the swinging of swords;
It is well, methinks, | if the warrior meets
A raven black on his road.

21. “Another it is | if out thou art come,
And art ready forth to fare,
To behold on the path | before thy house
Two fighters greedy of fame.

22. “Third it is well | if a howling wolf
Thou hearest under the ash;
And fortune comes | if thy foe thou seest
Ere thee the hero beholds.

23. “A man shall fight not | when he must face
The moon’s bright sister setting late;
Win he shall | who well can see,
And wedge-like forms | his men for the fray.

24. “Foul is the sign | if thy foot shall stumble
As thou goest forth to fight;
Goddesses baneful | at both thy sides
Will that wounds thou shalt get.

25. “Combed and washed | shall the wise man go,
And a meal at mom shall take;
For unknown it is | where at eve he may be;
It is ill thy luck to lose.”

Fáfnismál (The Ballad of Fáfnir)

44 stanzas – Like so many of the poems the action happens before it starts. In the prose prologue Sigurd waits in the trench and kills the dragon. This poem is about what interests this culture, a dialogue between the hero and the dragon about wisdom and fate. Eventually leads to the scene where Sigurd cooks the dragon’s heart, tastes the blood, understand the birds warning him against Regin, who he promptly decapitates.

Sigurth spake:
28. “Better is heart | than a mighty blade
For him who shall fiercely fight;
The brave man well | shall fight and win,
Though dull his blade may be.

29. “Brave men better | than cowards be,
When the clash of battle comes;
And better the glad | than the gloomy man
Shall face what before him lies.

Sigrdrífumál (The Lay of Sigrdrífa)

In this poem, in this version, the woman asleep on the Hind’s Fell surrounded by a wall of flame is not Brynhild, but a different Valkyrie named Sigrdrífa. Sigurd wakes her and then they do what these people love: have a wisdom dialogue, in fact a monologue, in which she first explains what runes you need to practice various skills, and then gives a numbered set of practical advice for warriors. It is in the middle of this sequence, after stanza 27, that the poem breaks off abruptly because a great hole has been torn in the codex. The fifth folio of eight sheets is missing, maybe 250 verses, a huge chunk of text covering the central story of the betrothal of Sigurd and Brynhild and the treachery of queen Grimhild, are missing. This is referred to as THE GREAT LACUNA.

6. Winning-runes learn, | if thou longest to win,
And the runes on thy sword-hilt write;
Some on the furrow, | and some on the flat,
And twice shalt thou call on Tyr.

7. Ale-runes learn, | that with lies the wife
Of another betray not thy trust;
On the horn thou shalt write, | and the backs of thy hands,
And Need shalt mark on thy nails.
Thou shalt bless the draught, | and danger escape,
And cast a leek in the cup;
(For so I know | thou never shalt see
Thy mead with evil mixed.)

8. Birth-runes learn, | if help thou wilt lend,
The babe from the mother to bring;
On thy palms shalt write them, | and round thy joints,
And ask the fates to aid.

9. Wave-runes learn, | if well thou wouldst shelter
The sail-steeds out on the sea;
On the stem shalt thou write, | and the steering blade,
And burn them into the oars;
Though high be the breakers, | and black the waves,
Thou shalt safe the harbor seek.

Apparently this is the most confused and scraped together of all the Codex Regius poems. As Henry Adams Bellows puts it:

the strange conglomeration of stanzas which the compiler of the collection has left for us, and which, in much the same general form, seems to have lain before the authors of the Volsungasaga, in which eighteen of its stanzas are quoted, is not a poem at all… The Sigrdrifumol section as we now have it is an extraordinary piece of patchwork…a collection of fragments, most of them originally having no relation to the main subject. All of the story, the dialogue and the characterization are embodied in stanzas 1 to 4 and 20 to 21 and in the prose notes accompanying the first four stanzas; all of the rest might equally well (or better) be transferred to the Hovamol…

—–THE GREAT LACUNA—–

Brot af Sigurðarkviðu (Fragment of a Poem about Sigurd)

After the Great Lacuna this poem starts or rather resumes in mid-flow. Its 19 stanzas cover Sigurd’s murder and the recriminations between brother and sister Gunnar and Gudrun. It’s notable that’s Sigurd’s death, in this poem, happens out of doors by a river on some journey. Also that it is treated very casually:

4. They cooked a wolf, | they cut up a snake,
They gave to Gotthorm | the greedy one’s flesh,
Before the men, | to murder minded,
Laid their hands | on the hero bold.

5. Slain was Sigurth | south of the Rhine;
From a limb a raven | called full loud:
“Your blood shall redden | Atli’s blade,
And your oaths shall bind | you both in chains.”

6. Without stood Guthrun, | Gjuki’s daughter,
Hear now the speech | that first she spake:
“Where is Sigurth now, | the noble king,
That my kinsmen riding | before him come?”

7. Only this | did Hogni answer:
“Sigurth we | with our swords have slain;
The gray horse mourns | by his master dead.”

“Slain was Sigurth | south of the Rhine” that’s how the central moment of the entire legend is casually described, preparing the way for stanzas recounting Gunnar’s conversations with Gudrun. Dialogue always trumps action in these poems.

Fra Dauda Sigurdar This is a short piece of prose which admits there are at least three versions of where Sigurd was killed: by a river, in a forest, or in bed.

Guðrúnarkviða I (The First Lay of Gudrún)

In 27 stanzas Gudrun is unable to weep for her dead husband despite various ladies of the court coming to her and telling their life stories and the woes they have suffered; until suddenly she breaks down and bitterly laments..

17. “So was my Sigurth | o’er Gjuki’s sons
As the spear-leek grown | above the grass,
Or the jewel bright | borne on the band,
The precious stone | that princes wear.

18. “To the leader of men | I loftier seemed
And higher than all | of Herjan’s maids;
As little now | as the leaf I am
On the willow hanging; | my hero is dead.

Sigurðarkviða hin skamma (The Short Lay of Sigurd)

At 71 stanzas the longest poem in this section, it recaps much of the plot, including the murder of Sigurd which, here, takes place in his bed next to Gudrun. In fact the poem isn’t about Sigurd at all, but in the first part describes Gudrun mourning – and in the second half details Brynhild’s elaborate plans to kill herself and arrange a big funeral pyre for herself and Sigurd. It is striking that, in this poem, Sigurd is killed in his bed and that, again, there appears to be lines or maybe whole stanzas missing, so that the fatal event is strangely mangled and elided.

20. “Gotthorm to wrath | we needs must rouse,
Our younger brother, | in rashness blind;
He entered not | in the oaths we swore,
The oaths we swore | and all our vows.”

21. It was easy to rouse | the reckless one.
. . . . . . . . . .
The sword in the heart | of Sigurth stood.

Helreið Brynhildar (Brynhild’s Hell-Ride)

Ashort poem of 14 stanzas in which Brynhild, riding down to hell is questioned by an ogress in a cave and justifies her life and actions. “It shows the confusion of traditions manifest in all the later poems; for example, Brynhild is here not only a Valkyrie but also a swan-maiden.”

13. “Yet Guthrun reproached me, | Gjuki’s daughter,
That I in Sigurth’s | arms had slept;
Then did I hear | what I would were hid,
That they had betrayed me | in taking a mate.

14. “Ever with grief | and all too long
Are men and women | born in the world;
But yet we shall live | our lives together,
Sigurth and I. | Sink down, Giantess!”

Dráp Niflunga (The Slaying of The Niflungs)

A short prose piece recounting the gruesome events after Sigurd’s funeral, where Gudrun is married off to Atli who invites her brothers to Hunland, hoping to steal their gold, tortures them, cuts out Hogni’s heart, then throws Gunnar in the snakepit where he plays the harp until bitten by an enormous adder which may or may not be Atli’s witch mother.

Guðrúnarkviða II (The Second Lay of Gudrún)

In these 44 stanzas Gudrun is seen telling her story to captive king Theoderic, from the murder of Sigurd through her drugging and betrothal to Atli, to the visit of her brothers to Atli and their murder, and up until Atli’s fearful bad dreams – which presage Gudrun’s bloodthirsty murder and cooking of her own sons! This is thought to be the oldest poem in the book, dating form the 900s, an estimate reinforced by the use of Germanic details eg the fact Sigurd is murdered in a forest. It seems that the version of him being murdered in bed next to Gudrún is a later, Scandinavian, version.

This poem has real power.

3. Till my brothers let me | no longer have
The best of heroes | my husband to be;
Sleep they could not, | or quarrels settle,
Till Sigurth they | at last had slain.

4. From the Thing ran Grani | with thundering feet,
But thence did Sigurth | himself come never;
Covered with sweat | was the saddle-bearer,
Wont the warrior’s | weight to bear.

5. Weeping I sought | with Grani to speak,
With tear-wet cheeks | for the tale I asked;
The head of Grani | was bowed to the grass,
The steed knew well | his master was slain.

Guðrúnarkviða III (The Third Lay of Gudrún)

Avery short 11 stanza poem on a side event, one of Atli’s slave girls Herkja, claims to have seen Gudrun being unfaithful with the captive king Thjodrek. they both undergo ordeal by boiling water: Gudrún plunges her hands into the boiling water to get the stones from the bottom of the kettle and her hands are fine; Herkja does the same and her hands are badly scalded so she is thrown into a bog and drowned as punishment.

Oddrúnargrátr (The Lament of Oddrún)

In these 34 stanzas Oddrún laments the tragic events which have overcome them all. She is sister to Atli who became Gunnar’s lover (presumably after Brynhild’s death). She doesn’t feature in any of the other versions or stories. It seems she has been invented in order to author this lament.

19. “Love to Gunnar | then I gave,
To the breaker of rings, | as Brynhild might…

21. “Yet could we not | our love o’ercome,
And my head I laid | on the hero’s shoulder…

Atlakviða (The Lay of Atli)

These 44 stanzas cover Atli’s invitation to Gunnar and Hogni to come visit; Gudrun’s inclusion of a ring carved with runes warning them not to; their deliberation and fateful decision to go; their capture immediately on arrival; Hogni’s heart is torn out but Gunnar refuses to confess where the gold is and so he is thrown into the snakepit; in revenge Gudrun serves up the corpses of their sons to her husband Atli, before stabbing him in bed and then setting fire to the entire stronghold, killing all the staff and servants. This is reckoned to be one of the oldest poems in the collection and is without doubt one of hte grimmest and most intense.

Atlamál hin groenlenzku (The Greenland Ballad of Atli)

A much longer version of the above, with 101 stanzas i.e. Gunnar and Hogni’s fateful visit to Atli, this time bringing in their wives for extensive conversation before the boys set off.

The story of Jörmunrekkr, king of the Goths

Though put in a separate category by scholars, these stories are just a continuation of the story of Gudrún: having woken up beside the bloodsoaked body of her husband, mortally wounded by her brothers, she grieves and laments then is drugged and married off to Atli, only to witness her two brothers have their hearts torn out or be bitten to death in a snake pit, before she murders her two sons by Atli and serves him up their cooked corpses, before setting fire to the entire stronghold and burning everyone inside to death. She walks into the sea to drown herself but can’t, instead floating across the sea (strongly indicating, as the scholars point out, that she has become part-witch). Here, in a new land, she is found by and marries her third husband, Jonak, and bears him three sons Sorli and Erp and Hamther. Here she brings up Svanhild, her daughter by Sigurd. The mighty and violent Goth king Jormunrek wants to marry Svanhild and sends his son Randver to woo her. Inevitably, Randver and Svanhild fall in love but are betrayed to the king who promptly has his son hanged, and the beautiful Svanhild trampled to death under horses’ feet.

A handy summary of this story is told on the Kids Britannica website.

To quote Henry Adams Bellows:

Chief among the popular tales of Ermanarich’s cruelty was one concerning the death of a certain Sunilda or Sanielh, whom, according to Jordanes, he caused to be torn asunder by wild horses because of her husband’s treachery. Her brothers, Sarus and Ammius, seeking to avenge her, wounded but failed to kill Ermanarich. In this story is the root of the two Norse poems included in the Codex Regius. Sunilda easily became the wife as well as the victim of the tyrant, and, by the process of legend-blending so frequently observed, the story was connected with the more famous one of the Nibelungs by making her the daughter of Sigurth and Guthrun. To account for her brothers, a third husband had to be found for Guthrun; the Sarus and Ammius of Jordanes are obviously the Sorli and Hamther, sons of Guthrun and Jonak, of the Norse poems. The blending of the Sigurth and Ermanarich legends probably, though not certainly, took place before the story reached the North, in other words before the end of the eighth century.

Guðrúnarhvöt (Gudrún’s Inciting)

22 stanzas.

The present title is really a misnomer; the poet, who presumably was an eleventh century Icelander, used the episode of Guthrun’s inciting her sons to vengeance for the slaying of Svanhild simply as an introduction to his main subject, the last lament of the unhappy queen.

The story is told much more fully in the prose Voldungsaga; what this emphasises is the way the Codex Regius poems are about, emphasise and foreground the experiences of women, especially the figure of the grieving Gudrún. Much more than Sigurd or Gunnar, she is the enduring memory of the heroic poems.

Hamðismál (The Ballad of Hamdir)

31 stanzas. Gudrun’s sons take revenge for the trampling to death by horses of their sister Svanhild. They chop off the four limbs of the king responsible, Jörmunrekkr, before themselves being stoned to death by his men. This is a strange afterthought of a poem, starting with the sons’ foreboding, skipping very elliptically over their murder of their half-brother Erpi on the way, and then in just a few stanzas dealing with what must have been an epic fight in which king Jormunrek and both sons die, and their last words are a fitting epitaph to the whole sorry story…

“We have greatly fought, | o’er the Goths do we stand
By our blades laid low, | like eagles on branches;
Great our fame though we die | today or tomorrow;
None outlives the night | when the Norris have spoken.”

Or, in the Penguin Andy Orchard translation:

Great glory we have gained
though we die now or tomorrow;
no man survives a single dusk
beyond the norns’ decree.

This is Svanhild, daughter of Sigurd and Gudrún. Pretty, eh? Her father is murdered in his bed, her mother drowns herself, and Svanhild is either tied to horses and torn to pieces or trampled to death by horses, depending on which version you read. Lovely.

Black and white illustration of Svanhild

Svanhild (from Fredrik Sander’s 1893 Swedish edition of the Poetic Edda/Public Domain)

Everybody dies and the Völsung line is wiped out. A fitting end to these strange, damaged, elliptic and addictive poems from the depths of Europe’s long Dark Age.

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Complete list of my other saga and Viking reviews

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by Simon on May 24, 2013 • Permalink

Posted in European History, Poetry, Translation

Tagged Atli, Codex Regius, Grimhild, Gudrun, Gunnar, Helgi Hundingsbani, Hogni, Iceland, Jörmunrekkr, Odin, Poetic Edda, poetry, Sigurd, Sinfjötli

Posted by Simon on May 24, 2013

https://astrofella.wordpress.com/2013/05/24/the-poetic-edda-the-heroic-poems/

The Legend of Sigurd and Gudrún by JRR Tolkien

Introduction

Since the death of J.R.R. Tolkien in 1973, his son Christopher has been working through his father’s papers, publishing a steady stream of posthumous editions of the Great Man’s writings. Largest has been the twelve volume set The Histories of Middle Earth in which Christopher compiled all the unfinished, abandoned and alternative versions Tolkien drafted for the epic mythology of which ‘Lord of the Rings’ is only an episode.

Tolkien earned his living, of course, as a Professor of English at Oxford, specialising in Anglo-Saxon and Old Norse poetry. He routinely delivered lectures about both subjects and marked students’ translations of verse from both traditions.

Still, it came as a surprise to both fans and experts in the field when Christopher Tolkien announced he was publishing two long poems by Tolkien, written in English but obeying the rules of the eight-line fornyrðislag metre found in Icelandic Eddaic poetry. Not only is the form Icelandic but the subject matter is an ambitious attempt to retell the entire tale of Sigurd and Gudrún – a central legend of the north European Dark Ages, the subject of a third of the poems in the Poetic Edda, the entire subject of the Icelandic Völsunga saga, of the German epic poem the Nibelungenlied, of the long poem The Story of Sigurd the Volsung by William Morris and, most famously, the basis of Richard Wagner’s vast four-opera cycle, the Ring of the Nibelung.

The challenge Tolkien set himself to overcome is that the three main sources for the story – the Elder Edda, the prose Edda and the Völsunga saga – contradict each other in the outline of the story, in many details, even in the names. The Legend of Sigurd and Gudrún aims to cut through the scholarly pernicketiness and hesitancy about manuscript variants and textual ambiguities etc, in order to tell one clear consistent story. It succeeds brilliantly!

The New Lay of the Völsungs

This is the first and longest of the two poems, nearly 130 pages long and divided into 10 sections. It starts with the creation of the world, a short retelling of the famous Völuspá poem from the Poetic Edda:

Of old was an age
when Odin walked
by wide waters
in the world’s beginning;
lightfooted Loki
at his left was running,
at his right Hœnir
roamed beside him.

That’s the fornyrðislag metre: four lines divided in two halves (or eight short lines, as here), two syllables emphasised in each half line, each emphasised syllable in the first half line alliterating with the first emphasised syllable in the second half line.

Birds sang blithely (two alliterating beat words)
o’er board and hearth, (one alliterating beat word, one not)
bold men and brave (two alliterating beat words)
on benches sitting. (one alliterating beat word, one not)
Mailclad, mighty (two alliterating beat words)
his message spake there (one alliterating beat word, one not)
a Gautish lord (one alliterating beat word, one not – irregular)
gleaming-harnessed. (one alliterating beat word, one not)

The tale moves briskly on through the successful career of king Völsung, his son Sigmund, and his son, Sigurd, through Sigurd’s famous killing of the dragon Fafnir, his betrothal to the Valkyrie Brynhild, his drugging by king Gjúki’s wicked wife Grimhild, so that he forgets Brynhild and marries Gudrún; in this state of amnesia he swaps bodily shape with his brother-in-law Gunnar to help Gunnar woo and wed Brynhild – but the day after the marriage Brynhild realises Gunnar is not the hero she thought and the oblivion potion wears off a distraught Sigurd, and both lovers are left married to other partners. The infuriated Brynhild tells Gunnar Sigurd has seduced her and Gunnar gets his idiot brother, Gotthorm, to murder Sigurd in his bed. They build a funeral pyre for Sigurd and the deranged Brynhild kills herself and is burned along with the hero whose death she caused.

Commentary on The New Lay of the Völsungs

Christopher Tolkien gives a detailed account of the manuscripts JRR left behind along with useful clarifications of where JRR departed from, or chose between, the various sources.

The New Lay of Gudrún

This is shorter at 56 pages and follows the career of the widow Gudrún as she is married off to Atli, the infamous Attila, king of the Huns (!). Attila invites her brothers, Gunnar and Högni to visit and promptly tortures them to extract the gold treasure Sigurd brought with him from killing the dragon Fafnir.

Högni has his heart cut out and Gunnar refuses to talk so Atli throws him into a snakepit. Here Gudrún sends him a harp which he plays and magically prevents the snakes from biting him. Until one eventually does and he dies. At her brother’s funeral Gudrún serves Atli the bodies of his own sons, cooked, and then burns Atli’s stronghold to the ground.

She then summarises the long tragic events, all the dead princes the curse of Andvari’s gold has killed, before drowning herself in the sea.

Commentary on The New Lay of Gudrún

A shorter set of notes on the poem and the story of Gudrún.

Appendix A: A short account of the origins of the Legend

Christopher seeks to establish, via Tolkien’s lectures, notes, remarks and scattered pieces of paper, where his father stood on the various theories about the origin of the Sigurd and Fafnir legend (dragon, gold, hero) and how it came to be combined with the obviously different legend about the Niflungs. Complex stuff.

Appendix B: The Prophecy of the Sibyl

Tolkien essayed a translation of part of the famous Völuspá poem from the Poetic Edda into 12 6-line stanzas of traditional English rhyming verse. It is interesting how bad this is:

Then darkened shall the sunlight be
and Earth shall founder under sea,
and from the cloven heavens all
the gleaming stars shall flee and fall;
the steam shall rise in roaring spires
and heaven’s roof be licked with fires.

It doesn’t have the compression and power of the long fornyrðislag poems, showing that the eddaic poems live or die by their concision and power. Also shows what a very traditional poet Tolkien is, using outdated poeticisms to fill in the metre of the longer English line.

Appendix C: Two fragments of a heroic poem of Attila in Old English

One of the fragments is 40 lines long, the second 28 lines long, two translations of sections of the Norse eddaic poem Atlakviða into Old English (Anglo-Saxon). One for the specialists.

Changes

The two commentaries detail the changes Tolkien made to his source material in order to create one unified coherent story. Along with the introduction and appendices they dwell at length on the confused state of the old texts, how they appear to be trying to reconcile different traditions, different stories, about different sets of heroes. Christopher Tolkien admirably recounts his father’s theories as expressed in lectures, notes and random scraps of paper. If you have the mental capacity, Christopher supplies the evidence you need to assess Tolkien’s theories about the origins and authorship of all the various Dark Age sources.

But there is one MASSIVE change Tolkien makes in his version of the poems, which is entirely gratuitous, entirely his own addition to this ancient tangle of narratives. He makes Sigurd not just any old warrior, but THE warrior, the Chosen One of Odin who, it is explained in the opening section, will be the last best hope of the gods when the time comes for their Last Battle with the giants, at the Ragnarök.

This is hugely unlike the Norse originals, a complete and surprising transformation. One reason the Völsunga saga is so confusing is because, as so many of the other sagas, one damn thing happens after another. There is no sense of foregrounding individuals or important scenes. Plenty of other lives and stories occur before we get to Sigurd in either the Völsungasaga or the ‘Poetic Edda’ and the story carries right on after his death without a blip.

One of the challenges of reading the sagas is this complete absence of all the devices we know from novels and plays and films and TV which make crystal clear who the hero and heroine are, prepare the ground for them, and then focus in on dramatic moments in their story. In the sagas one person with a complex family tree follows another in puzzling profusion – leaving the reader struggling to figure out who among the scores of Helgis and Hognis is the actual ‘hero’.

In sharp contrast Tolkien makes Sigurd a hero of world-shattering importance, not just another Helgi but THE man who will come to Valhalla to help the gods fight against the giants.

Thy womb shall wax
with the World’s Chosen,
serpent-slayer,
seed of Odin.
Till ages end
all shall name him
chief of chieftains,
changeless glory.

It transplants the entire story into a different worldview. It’s tempting at this point to think that Tolkien was a Roman Catholic and has here imposed a Christian-shaped importance to the hero. If not that personal an imposition, Tolkien’s version at the least gives the narrative a priority and importance which the Norse original lacks.

This big shift is just one way in which Tolkien makes his poems much more modern, comprehensible and meaningful than the original Norse. The story is smoothed out into a comprehensible linear narrative. Characters get lots of dialogue to explain their motives. Scenes are properly set up and the way prepared for the protagonists to say what’s on their minds. You understand what’s happening and why.

This couldn’t be more unlike the clipped, laconic, obscure and often impenetrable poems of the ‘Poetic Edda’. The obscurity and garbled brokenness of the originals is of a piece with their compressed power. Tolkien can’t match or replace that. But this paperback might make a good transition for readers who like modern fantasy and want to tentatively explore the sources of Tolkien’s imagination before diving into the challenging Poetic or Prose Eddas.

Sigurd killing the dragon Fafnir, wood carving from Hylestad stave church in Norway

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Complete list of my Dark Age reviews

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by Simon on May 18, 2013 • Permalink

Posted in European History, Mythology, Poetry, Saga

Tagged alliteration, Atli, Brynhild, Elder Edda, Fafnir, Gjúki, Grimhild, Gudrun, Gunnar, Hogni, JRR Tolkien, Loki, Niflung, Odin, Poetic Edda, poetry, Prose Edda, Regin, Richard Wagner, Sigurd, The Legend of Sigurd and Gudrún, Valhalla, Valkyrie, Volsung, William Morris

Posted by Simon on May 18, 2013

https://astrofella.wordpress.com/2013/05/18/the-legend-of-sigurd-and-gudrun-jrr-tolkien/

The Poetic Edda – the mythological poems

Introduction

If the previous post was a factual review of the background to the Elder Edda, this one is a more detailed consideration of the individual poems which make up the first part of the Codex Regius, called the ‘Mythological poems’ because they deal exclusively with stories about the Norse gods.

Metre

Icelandic poetry, like Old English poetry, is characterised by beats not rhymes (nor counting syllables, as ancient Greek and Roman poetry).

The poems come in a number of metres. By far the most common is the so-called Fornyrthislag (“Old Verse”), generally four lines each with four beats, handily remembered as four-four measure. Each short line is divided by a cæsura into two half-lines. Each half-line has two accented syllables and two (sometimes three) unaccented ones. The first and second emphasised syllables in the first half of the line alliterate with the first of the two emphasised syllables in the second half. In this example of a Fornyrthislag stanza the accented syllables are underlined:

VreiÞr vas VingÞórr, | es vaknaÞi
ok síns hamars | of saknaÞi;
skegg nam hrista, | skor nam dýja,
réÞ JarÞar burr | umb at Þreifask.

It isn’t always possible to replicate this in English and various translators try (and succeed) to varying degrees. Often the stanza doesn’t have four lines and often it’s hard to identify three clearly alliterating elements, and the translations I’ve read rarely stick rigidly to this schema. In fact finding four English lines each containing four beats, three of them alliterating, is the exception rather than the rule.

The poems have many stanzas, the longest over 160, the average being around 50.

The poems rarely include narrative. They don’t often tell you what happens. Rather as in Greek drama, what happens generally happens offstage and is reported in prose prefaces or prose sentences or paragraphs inserted throughout a poem. This frees the poems to concentrate on what they do well – dialogue: dialogues about the Universe (on the origins and destiny of the world); dialogues about Wisdom (proverbial advice); speeches of praise; and the trading of vituperative insults (in medieval English poetry referred to as flyting (it is striking that the Wikipedia entry on flyting takes as examples two poems from the Poetic Edda, the Hárbarðsljóð where Thor and Odin exchange insults, and the Lokasenna where Loki abuse all the other gods)).

Translations

Carolyne Larrington is the author of a very useful paper, Translating the Poetic Edda into English, which lists an impressive sequence of translators:

Icelandic Poetry by Amos Cottle (1797)
Select Icelandic Poetry by William Herbert (1804, 1806, and 1842)
The Edda of Sæmund the Learned by Benjamin Thorpe (1866)
The Story of the Volsungs and Niblungs, with certain songs from the Elder Edda by Eiríkr Magnússon and William Morris (1870)
Corpus Poeticum Boreale by Vigfusson and York Powell (1883)
The Elder or Poetic Edda by Olive Bray illustrated with black-and-white drawings by W. G. Collingwood (1908)
The Poetic Edda by Henry Adams Bellows (1926)
The Poetic Edda by Lee M. Hollander (1928)
Poems of the Vikings by Patricia Terry (1969)
Elder Edda: A Selection by WH Auden, Taylor, and Salus (1969)
The Poetic Edda by Carolyne Larrington (1996)
Norse Poems (the expanded Auden and Taylor) (1981)
Poetic Edda by Ursula Dronke (1969, 1997)
The Elder Edda: A Book of Viking Lore by Andy Orchard (2011)

In an ideal world one would a) have access to them all b) have time to carefully compare and contrast the versions. Ideally one would understand medieval Icelandic in the first place and be able to compare all the translations with the originals. In this life, however, I don’t understand medieval Icelandic and I can’t access most of the 20th century versions. The best I can do is compare & contrast the versions I can access, and try to nail down, to identify, the poetry in these poems. Are they worth reading? Why? What pleasures do they give?

The Tree of Yggdrasil, title page of The Elder or Poetic Edda translated by Olive Bray. By WG Collingwood (source: Wikimedia Commons)

þ is pronounced as th, as in thing. ð is pronounced as d.

The Eleven (or is it Ten?) mythological poems

Völuspá (66 stanzas long)

The Volva or seer or prophetess tells what she knows about the Creation of the World, and then about Ragnarok, the famous twilight of the gods when Valhalla will go down in flames and most of the gods will be killed. The wolf Fenrir will swallow Odin. Thor will kill the serpent Jörmungandr but then collapse, dead from its venom.

Henry Adams Bellows translation (1923):

44. Now Garm howls loud | before Gnipahellir,
The fetters will burst, | and the wolf run free;
Much do I know, | and more can see
Of the fate of the gods, | the mighty in fight.

Andy Orchard (2011)

44. Garm howls loud before Looming-cave
The bond will break, and the ravenous one run;
much lore she knows, I see further ahead,
of the powers’ fate, implacable, of the victory-gods.

45. Brothers will struggle and slaughter each other,
and sisters’ sons spoil kinship’s bonds.
It’s hard on earth: great whoredom;
axe-age, blade-age, shields are split;
wind-age, wolf-age, before the world crumbles:
no one shall spare another.

Hávamál (165 stanzas long)

A long rambling collection of proverbs and wisdom sayings with the tale of Odin and the mead interpolated. The length, complexity and – ultimately – thin content of this one makes it my least favourite. If in doubt, skip it.

Vafþrúðnismál (55 stanzas long)

A wisdom poem, Odin visits the giant Vafthruthnir and they immediately engage in a series of questions about the origin of the world and the workings of the universe.

Othin spake:

36. “Ninth answer me well, | if wise thou art called
If thou knowest it, Vafthruthnir, now:
Whence comes the wind | that fares o’er the waves
Yet never itself is seen?”

Vafthruthnir spake:

37. “In an eagle’s guise | at the end of heaven
Hræsvelg sits, they say;
And from his wings | does the wind come forth
To move o’er the world of men.”

Grímnismál (54 stanzas)

Naming himself Grimnir Odin visits king Geirröth who ties him between two fires as a torture. On the eighth day as the fire is burning his cloak Odin/Grimnir speaks a long encyclopedia text, describing the halls in heaven, the geography of the earth with its rivers, the wolves that chase the sun and moon across the heavens, with a resounding peroration enumerating all his names, before the terror-stricken king rises to his feet, stumbles over his sword and (in a fitting punishment for his hubris) impales himself.

46. Grim is my name, | Gangleri am I,
Herjan and Hjalmberi,
Thekk and Thrithi, | Thuth and Uth,
Helblindi and Hor;

47. Sath and Svipal | and Sanngetal,
Herteit and Hnikar,
Bileyg, Baleyg, | Bolverk, Fjolnir,
Grim and Grimnir, | Glapsvith, Fjolsvith.

48. Sithhott, Sithskegg, | Sigfather, Hnikuth,
Allfather, Valfather, | Atrith, Farmatyr:
A single name | have I never had
Since first among men I fared.

Skírnismál (43 stanzas)

Frey spies the giantess Gerd and falls in love with her. He sends Skirnir with his sword to woo her. When Gerd refuses polite offers of apples and gold Skirnir turns very nasty and declaims a long curse: Gerd will live in misery among the giants who rape her and feed her filth. Abruptly, Gerd realises she was in love with Frey all along!

29. “Rage and longing, | fetters and wrath,
Tears and torment are thine;
Where thou sittest down | my doom is on thee
Of heavy heart and double dole.

30. “In the giants’ home | shall vile things harm thee
Each day with evil deeds;
Grief shalt thou get | instead of gladness,
And sorrow to suffer with tears.

Hárbarðsljóð (60 stanzas)

Thor, returning from another giant-killing expedition to the east, comes to a sound and shouts across at the ferryman to bring his boat. The ferryman refuses and they hurl insults at each other, more precisely asking each other what they’ve achieved and belittling each other’s claims. The ferryman is Odin in disguise. It is noticeable that while Thor boasts of fighting giants, Harbard/Odin boasts of sleeping with women.

Harbarth spake:
18. “Lively women we had, | if they wise for us were;
Wise were the women we had, | if they kind for us were;
For ropes of sand | they would seek to wind,
And the bottom to dig | from the deepest dale.
Wiser than all | in counsel I was,
And there I slept | by the sisters seven,
And joy full great | did I get from each.
What, Thor, didst thou the while?”

Thor spake:
19. “Thjazi I felled, | the giant fierce,
And I hurled the eyes | of Alvaldi’s son
To the heavens hot above;
Of my deeds the mightiest | marks are these,
That all men since can see.

Hymiskviða (40 stanzas)

Thor visits the giant Hymir with a view to borrowing his cauldron so Ægir can brew mead for the gods. He persuades Hymir to go fishing but whereas Hymir catches two whales Thor pulls up the world-serpent Jörmungandr. This poem is notable for its unusually high density of kennings or allusive references, poetic riddles.

23. The warder of men, | the worm’s destroyer,
Fixed on his hook | the head of the ox;
There gaped at the bait | the foe of the gods,
The girdler of all | the earth beneath.

24. The venomous serpent | swiftly up
To the boat did Thor, | the bold one, pull;
With his hammer the loathly | hill of the hair
Of the brother of Fenrir | he smote from above.

25. The monsters roared, | and the rocks resounded,
And all the earth | so old was shaken;
Then sank the fish | in the sea forthwith.

Lokasenna (65 stanzas)

Loki gatecrashes a party of the gods and insults each one in turn, with detailed knowledge of their misdeeds and vices. None go uninsulted.

Loki spake to Tyr:
40. “Be silent, Tyr! | for a son with me
Thy wife once chanced to win;
Not a penny, methinks, | wast thou paid for the wrong,
Nor wast righted an inch, poor wretch.”

Loki spake to Freyr:
42. “The daughter of Gymir | with gold didst thou buy,
And sold thy sword to boot;
But when Muspell’s sons | through Myrkwood ride,
Thou shalt weaponless wait, poor wretch.”

Loki spake to Byggvir:
46. “Be silent, Byggvir! | thou never couldst set
Their shares of the meat for men;
Hid in straw on the floor, | they found thee not
When heroes were fain to fight.”

Þrymskviða (33 stanzas)

Thor wakes up to find his hammer is missing. Loki flies as a bird to the house of the giant Thrym who confirms he has it and will only return it if he can marry the goddess Freya. Loki concocts a plan to dress Thor as a woman and journey to Thrym’s court. Here they fool hrym right up until the giant foolishyl returns his hammer to Thor whereupon the god brains him and all his followers. Composed around 900, short and punchy, with no gaps or interpolations, it has been called one of the best ballads in the world.

18. Then bound they on Thor | the bridal veil,
And next the mighty | Brisings’ necklace.

19. Keys around him | let they rattle,
And down to his knees | hung woman’s dress;
With gems full broad | upon his breast,
And a pretty cap | to crown his head.

20. Then Loki spake, | the son of Laufey:
“As thy maid-servant thither | I go with thee;
We two shall haste | to the giants’ home.”

Völundarkviða (43 stanzas)

As Andy Orchard points out, this poem is in the wrong place. It’s a poem about the legendary crippled blacksmith, Völund, his trials and revenge on King Nithuth for hamstringing him (Völund kills the king’s young sons, presents their skulls adorned in silver as drinking cups and their eyes as gems to the queen, and seduces and impregnates the king’s daughter Bothvild). It should be in part two, the section on mortal heroes. That’s where Henry Adams Bellows moves it to.

37. “Their skulls, once hid | by their hair, I took,
Set them in silver | and sent them to Nithuth;
Gems full fair | from their eyes I fashioned,
To Nithuth’s wife | so wise I gave them.

38. “And from the teeth | of the twain I wrought
A brooch for the breast, | to Bothvild I gave it;
Now big with child | does Bothvild go,
The only daughter | ye two had ever.”

Alvíssmál (35 stanzas)

Thor keeps the dwarf, Alvis, who has come to collect Thor’s daughter in marriage, in conversation with a series of questions about the correct names of parts of the universe (sky, sea, stars etc) until day breaks and the dwarf is turned to stone by sunlight.

Thor spake:
29. “Answer me, Alvis! | thou knowest all,
Dwarf, of the doom of men:
What call they the night, | the daughter of Nor,
In each and every world?”

Alvis spake:
30. “‘Night’ men call it, | ‘Darkness’ gods name it,
‘The Hood’ the holy ones high;
The giants ‘The Lightless,’ | the elves ‘Sleep’s joy”
The dwarfs ‘The Weaver of Dreams.”‘

Only ten poems, but reading them all is to go on a long journey across time and space, from the creation of the universe to the end of the world, via a whole series of mini-dramas and ballads laced with heartlessness, humour and horror. These poems and their harsh unforgiving worldview are addictive.

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by Simon on May 9, 2013 • Permalink

Posted in European History, History, Poetry, Saga, Translation

Tagged alliteration, Alvíssmál, Þrymskviða, Fenrir, Frey, Freya, Frigg, Gerd, Grímnismál, Hárbarðsljóð, Hávamál, Hymir, Hymiskviða, Iceland, Jörmungandr, Lokasenna, Loki, Odin, Poetic Edda, poetry, Skírnismál, Skirnir, Thor, Vafþrúðnismál, Völund, Völundarkviða, Völuspá

Posted by Simon on May 9, 2013

https://astrofella.wordpress.com/2013/05/09/the-poetic-edda-the-mythological-poems/

The Poetic Edda

1. SUBJECTIVE – The difficulty of medieval Icelandic literature

This is extremely scholarly stuff. Although they say you should just dive in and start reading the poems as poems, this is in reality impossible. You have to know the background facts about the poems (as I summarise them below) – you have to be a bit prepared for the non-rhyming, alliterative form of the poems – and then the poems themselves are generally obscure, sometimes sinking to complete unintelligibility if it weren’t for the extensive notes.

Both the new Penguin Classics edition (The Elder Edda translated by Andy Orchard, 2011) which I started off reading – and the online version of the Poetic Edda translated by Henry Adams Bellows (1936) which I ended up consulting – pepper the poems with notes on every stanza, every line, every name.

And then you discover that the scholars themselves are in confusion about multiple aspects of the poems. They don’t know who many of the characters referred to are, entire lines are missing from the manuscript so editors guess what should be there, guess at the meaning of obscure words, cut and move around lines and sometimes entire stanzas to fit theories which are still contested. Some editors make these decisions; some editors make others. So different editions vary a lot the order of words, lines, stanzas and even the poems they include.

In other words, at every level – from the titles, the names of characters, the order of stanzas, even the very existence of stanzas and lines, to the meaning of individual words and phrases – there is obscurity piled on obscurity. And that’s before you arrive at the ‘final’ i.e. largely invented-by-editors, version of the poems – to discover that the poems themselves take delight in a clipped, allusive style which only deepens the obscurity. Almost all the poems are in tight, short, four-line stanzas, structured by alliteration, not rhyme (as in the Anglo-Saxon poetry from the same time) which, when translated, sound like this (Bellows translation):

Alvíssmál (The Ballad of Alvís, The Lay of Alvís, All-Wise’s Sayings)

Alvis spake:
1. “Now shall the bride | my benches adorn,
And homeward haste forthwith;
Eager for wedlock | to all shall I seem,
Nor at home shall they rob me of rest.”

Thor spake:
2. “What, pray, art thou? | Why so pale round the nose?
By the dead hast thou lain of late?
To a giant like | dost thou look, methinks;
Thou wast not born for the bride.”

To understand this, you have to look in the notes to discover that, Alvis is a dwarf; apparently (i.e. the editor is guessing as much as we are); he has been promised a bride among the goddesses (by whom? why? – nobody knows), specifically (editors assume, from the context) Thor’s daughter, Thrudr; and has arrived to collect her. Thor is unhappy about this and spends eight stanzas contesting Alvis’s right, before settling in to a regular (and – quel relief! – easy-to-understand) series of questions and answers: if the dwarf can answer them, he will win his bride.

This pattern of Thor’s question and Alvis’s response goes on for 34 stanzas and is a rare sequence where the reader perfectly understands what is going on, until abruptly:

Thor spake:
35 “In a single breast | I never have seen
More wealth of wisdom old;
But with treacherous wiles | must I now betray thee:
The day has caught thee, dwarf!
(Now the sun shines here in the hall.)”

Which I didn’t understand at all until I read in the notes that dwarves (like giants) mustn’t be exposed to sunlight; that they, in fact, turn to stone in sunlight. And so Thor (usually portrayed as pretty thick here and in the ‘Prose Edda’) has outwitted the dwarf by making him answer so many riddles that the sun has come up and killed him.

This extract captures a) the obscurity of the poems b) the necessity for a lot of explanation and notes c) their laconic and allusive style, hard to follow even once you do know the story, and d) the harsh Northern worldview: it is cold; solemn promises are broken; dwarfs and giants are mocked and killed; children are killed and cooked and served to their parents; warriors slaughter each other in battle; Odin seduces or rapes young women; Thor kills everyone; an enormous amount of time is spent explaining the genealogy of characters who appear for one line never to be seen again…

This Edwardian illustration of the scene by WG Collingwood, in my opinion ludicrously humanises and sanitises this poem, converting it a) visually into the cartoon world of Noggin the Nog, and b) introducing a note of late Victorian/Edwardian chivalry (the stricken maiden clutching her father’s waist) which is totally absent from the text of the poem (the daughter doesn’t appear or speak) and from the worldview of the poems as a whole (which is harsh and brutal, with no chivalry or romance or honour: it is a kill-and-be-killed world).

Thor protecting his daughter Thrudr, from the dwarf Alvis (Image: W.G. Collingwood. 1908/public domain)

2. OBJECTIVE – Background

Almost everything we know about Norse mythology and legend comes from two medieval manuscripts, the ‘Poetic Edda’ and the ‘Prose Edda’.

I reviewed the Prose Edda a few weeks ago. It’s a handbook for Icelandic poets, explaining to the would-be poet the traditional poetic forms and – crucially for us – giving brisk summaries of the key Norse myths and legends which the young poet needs to know. It’s ascribed to the Icelandic chieftain and lawmaker Snorri Sturluson. Throughout his prose text he quotes from older poems as examples of style or to illustrate points from the stories. Therefore, for centuries scholars speculated that there must exist a body of older poems which Snorri so regularly refers to.

So imagine the delight of scholars when, in 1643, an Icelandic bishop, Brynjólfur Sveinsson, revealed that he had discovered just such a manuscript of ancient Icelandic poems in his library. He sent it as a present to the king of Norway and, as a result, it is now known as the Codex Regius.

Modern scholars have established that the manuscript was written in the 13th century, but nothing is known of its author. The bishop fancifully ascribed it to Sæmundr the Learned, a larger-than-life 12th century Icelandic priest – partly to counterbalance Snorri’s authorship of the Prose Edda. This is rejected by modern scholars but it has led to the situation where each of the books can be known by any of three titles:

The Prose Edda / Snorri’s Edda / the Younger Edda

The Poetic Edda / Sæmundr’s Edda / the Elder Edda.

Alliterative

The Eddic poems are composed in alliterative verse where the aim is to get alliterative consonants to fall on the two stressed syllables in the first half of the line, and one of the two stressed syllables in the second half. Thus the Alvíssmál quoted above, begins:

“Bekki breiða,
nú skal brúðr með mér
heim í sinni snúask,
hratat of mægi
mun hverjum þykkja,
heima skal-at hvílð nema.”

(Source: The New Northvegr Center)

Andy Orchard in the 2011 Penguin translation gives this as:

“Now must a bride spread the benches for me,
and be taken home in a trice;
it’ll seem a rushed match to everyone here:
but at home no one will rob us of rest.”

The language of the poems is usually clear and unadorned ie there is little or no metaphor or simile, little imagery of any kind. This absence of colour is probably the single factor which makes them seem to bare and archaic and brutal. It contrasts with the other main Norse tradition, of skaldic poetry, composed by named poets (or skalds) who often write about their feelings, and do so in verse packed with clever riddles and allusions.

Oral tradition and timescale

Like most early poetry the Eddic poems were passed orally from poet to poet for centuries. None of the poems are attributed to a named author though some of them show strong individual characteristics and are likely to have been the work of individual poets. Scholars sometimes speculate on hypothetical authors but there is – typically – no agreement. Andy Orchard’s notes confidently point out one poem as being the oldest in the collection, maybe from the 800s, others as probably being written about the time the Codex was written down ie the 1200s. What strikes the casual reader is the tremendously long timescale this implies: that poets were working in the same style with the same stories for four or five hundred years!

In fact, the single most striking thing for me about the entire Edda is the fact that a key player in the sequence of poems at the end (the ones about the legendary hero Sigurd which take up a third of the text) is Atli (who marries and then is murdered by the ill-fated Gudrun), and that all scholars agree this refers to Attila the Hun! who died in 453! That his name is still being invoked in poems being composed and written down in the 1200s, 800 years after is death, says something very deep about the culture of the Dark Ages, about the way legends spread right across Europe (Attila’s campaigns took him from Constantinople to Rome – his legend is being written about in Iceland!), and about Time in the Dark Ages – these stories endured for nearly a thousand years, providing fictional types and figures to shape the imaginations of scores of generations.

By reading it now, in 2013, I feel I am tapping into something very deep, very archaic, into dark and brutal truths about our culture and our history…

Translations

There is a range of translations into English to explore:

The Poetic Edda by Henry Adams Bellows (1936)
The Poetic Edda by Lee M. Hollander (2nd edn 1962)
Elder Edda: A Selection by Paul B Taylor and WH Auden (1969)
The Poetic Edda by Carolyne Larrington (1997)
The Elder Edda: A Book of Viking Lore by Andy Orchard (2011)

The Poems

1. The mythological poems

The Codex Regius is divided into two parts: part one contains the eleven mythological (i.e. concerned with gods) poems. Mythological Poems in Codex Regius:

Völuspá (Wise-woman’s prophecy, The Prophecy of the Seeress, The Seeress’s Prophecy)
Hávamál (The Ballad of the High One, The Sayings of Hár, Sayings of the High One)
Vafþrúðnismál (The Ballad of Vafthrúdnir, The Lay of Vafthrúdnir, Vafthrúdnir’s Sayings)
Grímnismál (The Ballad of Grímnir, The Lay of Grímnir, Grímnir’s Sayings)
Skírnismál (The Ballad of Skírnir, The Lay of Skírnir, Skírnir’s Journey
Hárbarðsljóð (The Poem of Hárbard, The Lay of Hárbard, Hárbard’s Song
Hymiskviða (The Lay of Hymir, Hymir’s Poem)
Lokasenna (Loki’s Wrangling, The Flyting of Loki, Loki’s Quarrel)
Þrymskviða (The Lay of Thrym, Thrym’s Poem)
Völundarkviða (The Lay of Völund)
Alvíssmál (The Ballad of Alvís, The Lay of Alvís, All-Wise’s Sayings

2. Human poems

Part two is a collection of heroic lays about mortal heroes. These consist of three layers:

the story of Helgi Hundingsbani
the story of the Nibelungs
the story of Jörmunrekkr, king of the Goths

…respectively Scandinavian, German and Gothic in origin. As far as historicity can be ascertained, Attila, Jörmunrekkr and Brynhildr actually existed.

Helgakviða Hundingsbana I or Völsungakviða (The First Lay of Helgi Hundingsbane, The First Lay of Helgi the Hunding-Slayer, The First Poem of Helgi Hundingsbani
Helgakviða Hjörvarðssonar (The Lay of Helgi the Son of Hjörvard, The Lay of Helgi Hjörvardsson, The Poem of Helgi Hjörvardsson)
Helgakviða Hundingsbana II or Völsungakviða in forna (The Second Lay of Helgi Hundingsbane, The Second Lay of Helgi the Hunding-Slayer, A Second Poem of Helgi Hundingsbani)

The Niflung Cycle

Frá dauða Sinfjötla (Of Sinfjötli’s Death, Sinfjötli’s Death, The Death of Sinfjötli) (A short prose text)
Grípisspá (Grípir’s Prophecy, The Prophecy of Grípir)
Reginsmál (The Ballad of Regin, The Lay of Regin)
Fáfnismál (The Ballad of Fáfnir, The Lay of Fáfnir)
Sigrdrífumál (The Ballad of The Victory-Bringer, The Lay of Sigrdrífa)
Brot af Sigurðarkviðu (Fragment of a Sigurd Lay, Fragment of a Poem about Sigurd)
Guðrúnarkviða I (The First Lay of Gudrún)
Sigurðarkviða hin skamma (The Short Lay of Sigurd, A Short Poem about Sigurd)
Helreið Brynhildar (Brynhild’s Hell-Ride, Brynhild’s Ride to Hel, Brynhild’s Ride to Hell)
Dráp Niflunga (The Slaying of The Niflungs, The Fall of the Niflungs, The Death of the Niflungs)
Guðrúnarkviða II (The Second Lay of Gudrún or Guðrúnarkviða hin forna The Old Lay of Gudrún)
Guðrúnarkviða III (The Third Lay of Gudrún)
Oddrúnargrátr (The Lament of Oddrún, The Plaint of Oddrún, Oddrún’s Lament)
Atlakviða (The Lay of Atli). The full manuscript title is Atlakviða hin grœnlenzka, that is, The Greenland Lay of Atli, but editors and translators generally omit the Greenland reference as a probable error from confusion with the following poem.
Atlamál hin groenlenzku (The Greenland Ballad of Atli, The Greenlandish Lay of Atli, The Greenlandic Poem of Atli)

The Jörmunrekkr Lays

Guðrúnarhvöt (Gudrún’s Inciting, Gudrún’s Lament, The Whetting of Gudrún.)
Hamðismál (The Ballad of Hamdir, The Lay of Hamdir)

Heithrun, the she-goat who lives on the twigs of the tree Lærath (presumably Yggdrasil), and daily gives mead for the heroes in Valhalla

Other ‘eddaic’ poems

Because ‘eddaic’ poems are so distinctive in style, it is easy to identify eddaic poems which occur in other collections and manuscripts. A selection of these is often included in editions of the ‘Poetic Edda’. Which ones depends on the editor. Those not in Codex Regius are sometimes called Eddica minora from their appearance in an edition with that title edited by Andreas Heusler and Wilhelm Ranisch in 1903.

For example, Andy Orchard’s edition includes the following non-Codex Regius poems:

Baldrs draumar (Baldr’s Dreams)
Gróttasöngr (The Mill’s Song, The Song of Grotti)
Rígsþula (The Song of Ríg, The Lay of Ríg, The List of Ríg)
Hyndluljóð (The Poem of Hyndla, The Lay of Hyndla, The Song of Hyndla)

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by Simon on May 4, 2013 • Permalink

Posted in Books, European History, History, Mythology

Posted by Simon on May 4, 2013

https://astrofella.wordpress.com/2013/05/04/the-poetic-edda/

The Prose Edda by Snorri Sturluson (13th century)

Introduction

Most of our knowledge of Norse mythology comes from two sources, the ‘Prose Edda’ and the ‘Poetic Edda’, both compiled from older texts during the 12th century, in Iceland.

It is striking that nobody really knows what ‘edda’ means. Wikipedia explains the main theories of the meaning of ‘edda’. This uncertainty about the very name of the central sources of this culture epitomises the hundreds of other ambiguities and uncertainties one comes across in Norse mythology. There is so little material and what there is is often impenetrably obscure or confusingly ambiguous.

Snorri Sturluson

The ‘Prose Edda’ is traditionally associated with the real-life Icelandic scholar and chieftain, Snorri Sturluson (1179 to 1241). He is explicitly stated as having written the fourth section and is, by extension, often credited with the entire compilation so that it is sometimes referred to as ‘Snorri’s Edda’.

The Prose (or Younger) Edda on Project Gutenberg (1879 translation)
The Elder or Poetic Edda on the University of Toronto website (1908 translation with introduction and the original Icelandic on facing pages)
The Elder (poetic) Edda and Younger (prose) Edda in one edition on Project Gutenberg

The prose Edda

The ‘Prose Edda’ is a textbook or training manual for trainee Icelandic poets. It sets out to explain the key tenets of Norse mythology; to tell the key legends and myths; then it patiently lists all the ways a poet should refer to all the key protagonists of the culture, not just the gods and heroes but the earth, the sea, the sky etc; it explains key poetic techniques such as kennings and heiti; and it concludes with a long section of practical criticism, showing the metre and diction of Norse poetry in practice.

All this in a surprisingly short space. The recent Penguin translation by Jesse Bycock (2005), including a handy introduction, family trees, a useful glossary and rather thin notes, runs to just 180 pages, with the core of the text, the Gylfaginning a mere 70 pages long.

Four parts

The ‘Prose Edda’ is made of four parts. The general assumption is these were once separate texts which were stitched together in the 1200s, hence Snorri’s credit as compiler.

1. The Prologue

A short pseudo-historical account of the origin of Norse gods as purely human beings. Strikingly this pictures them as migrants from Asia, specifically from the legendary city of Troy, who wander north and west into Europe and do heroic deeds. Long genealogies then connect these emigrants with the later royal houses of Denmark and Sweden. Scholarly opinion is that this is a pretty clumsy late addition designed to attach the myths and stories to the new and highly prestigious classical knowledge and stories which were only recently arriving in Iceland.

2. Gylfaginning

These 70 pages form the core of the book and the single most comprehensive source for our knowledge of the Norse gods. Like so much to do with Norse legend and literature it is odd. The word means “the tricking of Gylfi” (the 1879 translation calls it “the fooling of Gylfe”): King Gylfi travels to Asgard where he is introduced to three figures, the High, the Just-as-High and the Third (all avatars of Odin) who answer Gylfi’s questions about the origins of the world and the nature of things. This dialogue form turns out to be a quick and practical way to convey a lot of information. (Who is the highest of the gods? How did things begin? Where do people come from? What is the holy place of the gods?”). It’s notable that this prose account extensively quotes old poetry, including poems collected in the Poetic Edda, as if the poems are proof of the stories. Rather like a New Testament story will go “As it is said in…” and quote a text from the Old Testament, as if this textual reference is proof; here the text tells a legend about Thor or Odin and then says, “as is said in the ‘Lay of Grimnir’ or ‘The Sibyl’s Prophecy’, or whoever. Appendix 3 usefully lists the poems quoted in the text which are in the Poetic Edda.

And this explains why the Prose Edda has a ‘secondary’ feel about it; hence the Poetic Edda is sometimes referred to as the Elder Edda and the Prose Edda as the Younger Edda.

3. Skáldskaparmál

(Old Icelandic for “the language of poetry”) is a dialogue between kenning, heiti, , a god associated with the sea, and Bragi, the god of poetry, in two parts 1. Ægir naively asks about mythology allowing Bragi to tell him facts and stories about the gods. 2. Bragi explains the structure and purpose and diction of Norse poetry, explaining among other things the nature of kennings. These are poetic metaphors which always take the form of a noun and a possessive noun eg icicle of blood = sword, horse of the sea = ship, moon of the forehead = eye.

I have come across a rather wonderful online Lexicon of Kennings which continues the spirit of the Prose Edda in being practical and functional.

(It is notable that the 1879 translation just goes for it and divides Skáldskaparmál into two distinct sections, Brage’s Talk, which essentially continues the storytelling of Gylfaginning, and The Poetical Diction.)

4. Háttatal

Háttatal os Old Icelandic ‘list of verse-forms. This is the one part which was definitely composed by the Icelandic poet, politician and historian Snorri Sturluson. It uses Snorri’s own compositions to demonstrate the types of verse forms used in Old Norse poetry.

‘Háttatal is an ambitious, somewhat pedantic work, whose 102 stanzas demonstrate often small differences in poetic metre and obscure usages of poetic devices. Prose commentary offering technical explanations is interspersed among the verse of this long poem. The poem is a treasure for those with a knowledge of Old Icelandic and interested in the intricacies of Norse poetry. Because of the technical and obscure nature of Háttatal, it is not included in this nor in most translations.’

Quite ironic that the only section of this classic text which we know for a certainty to have been written by the famous Snorri, is routinely excluded from all translations. I can’t find an English translation of it online. There is a beautifully thorough scholarly edition of Háttatal in Icelandic from the Viking Society.

Title page of an 18th century manuscript of the Prose Edda, showing Odin, Heimdallr, Sleipnir and other figures from Norse mythology (Wikimedia Commons)

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by Simon on April 7, 2013 • Permalink

Posted in European History, Mythology, Saga, Translation

Tagged Aegir, Bragi, Gylfaginning, Háttatal, Jesse L Byock, Odin, Poetic Edda, Prose Edda, Skáldskaparmál, Snorri Sturluson, Thor

Posted by Simon on April 7, 2013

https://astrofella.wordpress.com/2013/04/07/the-prose-edda-by-snorri-sturluson-13th-century/

Myths of the Norsemen by Roger Lancelyn Green (1960)

Introduction

First of all, what a fabulous name! Where does the Lancelyn come from? His name is redolent of all the Puffin paperbacks, about Troy and King Arthur especially, which I read as a child, curled up in a snug corner and transported to faraway lands.

Roger Lancelyn Green (1918-87) was an Oxford scholar, a younger member of the Inklings group of Oxford English scholars which included J.R.R. Tolkien and C.S. Lewis. He is well-known for his series of books for children telling the legends of Robin Hood and King Arthur and the myths of ancient Greece and Rome and Egypt and, as here, of the Norsemen.

To an extent I wouldn’t have appreciated as a child, he uses the same limited, fragmented, scholarly sources as everyone else (in the preface he credits the Prose Edda, the Poetic Edda and the Volsunga Saga) and cheerfully admits the challenge of making one coherent narrative from them:

Norse mythology is the very antithesis of Greek from the reteller’s point of view. The wealth of literature and legend available for studying the gods of Olympus is positively embarrassing, and the problem there is one of selection. The gods of Asgard, on the other hand, remain strangely aloof: the difficulty here is to find enough about them. And when the scanty material is collected, it is still harder to fit together the incomplete jigsaw-puzzle which is all that remains to us. (Author’s Note)

He does a great job, a really great job, of splicing all the scattered material into one coherent and thrilling narrative. One can take a diachronic or a synchronic approach to myths i.e. narrate the Creation story and how the pantheon grew from its primal origins; or accept the mythic landscape and tell the stories which occur within it. RLG combines the two: swiftly retelling the Norse creation myth before moving on to tell the main stories, but skilfully weaving in asides about the origins or relevant features of the supernatural protagonists of each adventure to fill out their personalities and divine attributes. Thus:

Chapter 1. Yggdrasill the World Tree

The creation story, Ymir the frost giant, Yggdrassil the Worldtree, Audumhil the World Cow, Odin the AllFather, Asgard the abode of the gods, Gladsheim the gods’ palace, Valhalla Odin’s hall of heroes (the Einheriar) and the Valkyries, Midgard the earth of humans, Bifrost bridge from Asgard to Midgard.

Heimdall the bright roams through Midgard disguised as Rig the Walker, breeding the three human classes of thrall, craftsman and lord.

Chapter 2. Odin in search of Wisdom

Realising he needs wisdom and knowledge to prepare for the coming war with the giants, Odin roams the universe. He gives one eye to Mimir to be allowed to drink from the well of Wisdom at the root of the WorldTree. He hangs himself on Yggdrasil for nine days in order to understand death. Gullveig the beautiful giantess provokes war with the Vanir, the gods of the air, until peace is made with their leader, Niord, lord of Vanaheim, who settles in Asgard and fathers the fertility gods, Frey and Freya. Mimir and Honir, Odin’s brother, go to live among the Vanir as hostages. Mimir is beheaded. Odin keeps his living head by him to speak wisdom.

The long story of Kvasir the wise, murdered and his blood turned into kvas, the Mead of Inspiration, by dwarves, which is then stolen by the giant Suttung. Odin in disguise tricks the giant Baugi into helping him enter the dungeon where the Mead is guarded by the beautiful giantess Gunnlod whom Odin seduces, swallowing all the Mead and turning into an eagle to fly with it back to Asgard.

Black and white illustration of dwarves killing Kvasir and draining his blood to make the Mead of Inspiration (Image: Franz Stassen, 1920. Public domain)

Dwarves killing Kvasir and draining his blood to make the Mead of Inspiration by Franz Stassen (1920)

Chapter 3. The apples of Iduna

The arrival at Asgard of the minstrel and harpist Bragi, son of Odin and Gunnlod who obviously became very familiar in the cave of Kvasi (see above). Accompanied by beautiful Iduna who keeps the gods supplied with the golden apples of eternal youth. Wandering through the world Odin and Honir encounter Loki, part giant and all trickster. Carried off by the Storm Giant Thiassi Loki promises to deliver him Iduna, who he leads into a wood where Thiassi, as an eagle captures her and carries off to his castle in Thrymheim, Kingdom of the Winds. Loki promises the Aesir to rescue her and flies to Thiassi’s castle as a falcon and carries Iduna back in the shape of a nut. Thiassi as an eagle, chasing, is burned by the fire at the threshold of Asgard. His daughter Skadi demands vengeance and is married to an Aesir she chooses by his feet from behind a curtain. It is Niord of the Vanir, and of their union are born Frey, Lord of peace and fruitfulness, and Freya, Lady of Love and Beauty.

Idun and the Apples by James Doyle Penrose (1890)

Chapter 4. Loki and the Giants

From the start Loki’s ambiguous status in Asgard, Odin has made blood brothers with him but Loki is quite prepared to betray the Aesir if it suits him. Along with Odin and Honir he helps the peasant save his son Rogner from the giant Skrymsir who has vowed to eat him, by hiding him in an ear of corn, a swan’s feathers, a flatfish roe.

A man appears who promises to build a wall which will keep out the Rime Giants and Hill Giants in three years. He demands Freya and the moon and the Sun. Loki advises they contract to give him Freya if he can do it in one year since that’s obviously impossible. The gods agree but the man proceeds to almost build it with help from his supernatural horse, Svadilfari. Loki transforms into a beautiful white mare and steals Svadilfari away. The man turns into a monstrous giant who threatens Asgard until Odin casts down the sheild Svarin which was hiding the sun which turns the giant to stone. Loki returns some months later with Svadilfari and a foal, the eight-legged superhorse Sleipnir who will become Odin’s magic steed.

Loki as a mare distracting the stallion Svadilfari (Image: Dorothy Hardy, 1909. Public domain)

Loki as a mare distracting the stallion Svadilfari by Dorothy Hardy (1909)

Chapter 5. Loki makes Mischief

Loki copulates with the giantess Angurboda three monsters: Odin sends Hela down to the underworld of Nifelheim, protected by the bloody dog Garm; and he flings the monster serpent Jormungand out into the sea where he grows until he stretched right round the world and bit his own tail; the giant wolf Fenris grows larger, the gods try to bind him in two chains which break; then Frey commissions a magic chain from the Black Dwarfs of Svartalfheim, Gleipnir and the gods trick Fenris into trying it on, but only if one of them places his hand in the wolf’s mouth. The war god Tyr does so, Fenris is bound until Ragnarok, and Tyr loses his hand.

Secretly angered, Loki cuts off the hair of beautiful Sif, wife to Thor, who goes berserk. As recompense Loki commissions Dvalin, chief of the Black Dwarfs, to make the spear Gungnir for Odin, the ship Skidbladnir for Frey, and new golden hair for Sif. But rivalry breaks out among the dwarfs and Loki bets his head that another dwarf, Sindri can’t do better. Sindri proceeds to make Gullinbursti, a golden boar, for Frey, Draupnir the magic ring to Odin, and Mjolnir the hammer to Thor. a) Loki, as a gadfly, distracts Brok while he’s pumping the bellows, so Mjolnir’s handle is a trifle short; b) the gods deem Sindri’s gifts best and prepare for Loki to be beheaded until Loki says Brok can have his head – but not his neck! Angered, the dwarf sows Loki’s lips shut.

Loki loses his bet by Lorenz Frølich (1885)

Chapter 6. Freya the Bride

Freya is happily married to Odur and lives in Folkvanger. She goes walking in Midgard and sees the Brisingamen, the Brising necklace, being forged by Black Dwarfs. She is bewitched; they will only give it if she spends one night with each four of them; and she does. Shamefully she returns to Asgard and hides the necklace. but Loki steals it form around her neck and shows it to Odur who wanders off distraught. Freya goes searching for him through Midgard dropping golden tears of sorrow.

Frey sits in Odin’s chair Hlidskjalf and sees a beautiful giantess, Gerda; he sends his companion Skirnir to woo her (which involves threatening her with the sword of sharpness). She says yes. Marriage feast in the wood Barri, where Freya reappears reconciled to Odur.

In the night someone steals Thor’s hammer. Loki flies to Thrymheim for it has been stolen by Thrym the Giant of Noise and buried 8 miles deep in the earth unless he can marry Freya. Thor is dressed as a woman and accompanied by Loki goes to Thrymheim where he plays the part until the hammer is brought out whereupon he kills Thrym, his sister and all their kin.

Frey riding the golden boar Gullinbursti, Freya driving her chariot pulled by cats (Image: Donn Crane. Public domain)

Frey riding the golden boar Gullinbursti, Freya driving her chariot pulled by cats by Donn Crane

Chapter 7. Thor’s visit to Utgard

The giants sue for peace and invite Thor to Utgard, in the heart of Jotunheim, to stay with Utgardhaloki. En route they sleep in a vast hall which turns out to be Skrymir’s gloves. As he sleeps Thor three times tries to kill him with Mjolnar, each time the giant complains it tickles. Arriving at the giant’s castle they are challenged to an eating contest, a running contest, then Thor is invited to drink from a horn, to lift a cat off the ground then wrestle with an old lady. As the gods leave Utgardhaloki reveals he was Skrymir and Thor’s three hammer blows knocked valleys in a mountain range. The foot race was against Thought. The eating contest was against Fire. The other end of the drinking horn was in the Ocean and Thor drank a lot of it, creating the first tides. The cat he lifted off the floor was the world snake Jormungand, and the old lady was Age.

The Giant Skrymir and Thor (Image: Louis Huard/Wikimedia Commons)

The Giant Skrymir and Thor by Louis Huard

Chapter 8. Odin goes wandering

The tale of the brothers Agnar and Gerrad, how they stay with Odin and Frigga pretending to be kindly humans; how they sail back to their kingdom but Gerrad pushes Agnar and his boat out to sea, inherits the kingdom, but Agnar returns to be a poor servant in his brother’s court; and how upon visiting Odin in disguise is ill-treated and tied between two fires for 8 days, until he sings a song about the creation of the heavens and Gerrad in his hurry to release him trips over his own sword and impales himself.

Odin wins a knowledge competition with the giant Valfthrudnir.

Odin challenges the giant Rungnir to a horserace between Sleipnir and Golden Mane. Odin wins and invited Rungnir into Asgard where he gets drunk and insults everyone. Thor challenges him to a fight at Giottunagard. Rungnir’s hone smashes into Thor’s hammer in midair. The hone is shattered scattering all the flint we find in the earth. Mjolnir kills the giant, but a) a fragment of flint enters Thor’s head b) the giant’s leg pins Thor to the ground until his three year old son comes to free him. The sorceress Groa recites spells to loosen the fragment and Thor tells her how much the gods love her husband Aurvandill.

Odin tied between fires in King Gerrad's castle (Image: Emil Doepler. Public domain)

Odin tied between fires in King Gerrad’s castle by Emil Doepler

Chapter 9. Geirrodur the Troll King

Loki is trapped by Geirrodur into inviting Thor to his palace without his armour or hammer. En route Thor is entertained by the friendly giantess Grid who gives him a girdle of power and a magic staff. When he sits in a chair in Geirrodur’s castle it rises to crush him against the ceiling but he uses the magic staff and Geirrodur’s two daughters beneath the chair break their backs. As Thor approaches the giant he suddenly seizes a rod of white hot metal from the fire and throws it at Thor who catches it and throws it straight back; it passes through a stone column, through Geirrodur’s body, through the castle wall and outside into the earth. Thor leaves the crippled family and returns to Asgard.

The adventures of Thorkill the traveller who comes to Geirrodur’s kingdom some time later, surviving various hazards and witnessing the carnage of Thor’s visit.

Chapter 10. The Curse of Andvari’s Ring

Wandering through Midgard with Odin and Honir, Loki sees an otter eating a salmon and kills both with one stone. They arrive at the castle of Hreidmarr who recognises his dead son Otr and calls his brothers Fafnir and Reginn. They keep Odin and Honir hostage while Loki gets a net off Ran the goddess of shipwrecks and captures the dwarf Andvari in the shape of a pike. Andvari hands over all his gold but curses the ring. Loki returns and stuffs and covers the dead otter with gold. The cursed ring is the last piece, covering the last hair. The gods depart but Hreidmarr’s sons kill him over the gold hoard and then Fafnir takes it off to Gnita Heath and turns into a dragon. Reginn goes to find employment as a smith with Hialprek, King of the Danes.

Here arrives the wife of the dead King Sigmund, once blessed by Odin, as a boy the only one able to pull the magic sword placed by Odin in the tree in his father King Volsung’s hall, but when his fate decreed, met by Odin in battle and his sword shattered. Reginn raises Sigmund’s son Sigurd filling him with tales of glory and especially about the gold hoard on Gnita Heath. The young hero asks Reginn to make a sword: twice he makes inferior ones which Sigurd smashes against the anvil; for the third one he asks Queen Hjordis for the fragments of Sigmund’s sword and forges the sword of power, Gram. On the advice of a strange old man with a broad brimmed hat and one eye, Sigurd builds trenches where Fafnir comes to drink. Lying in wait he thrusts up into the dragon’s body: there is a death colloquy. Reginn asks Sigurd to burn the dragon’s heart and as he cooks it Sigurd touches it, burns his finger and sucks it, tasting the dragon’s blood. Instantly he understand the conversation of the birds who are warning that Reginn plans to kill him. Without hesitation Sigurd decapitates Reginn.

He hears the birds singing of a maiden in Hindfell, surrounded by fire. He rides his horse through the fire and wakes the maiden from her sleep. It is Brynhild, a Valkyrie who disobeyed Odin and was pricked by a sleeping thorn. She serves him mead. They plight their troths. She encourages him to deeds of prowess so he rides out of the flames to the court of King Guiki. Sigurd wins fame with Guiki’s sons Gunnar and Hogni but their mother witch Queen Grimhild magics his drink to that he forgets Brynhild and falls in love and marries Gudrun. Then one day Gunnar decides to go try his hand at the maiden who lives behind fire, but he can’t ride through, not even when Sigurd lends him his horse, Grani. Only when they exchange shapes, so that it is Sigurd in the shape of Gunnar riding Grani can he cross the flames. Now he wins the surprised Brynhild who marries Gunnar and comes to live at King Guiki’s.

One day at the river Gudrun reveals the deception to Brynhild. Gunnar never rode through the flames. Brynhild is distraught. She confronts Sigurd who knows the truth but has kept silent to honour his blood brotherhood to Gunnar. Distraught Brynhild tells Gunnar that Sigurd lay with her and Gunnar and Hogni commission their thick brother Gutthorn to murder Sigurd in his bed. Brynhild kills herself. they are both burned on a pyre.

The widowed Gudrun is married by King Guiki to King Atli (Attila the Hun). He invited the brothers Gunnar and Hogni but captures and tortures them to reveal the location of Fafnir’s hoard. Atli cuts out Hogni’s heart. He binds Gunnar and throws him into a pit of snakes. Gudrun sends her brother a harp which he plays with his toes to charm the snakes, all except one which bites and kills him. In revenge Gudrun conspires with a thrall to murder Atli in his bed then burn down his stronghold, killing everyone in it. She throws herself into the sea and the curse of Andvari’s ring is finally quenched. (Source: The Volsunga Saga)

Sigurd/Siegfried killing the dragon Fafnir (Arthur Rackham/Wikimedia Commons)

Sigurd/Siegfried killing the dragon Fafnir by Arthur Rackham

Chapter 11. Ægir’s brewing kettle

Ægir is the Ocean Giant, husband of Ran whose net Loki used to catch Andvari. Ægir holds feasts on an island in the Kattigut for the souls of drowned sailors, waited on by his nine Wave-Daughters. He invites the Æsir to a feast but only if they can provide a kettle big enough. Tyr says his grandfather the giant Hymir has such a kettle so he and Thor journey to Hymir’s castle. Hymir invites them fishing, and while Hymir catches two whales Thor hooks the serpent of Midgard, Jormungand, until Hymir cuts the line at which Thor smacks him in the head. Back on dry land they feast on the whales. Then Thor must win the kettle by shattering a beaker. His mother tells him the secret; it can only break against Hymir’s thick skull. Having broken the beaker Thor picks up the mighty kettle and wears it like a helmet.

Back at the river Elivagar which divides Midgard from Jotunheim Thor has a long flyting with the one-eyed ferryman. It is, of course, Odin ho ho ho. (Sources: Hymiskviða, the Gylfaginning of the Prose Edda)

Chapter 12. The Death of Baldur

In Breidablik on the island of Ida dwelt Baldur the beautiful and his fair wife, Nanna, and his blind, gloomy brother Hodur. He foretells his death. Odin rides on Sleipnir to the river Gioll, the border of Nifelheim with Hel where the dead who don’t die in battle go. The skeleton maid Modgul guarding the bridge lets Odin pass to ride through the Iron Wood to confront the hellhound Garm and turn aside to raise the dead prophetess Volva to predict Baldur’s death.

Arriving back at Asgard Odin finds Frigga has made everything in the universe promise not to harm Baldur; the gods are amusing themselves throwing spears and arrows and axes at the indestructible Baldur. But Loki changes into an old crone and questions Frigga who concedes she didn’t extract the promise from one thing, the mistletoe which grows on an oak east of Asgard. Loki fetches the mistletoe, sharpens and stiffens it using magic and then guides blind Hodur’s hand to kill his beloved brother.

Baldur is set on his longboat Ringhorn and as she bends to kiss him Nanna falls dead. Only a giant can push the flaming boat out to sea and a great cry goes up from heaven and earth (the same cry as greeted the death of Osiris and the agony of Christ).

Hermodur the messenger of the gods rides down to Helheim, past Modgul and Garm to confront Hela and ask for Baldur back. Only if every living thing weeps for him says Hela so Hermodur returns to incite the whole universe to weep over Baldur and it does except for Thokk the wicked giantess. And so Baldur remains in Helheim and Odin knows Thokk is none other than Loki.

The Death of Baldur by Christoffer Wilhelm Eckersberg (1816)

Chapter 13. Vali the Avenger

Odin tasks Hermodur with riding Sleipnir to the far north to bind Rossthiof the wizard in his castle of green ice and force him to foresee who the avenger will be. Rossthiof says Odin must woo Rinda.

So Odin travels across Midgard to the kingdom of King Billing; he gains control of the king’s armies and leads them to victory, but Rinda rejects him. He returns disguised as Rosstheow the goldsmith and offers Rinda a priceless bracelet and rings, but she rejects him. A third time Odin appears as an ardent young lover and Rinda asks him to come to her bower secretly but her dog barks and wakes the whole palace who come running. Odin touches her and makes Rinda mad. Days later he reappears as the crone Vecha and promises King Billing to cure his daughter if left with her for a day and a night. This is what it takes to woo and impregnate her. Some time later a little boy with a bow and arrow walks up Bifrost Bridge to confront Heimdall the watchman. It is Vali. He grows in size even as the gods watch, takes his bow and arrow to the woods where blind Hodur is walking and despite his magic shield and spear shoots him dead. Vali rejoices. Hodur’s spirit goes down into Hel to meet his dead brother Baldur. (Source: book III of the Gesta Danorum of Saxo Grammaticus)

Chapter 14. The Punishment of Loki

Loki goes and hides at the Frananger falls. Odin sees him from his chair Hlidskjalf. The gods find a hlaf-finished net and finish it and trawl the river for Loki in the shape of a salmon. As he leaps out of the water Odin clasps him tight which is why salmon’s tails are so slender to this day. They bind him with magic sinews to three enormous rocks in a cave under Midgard and suspend over him a venomous snake which drops agonising poison onto him.

The punishment of Loki (Image: Louis Huard / Wikimedia Commons)

The punishment of Loki by Louis Huard

Chapter 15. Ragnarok

Odin visits the prophetess Haid who foretells Ragnarok. The Fimbal Winter will come covering the earth for 3 years. Depravity and greed will ruin man. The Wolf Skull will swallow the moon and the sun. Fenris Wolf breaks free. Jormungand swims ashore flooding Midgard. The ship Naglfar made of dead men’s fingernails approaches. The sky splits open and the Surtur leads the sons of Muspel over Bifrost bridge which breaks beneath them. Loki is set free and comes with Hymir leading the frost Giants and the hellhound Garm. Surtur kills Frey who gave his sword to Skirnir to win the giantess. Garm and Tyr kill each other. Thor kills Jormungand but staggers 9 paces away and dies from its venom. Loki and Heimdall fight to the death. Odin is swallowed by Fenris who is killed by Odin’s son Vidar. Triumphant Surtur spreads fire over the entire universe which is consumed in flames.

And yet a new world will arise from the flames, pure and clean and beautiful and new gods will govern it wisely and a new race of men will be born, fair and good.

The sagas of Midgard, whether the heroes be Gunnar or Grettir, or Sigurd himself, all end in tragedy – in the picture of the brave man struggling in vain against the powers of fate – ‘And how can man die better than facing fearful odds?’ –This was the Norseman’s view of life – and the deeds and fate of the heroes of saga must have been but the earthly counterpart of the deeds of the Gods of Asgard in their struggle against the Giant forces of Nature so apparent to the men of the North, and of the doom, the Ragnarok, which was to overtake them.

Other saga reviews

Complete list of my other saga and Viking reviews

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by Simon on April 2, 2013 • Permalink

Posted in European History, History, Saga

Tagged 1960, Aegir, Aesir, Agnar, Andvari, Ask, Atli, Attila the Hun, Audhumla, Aurvandill, Bergilmir, Bifrost bridge, Billing, Bragi, Brynhild, Buri, Draupnir, Dvalin, Einheriar, Embla, Fafnir, Fenris, Frey, Freya, Frigg, Garm, Geirrodur, Gerrad, Ginnungagap, Gleipnir, Gram, Grani, Grid, Grimhild, Groa, Gudrun, Gullinbursti, Gungnir, Gunnar, Gunnlod, Hel, Hermodur, Hialprek, Hindfell, Hogni, Honir, Hreidmarr, Hugin, Iduna, Jormungand, Kvasir, Loki, Midgard, Mimir, Mjölnir, Munin, Myths of the Norsemen, Nidhoggr, Nifelheim, Niord, Norns, Odin, Otr, Poetic Edda, Prose Edda, Ran, Ratatoskr, Reginn, Rinda, Roger Lancelyn Green, Rungnir, Sif, Sigmund, Sigurd, Sindri, Skadi, Skidbladnir, Skrymsir, Sleipnir, Svadilfari, Svarin, Thiassi, Thor, Thorkill, Thrymheim, Tyr, Utgardhaloki, Valfthrudnir, Vali, Vanir, Volsung, Yggdrasil, Ymir

Posted by Simon on April 2, 2013

https://astrofella.wordpress.com/2013/04/02/myths-of-the-norsemen-roger-lancelyn-green/

New Larousse Encyclopedia of Mythology (2nd edn 1968)

Chapter 8 – Teutonic Mythology (pp 245-280)

Almost without exception the legends which were told among the ancestors of the Germans and Anglo-Saxons have not been handed down to us. Hence in any account of Teutonic mythology the Scandinavian traditions must of necessity form a major part. (p248)

The Eastern Goths converted to Christianity on contact with Byzantine civilisation in the 4th century. Hardly anything survives of their language or pagan religion. The Goths of central/northern Germany also left few records. Believe it or not the most thorough account we have of their beliefs is in the ‘Germania’ of the Roman historian Tacitus from the first century AD. The Anglo-Saxons of Britain began converting to Christianity in the 600s and were so thoroughly Christianised that from the 690s they began sending missionaries to Germany, whose work was later reinforced by Charlemagne (742-814), very effectively obliterating any records of Teutonic pagan beliefs. Thus it is in Iceland, at the remotest furthest point of Europe, only settled by pagan Norsemen from the 870s and only Christianised as late as 1000AD, that a relatively free, surprisingly well-educated population lovingly preserved all the stories, myths and legends stretching back centuries of their ancestors from the Continent, as well as composing numerous sagas of more recent Scandinavian and Icelandic heroes. This astonishing abundance of material, of sagas, poems, histories, directly or indirectly gives us a wealth of information about the beliefs of the various tribes and cultures who inhabited north Germany, Anglo-Saxon Britain and Scandinavia in the so-called Dark Ages.

The New Larousse Encyclopedia of Mythology explains all this very lucidly before embarking on a detailed anthropological account of the Teutonic gods, pointing out the sociological and economic origins of different deities, referencing their counterparts in Roman or Greek or Indian mythology, but also telling the main adventures in straightforward narrative. The illustrations are good. I can’t find anywhere in the internet pictures which show in their entirety the narrow tall porch reliefs showing scenes from the adventures of Sigurd from the wonderful stave church at Hylestad in Norway.

Creation

In the beginning was the yawning void, Ginnungagap: vast glaciers and ice lakes from which crystallised a giant frost ogre named Ymir
Ymir slept, falling into a sweat, and under his left arm there grew a man and a woman, the first of the Frost Giants
Thawing frost then became a cow called Audhumla. The cow licked salty ice blocks. After one day of licking, she exposed a man’s hair in the ice. After two days, his head appeared. On the third day the whole man was there. His name was Buri and he begot a son named Bor, and Bor married Bestla, the daughter of a giant.
Bor and Bestla had three sons: Odin, Vili and Vé. These three brothers promptly murdered the primal giant Ymir. From his wounds came such a flood of blood that all the frost ogres were drowned except for the giant Bergelmir who escaped with his wife by climbing onto a tree trunk (the Norse avatar of the universal myth of a few survivors of a world flood). From this couple sprang the families of frost ogres.
The sons of Bor carried Ymir to the middle of Ginnungagap and made the world from his corpse. From his blood they made the sea and the lakes; from his flesh the earth; from his hair the trees; and from his bones the mountains. They made rocks and pebbles from his teeth and jaws and those bones that were broken.
Maggots appeared in Ymir’s flesh and came to life. They acquired human understanding and the appearance of men although they lived in the earth and in rocks. They are the dwarfs.
From Ymir’s skull the sons of Bor made the sky and set it over the earth with its four sides. Under each corner they put a dwarf, whose names are East, West, North, and South.
The sons of Bor flung Ymir’s brains into the air, and they became the clouds. Then they took the sparks and embers that were flying out of the fire region of Muspelheim and placed them in the midst of Ginnungagap to be the stars and sun and moon.
The earth was surrounded by a deep sea around which coiled an immense serpent.
To protect themselves from the hostile giants, the sons of Bor built for themselves a stronghold and named it Midgard or Middle Earth.
While walking along the sea shore the sons of Bor found two trees, and from them they created a man and a woman. Odin gave the man and the woman spirit and life. Vili gave them understanding and the power of movement. Vé gave them clothing and names. The man was named Ask and the woman Embla. From Ask and Embla have sprung all the races of men who lived in Midgard.
Odin (Woden, Wotan) married Frigg, the daughter of Fjörgvin. These early gods are the members of the Æsir. They built themselves a stronghold named Asgard, the house of the Æsir. In Asgard was the great throne Hlidskjálf where Odin sat looking out over the universe, when he was not riding through the sky on his eight-legged horse Sleipnir, or roaming Midgard, the world of men, in disguise. On his throne report of all the doings in Midgard was brought to him by his two ravens Huginn and Muginn, meaning Memory and Thought.

The two ravens Hugin and Munin on Odin’s shoulders (Source: Wikimedia Commons)

For being the father of gods and the father of men, Odin is known as the All-Father. Odin sought wisdom throughout the world. Most famously he asked to drink from the spring of Mimir among the roots of the world-tree Yggdrasil; but the price was his eye. Thereafter Odin is always depicted as a one-eyed man with a wide flat hat and magic spear, Gungnir.
The earth was Odin’s daughter and his wife as well. By her he had his first son, Thor (Donar, Donner, the thunder god). Thor is next most powerful god to Odin. He wields his mighty hammer Mjölnir, and rides a chariot drawn by two goats, Tanngrisnir and Tanngnjóstr. Many Thor hammer amulets have been found across Scandinavia. I like the idea that pagans wore the in Christianised areas as a gesture of defiance.
The gods built a bridge from earth to heaven called Bifröst which is known as the rainbow bridge. At the top, defending the entrance to Asgard is the god Heimdallr, ready to blow his horn as a warning to the gods of any attack by their immemorial enemies, the giants.
The nine worlds of Norse mythology subsist within the vast overarching structure of the heaven-tree, Yggdrasil. On its peak sits an eagle. Watering its roots are the three Norns, equivalent to the Greek Fates who tell the past, present and future. Every day the Norn Urd draws water from her well to water the roots of the tree. Chewing one of its roots is the dragon Nidhoggr. Scampering up and down it is the gossipy squirrel, Ratatoskr.

The Vanir

Interestingly the Teutons have two races of gods, the Aesir and the Vanir. The Aesir are gods of power – the AllFather Odin, the thunder god Thor, the god of war Tiu. The Vanir, by contrast, are gods of fertility, originally a group of wild nature and fertility gods and goddesses, considered to be the bringers of health, youth, fertility, luck and wealth, and masters of magic. The Vanir live in Vanaheim. There were many of them but the two principle ones were the twins Freyr, god of fertility, and Freyja, goddess of love.

Freya and Brisingamen by James Doyle Penrose

The Nine worlds of Norse mythology

In the first level was Asgard, the home of the Aesir.
Vanaheim, the home of the Vanir.
Alfheim, the home of the Light Elves.
In the middle was Midgard “Middle Earth”, the home of the Humans.
Jotunheim, the home of the Giants.
Svartalfheim, the home of the Dark Elves.
Nidavellir, the home of the Dwarfs.
Niflheim was to the north, inside somewhere under the ground were Helheim home of the dead was.
Muspelheim was to the south, it was the home of the fire Giants and Demons.

The nine worlds of Norse mythology

There is no spirituality in Norse culture, no religious feeling. There is fighting, deal-making, and laconic understatement which puts a brave face on the fact we will all fail and all die. The entire cycle of stories lives in the shadow of the foretold and inevitable Last Battle between Gods and Giants when the world will go down in flames: Ragnarök. Until then men and gods alike face their doom with stoic defiance.

“The Germanic gods were never thought of as more than men of superior essence; and like men they were mortal and subject to the vicissitudes of fortune.” (p252)

Wotan takes leave of Brunhild (1892) by Konrad Dielitz (Wikipedia Commons)

Wotan takes leave of Brunhild (1892) by Konrad Dielitz (Image: Wikipedia Commons)

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by Simon on April 1, 2013 • Permalink

Posted in Books

Tagged 1968, Aesir, Alfheim, Anglo-Saxons, Asgard, Ask, Bergelmir, Bifrost bridge, Buri, Charlemagne, Embla, Frey, Freya, Frigg, Ginnungagap, Goths, Heimdallr, Hlidskjálf, Hugin, Huns, Jotunheim, Midgard, Mjölnir, Mugin, Muspelheim, mythology, New Larousse Encyclopedia of Mythology, Nidavellir, Nidhoggr, Niflheim, Norns, Odin, Ratatoskr, Svartalheim, Vanaheim, Vanir, Ve, Vikings, Vili, Yggdrasil, Ymir

Posted by Simon on April 1, 2013

https://astrofella.wordpress.com/2013/04/01/new-larousse-encyclopedia-of-mythology/

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All posts tagged Odin

Imaginary beings

Thoughts

A bestiary manqué

Pictures

Favourites

Threes

Fours

A Borges reading list

Ancient world

Middle Ages

Early modern

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Borges reviews

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The heroic poems

The story of Helgi Hundingsbani

The Niflung or Nibelung cycle (the story of Sigurd, Bryinhild and Gudrún)

Frá dauða Sinfjötla (Sinfjötli’s Death)

Grípisspá (Grípir’s Prophecy)

Reginsmál (The Ballad of Regin)

Fáfnismál (The Ballad of Fáfnir)

Sigrdrífumál (The Lay of Sigrdrífa)

—–THE GREAT LACUNA—–

Brot af Sigurðarkviðu (Fragment of a Poem about Sigurd)

Guðrúnarkviða I (The First Lay of Gudrún)

Sigurðarkviða hin skamma (The Short Lay of Sigurd)

Helreið Brynhildar (Brynhild’s Hell-Ride)

Dráp Niflunga (The Slaying of The Niflungs)

Guðrúnarkviða II (The Second Lay of Gudrún)

Guðrúnarkviða III (The Third Lay of Gudrún)

Oddrúnargrátr (The Lament of Oddrún)

Atlakviða (The Lay of Atli)

Atlamál hin groenlenzku (The Greenland Ballad of Atli)

The story of Jörmunrekkr, king of the Goths

Guðrúnarhvöt (Gudrún’s Inciting)

Hamðismál (The Ballad of Hamdir)

Other saga reviews

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Introduction

Contents

The New Lay of the Völsungs

Commentary on The New Lay of the Völsungs

The New Lay of Gudrún

Commentary on The New Lay of Gudrún

Appendix A: A short account of the origins of the Legend

Appendix B: The Prophecy of the Sibyl

Appendix C: Two fragments of a heroic poem of Attila in Old English

Changes

Other Dark Age reviews

Other saga reviews

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Introduction

Metre

Translations

The Eleven (or is it Ten?) mythological poems

Völuspá (66 stanzas long)

Hávamál (165 stanzas long)

Vafþrúðnismál (55 stanzas long)

Grímnismál (54 stanzas)

Skírnismál (43 stanzas)

Hárbarðsljóð (60 stanzas)

Hymiskviða (40 stanzas)

Lokasenna (65 stanzas)

Þrymskviða (33 stanzas)

Völundarkviða (43 stanzas)

Alvíssmál (35 stanzas)

Other saga reviews

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1. SUBJECTIVE – The difficulty of medieval Icelandic literature

2. OBJECTIVE – Background

Alliterative

Oral tradition and timescale

Translations

The Poems

1. The mythological poems

2. Human poems

The Niflung Cycle

The Jörmunrekkr Lays

Other ‘eddaic’ poems