Lucy Winifred Faraday

“ Thus far the story is that of the release of the enchanted princess, popularly most familiar in the nursery tale of the Sleeping Beauty. After her broken questions to her deliverer, "What cut my mail? How have I broken from sleep? Who has flung from me the dark spells?" and his answer, "Sigmund's son and Sigurd's sword," she bursts into the famous "Greeting to the World":
"Long have I slept, long was I sunk in sleep, long are men's misfortunes. It was Odin's doing that I could not break the runes of sleep. ”

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

“ As a saga, therefore, _Völsunga_ is far behind not only such great works as _Njala_, but also many of the smaller sagas. It lacks form, and is marred by inconsistencies; it is often careless in grammar and diction; it is full of traces of the decadent romantic age. Sigurd, in the true spirit of romance, is endowed with magic weapons and supernatural powers, which are no improvement on the heroic tradition, "Courage is better than a good sword." At every turn, Odin is at hand to help him, which tends to efface the older and truer picture of the hero with all the fates against him ”

“ The interest in Signy lies in the way in which she sacrifices what are usually considered the strongest feminine instincts, without, however, by any means abandoning them, to her uncompromising revenge and pride of race. Her pride in her son seems to include something of both trains of feeling; and she dies with the husband she detests, simply because he is her husband. Brynhild, lastly, is a highly modern type, as independent in love as in war. It is impossible to imagine Sigrun, or Wagner's Sieglinde, taking her revenge on a faithless lover ”

“ The whole story of the Aesir is overshadowed by knowledge of this coming doom, the time when they shall meet foes more terrible than the giants, and fall before them; their constant effort is to learn what will happen then, and to gather their forces together to meet it. The coming Ragnarök is the reason for the existence of Valhalla with its hosts of slain warriors; and of all the Gods, Odin, Thor, Tyr and Loki are most closely connected with it. ”

“ The strength and distinction of Icelandic poetry rest rather on the fact that it is original and national and, like that of Greece, owes little to foreign sources; and that it began in the heathen age, before Christian or Romantic influences had touched Iceland. Valuable as the early Christian poetry of England is, we look in vain there for the humour, the large-minded simplicity of motive, the suggestive character-drawing, the swift dramatic action, which are as conspicuous in many poems in the Edda as in many of the Sagas. ”

“ In the Valkyrie-brides, Brynhild and Sigrun, with their double attributes of fighting and wisdom, there is an evident connexion with the Germanic type of woman preserved in the allusions of Cæsar and Tacitus, which reaches its highest development in the heroines of the Edda. Any mythical or ideal conception of womanhood combines the two primitive instincts, love and fighting, even though the woman may be only the innocent cause of strife, or its passive prize. The peculiarity of the Germanic representation is that the woman is never passive, but is herself the incarnation of both instincts. ”

“ All warriors who fall in battle are taken to Odin's hall of the slain, Valhalla. According to _Grimnismal_, he "chooses every day men dead by the sword"; his Valkyries ride to battle to give the victory and bring in the fallen. Hence Odin is the giver of victory. Loki in _Lokasenna_ taunts him with giving victory to the wrong side: "Thou hast never known how to decide the battle among men. Thou hast often given victory to those to whom thou shouldst not give it, to the more cowardly" ”

“ It is a hard fate for a warrior to grind the barley; the sword-hilt is better fitted for those hands than the mill-handle."
Sigrun is present at the battle, in which, as in the English and Scottish ballads, Helgi slays all her kindred except one brother. He tells her the fortunes of the fight, and she chooses between lover and kinsmen:
_Helgi_. "Good luck is not granted thee, maid, in all things, though the Norns are partly to blame. Bragi and Högni fell to-day at Frekastein, and I was their slayer;... most of thy kindred lie low. ”

“ It has often been pointed out that there is no trace of Baldr-worship in other Germanic nations, nor in any of the Icelandic sagas except the late Frithjofssaga. This, however, is true of other Gods, notably of Tyr, who is without question one of the oldest. The only deities named with any suggestion of sacrifice or worship in the Icelandic sagas proper are Odin, Thor, Frey, Njörd, Frigg and Freyja. The process of choice is as arbitrary in mythology as in other sciences. ”

“ She meditates revenge, and as her two sons grow up to the age of ten, she tests their courage, and finding it wanting makes Sigmund kill both: the expected hero must be a Volsung through both parents. She therefore visits Sigmund in disguise, and her third son, Sinfjötli, is the child of the Volsung pair. At ten years old, she sends him to live in the wood with Sigmund, who only knows him as Signy's son. For years they live as wer-wolves in the wood, till the time comes for vengeance. ”

“ He shall feed on the lives of death-doomed men; with red blood he shall redden the seat of the Gods. The sunshine shall grow black, all winds will be unfriendly in the after-summers.... I see further in the future the great Ragnarök of the Gods of Victory.... Heimdal blows loudly, the horn is on high; Yggdrasil's ash trembles as it stands, the old tree groans."
The following lines tell of the fire-giants and the various combats, and the last section of the poem deals with a new world when Baldr, Höd and Hoeni are to come back to the dwelling-place of the Gods. ”

“ Even if she is not a Valkyrie, nor taking part herself in the fight, she is ready, like the wives of the Cimbri, to drive the men back to the battle from which they have escaped. Hild and Hervör are at one extreme: war is their spiritual life. Love is in Hild nothing more than instinct; in Hervör it is not even that: she would desire nothing from marriage beyond a son to inherit the sword. At the other extreme is Sigrun, who has the warlike instinct, but is spiritually a lover as completely and essentially as Isolde or Juliet. ”

“ He is more especially agent of the doom through his children: at Ragnarök, Fenri the Wolf, bound long before by Tyr's help, will be freed, and swallow the sun (_Vafthrudnismal_) and Odin (_Vafthrudnismal_ and _Völuspa_) ; and Jörmungandr, the Giant-Snake, will rise from the sea where he lies curled round the world, to slay and be slain by Thor. The dragon's writhing in the waves is one of the tokens to herald Ragnarök, and his battle with Thor is the fiercest combat of that day. ”

“ May he sit on wealth, may he sleep on down, may he wake to delight; then the grinding were good. Here shall no man hurt another, prepare evil nor work death, nor hew with the keen sword though he find his brother's slayer bound. ”

“ Frazer's theory that the Baldr-myth is a relic of tree-worship and the ritual sacrifice of the God, Baldr being a tree-spirit whose soul is contained in the mistletoe.
The contradictions in the story, especially as told by Snorri (such as the confusion between the parts played by Höd and Loki, and the unsuspicious attitude of the Gods as Loki directs Höd's aim) are sometimes urged against its genuineness. They are rather proofs of antiquity. Apparent contradictions whose explanation is forgotten often survive in tradition; the inventor of a new story takes care to make it consistent. ”

“ There is a maid fair to see at Heimi's; men call her Brynhild, Budli's daughter, but the great king Heimi fosters the proud maid.... Heimi's fair foster-daughter will rob thee of all joy; thou shalt sleep no sleep, and judge no cause, and care for no man unless thou see the maiden. ”

“ The chief theories advanced are: (1) That it is the oldest part of Norse mythology, and of ritual origin; (2) that Baldr is really a hero transformed into a God; (3) that the legend is a solar myth with or without Christian colouring; (4) that it is entirely borrowed from Mediæval Greek and Christian sources. This last theory is too ingenious to be credible; and with regard to the third, there is nothing essentially Christian in the chief features of the legend, while the solar idea leaves too much unexplained. ”

“ The Dragon legend of the Edda is much fuller and more elaborate than that of any other mythology. As a rule tradition is satisfied with the existence of the monster "old and proud of his treasure," but here we are told its full previous history, certain features of which (such as the shape-shifting) are signs of antiquity, whether it was originally connected with the Volsungs or not.
As usual, _Völsunga_ gives the fullest account, in the form of a story told by Regin to his foster-son Sigurd, to incite him to slay the dragon. ”

“ The belief in another world for the dead is, however, by no means exclusively Christian, and a reference in _Grimnismal_ suggests the older system out of which, under the influence of the Ragnarök idea, Valhalla was developed. The lines, "The ninth hall is Folkvang, where Freyja rules the ordering of seats in the hall; half the slain she chooses every day, Odin has the other half," are an evident survival of a belief that all the dead went to live with the Gods, Odin having the men, and Freyja (or more probably Frigg) the women ”

“ Like the Volsung legend it is the story of a curse; and there is a general similarity of outline, with the exception that the hero is in this case a woman. The curse-laden treasure is here the sword Tyrfing, which Svafrlami got by force from the dwarfs. They laid a curse on it: that it should bring death to its bearer, no wound it made should be healed, and it should claim a victim whenever it was unsheathed. In the saga, the story is spread over several generations: partly, no doubt, in order to include varying versions ”

“ The bitterness of his attack on Frigg especially suggests that she was, among the Northmen, a formidable rival to the Virgin. When he repeats a legend of the Gods, he transforms them into mortal heroes, and when, as often happens, he refers to them accidentally as Gods, he invariably hastens to protest that he does so only because it had been the custom. He describes Thor and Odin as men versed in sorcery who claimed the rank of Gods ”

“ The essential feature of the story told in these poems is the motive familiar in that class of ballads of which the _Douglas Tragedy_ is a type: the hero loves the daughter of his enemy's house, her kinsmen kill him, and she dies of grief. This is the story told in both the lays of _Helgi Hundingsbane_, complete in one, unfinished in the other. No single poem preserves all the incidents of the legend; some survive in one version, some in another, as usual in ballad literature.
Like Sinfjötli and Sigurd, Helgi is brought up in obscurity. ”