Part 4

It is necessary to begin this investigation by pointing out the fact that there are two versions of the last line of strophe 45 in Vafþrúðnismál. The version of this line quoted above was - en þaðan af aldir alast: "Thence (from Lif and Leifthrasir in Mimir's grove) races are born". The Uppsala Codex has instead - og þar um aldur alast: "And they (Lif and Leifthrasir) have there (in Mimir's grove) their abiding place through ages". Of course only the one of these versions can, from a text-historical standpoint, be the original one. But this does not hinder both from being equally legitimate from a mythological standpoint, providing both date from a time when the main features of the myth about Lif and Leifthrasir were still remembered. Examples of versions equally justifiable from a mythological standpoint can be cited from other literatures than the Norse. If we in the choice between the two versions pay regard only to the age of the manuscripts, then the one in Codex Upsalensis, which is copied about the year 1300 [*] , has the preference. It would, however, hardly be prudent to put the chief emphasis on this fact. Without drawing any conclusions, I simply point out the fact that the oldest version we possess of the passage says that Lif and Leifthrasir live through ages in Mimir's grove. Nor is the other version much younger, so far as the manuscript in which it is found is concerned, and from a mythological standpoint that, too, is beyond doubt correct.

* [S. Bugge, Sæmund. Edda, xxvi. Thorl. Jonsson's Edda, Snorra St., viii.] [Modern scholars indeed believe the Uppsala Codex to be written at the time stated here, but it must be mentioned that most of them agree that the Codex Regius predates the Uppsala Codex.]

In two places in the poetic Edda (Vegtamskviða [Baldurs draumar] 7, and Fjölsvinnsmál 33) occurs the word ásmegir. Both times it is used in such a manner that we perceive that it is a mythological terminus technicus having a definite, limited application. What this application was is not known. It is necessary to make a most thorough analysis of the passages in order to find the signification of this word again, since it is of importance to the subject which we are discussing. I shall begin with the passage in Fjölsvinnsmál.

The young Svipdag, the hero in Gróugaldur and in Fjölsvinnsmál, is in the latter poem represented as standing before the gate of a citadel which he never saw before, but within the walls of which the maid whom fate has destined to be his wife resides. Outside of the gate is a person who is or pretends to be the gatekeeper, and calls himself Fjolsvinn. He and Svipdag enter into conversation. The conversation turns chiefly upon the remarkable objects which Svipdag has before his eyes. Svipdag asks questions about them, and Fjolsvinn gives him information. But before Svipdag came to the castle, within which his chosen one awaits him, he has made a remarkable journey (alluded to in Gróugaldur), and he has seen strange things (thus 9, 11, 33) which he compares with those which he now sees, and in regard to which he also desires information from Fjolsvinn. When the questions concern objects which are before him at the time of speaking, he employs, as the logic of language requires, the present tense of the verb (as in strophe 35 - segðu mér hvað það bjarg heitir, er eg sé brúði á). When he speaks of what he has seen before and elsewhere, he employs the past tense of the verb. In strophe 33 he says:

Segðu mér það, Fjölsviður,
er eg þig fregna mun
og eg vilja vita:
Hver það gerði,
er eg fyr garð sák
innan ásmaga?

"Tell me that which I ask of you, and which I wish to know, Fjolsvinn: Who made that which I saw within the castle wall of the ásmegir?" [*]

* [Looking simply at the form, the strophe may also be translated in the following manner: "Tell me, Fjolsvinn, what I ask of you, and what I wish to know. Who of the ásmegir made what I saw within the castle wall?" Against this formal possibility there are, however, several objections of facts. Svipdag would then be asking Fjolsvinn who had made that which he once in the past had seen within a castle wall without informing Fjolsvinn in regard to which particular castle wall he has reference. It also presupposes that Svipdag knew that the ásmegir had made the things in question which were within the castle wall, and that he only wished to complete his knowledge by finding out which one or ones of the ásmegir it was that had made them. And finally, it would follow from Fjolsvinn's answer that the dwarfs he enumerates are sons of Asas. The formal possibility pointed out has also a formal probability against it. The gen. pl. ásmaga has as its nearest neighbour garð, not hver, and should therefore be referred to garð, not to hver, even though both the translations gave an equally satisfactory meaning so far as the facts related are concerned; but that is not the case.]

Fjolsvinn answers (Fjölsvinnsmál 34):

Uni og Íri,
Óri og Bári,
Varr og Vegdrasill,
Dóri og Úri;
Dellingur og varðar,
líðski álfr, loki.

"Uni and Iri, Ori and Bari, Var and Vegdrasil, Dori and Uri; Delling, the cunning elf, is watchman at the gate." [*]

* [I follow the text in most of the manuscripts, of which Bugge has given various versions. One manuscript has in the text, another in the margin, Lidscialfr, written in one word (instead of liþsci alfr). Of this Munch made Lidskjalfr. The dative loki from lok, a gate (cp. lúka, loka, to close, enclose), has been interpreted as Loki, and thus made the confusion complete.]

Thus Svipdag has seen a place where beings called ásmegir dwell. It is well enclosed and guarded by the elf Delling. The myth must have laid great stress on the fact that the citadel was well guarded, since Delling, whose cunning is especially emphasised, has been entrusted with this task. The citadel must also have been distinguished for its magnificence and for other qualities, since what Svipdag has seen within its gates has awakened his astonishment and admiration, and caused him to ask Fjolsvinn about the name of its builder. Fjolsvinn enumerates not less than eight architects. At least three of these are known by name in other sources - namely, the "dwarfs" Varr (Nafnaþulur), Dori and Ori (Nafnaþulur, Gylfaginning 14). Both the last-named are also found in the list of dwarfs incorporated in Völuspá [as quoted in Snorri's Prose Edda]. Both are said to be dwarfs in Dvalin's group of attendants or servants (í Dvalins liði - Völuspá 14).

The problem to the solution of which I am struggling on - namely, to find the explanation of what beings those are which are called ásmegir - demands first of all that we should find out where the myth located their dwelling seen by Svipdag, a fact which is of mythological importance in other respects. This result can be gained, providing Dvalin's and Delling's real home and the scene of their activity can be determined. This is particularly important in respect to Delling, since his office as gate-keeper at the castle of the ásmegir demands that he must have his home where his duties are required. To some extent this is also true of Dvalin, since the field of his operations cannot have been utterly foreign to the citadel on whose wonders his sub-artists laboured.

The author of the dwarf-list in Völuspá makes all holy powers assemble to consult as to who shall create "the dwarfs," the artist-clan of the mythology. The wording of strophe 10 indicates that on a being by name Móðsognir, Mótsognir, was bestowed the dignity of chief of the proposed artist-clan [þar (in the assembly of the gods) var Móðsognir mæztr um orðinn dverga allra], and that he, with the assistance of Durin (Durinn), carried out the resolution of the gods, and created dwarfs resembling men. The author of the dwarf list must have assumed -

That Modsognir was one of the older beings of the world, for the assembly of gods here in question took place in the morning of time before the creation was completed.

That Modsognir possessed a promethean power of creating.

That he either belonged to the circle of holy powers himself, or stood in a close and friendly relation to them, since he carried out the resolve of the gods.

Accordingly, we should take Modsognir to be one of the more remarkable characters of the mythology. But either he is not mentioned anywhere else than in this place - we look in vain for the name Modsognir elsewhere - or this name is merely a skaldic epithet, which has taken the place of a more common name, and which by reference to a familiar nota characteristica indicates a mythic person well known and mentioned elsewhere. It cannot be disputed that the word looks like an epithet. Egilsson (Lex. Poet.) defines it as the mead-drinker. If the definition is correct, then the epithet were badly chosen if it did not refer to Mimir, who originally was the sole possessor of the mythic mead, and who daily drank of it (Völuspá 28 - drekkur mjöð Mímir morgun hverjan). Still nothing can be built simply on the definition of a name, even if it is correct beyond a doubt. All the indices which are calculated to shed light on a question should be collected and examined. Only when they all point in the same direction, and give evidence in favour of one and the same solution of the problem, the latter can be regarded as settled.

Several of the "dwarfs" created by Modsognir are named in Völuspá 11-13. Among them is Dvalin. In the opinion of the author of the list of dwarfs, Dvalin must have occupied a conspicuous place among the beings to whom he belongs, for he is the only one of them all who is mentioned as having a number of his own kind as subjects (Völuspá 14 - dverga í Dvalins liði). The problem as to whether Modsognir is identical with Mimir should therefore be decided by the answers to the following questions: Is that which is narrated about Modsognir also narrated of Mimir? Do the statements which we have about Dvalin show that he was particularly connected with Mimir and with the lower world, the realm of Mimir?

Of Modsognir it is said (Völuspá 10) that he was mæztr um orðinn dverga allra: he became the chief of all dwarfs, or, in other words, the foremost among all artists. Have we any similar report of Mimir?

The German middle-age poem, "Biterolf," relates that its hero possessed a sword, made by Mimir the Old, Mime der alte, who was the most excellent smith in the world. To be compared with him was not even Wieland (Volund, Wayland), still less anyone else, with the one exception of Hertrich, who was Mimir's co-labourer, and assisted him in making all the treasures he produced:

Zuo siner (Mimir's) meisterschefte
ich nieman kan gelichen
in allen fürsten richen
an einen, den ich nenne,
daz man in dar bi erkenne:
Der war Hertrich genant.
. . . . . . .
Durch ir sinne craft
so hæten sie geselleschaft
an werke und an allen dingen. (Biterolf, 144.)

Vilkinasaga, which is based on both German and Norse sources, states that Mimir was an artist, in whose workshop the sons of princes and the most famous smiths learned the trade of the smith. Among his apprentices are mentioned Velint (Volund), Sigurd-Sven, and Eckihard.

These echoes reverberating far down in Christian times of the myth about Mimir, as chief of smiths, we also perceive in Saxo. It should be remembered what he relates about the imcomparable treasures which are preserved in Gudmund-Mimir's domain, among which in addition to those already named occur arma humanorum corporum habitu grandiora (Book VIII, 266) ["weapons too massive to be worn by human beings" - Fisher], and about Mimingus, who possesses the sword of victory, and an arm-ring which produces wealth (Book III, 70). If we consult the poetic Edda, we find Mimir mentioned as Hodd-Mimir, Treasure-Mimir (Vafþrúðnismál 45); as naddgöfugr jötunn, the giant celebrated for his weapons (Gróugaldur 14); as Hoddrofnir, or Hodd-dropnir, the treasure-dropping one (Sigurdrífumál 13); as Baugreginn, the king of the gold-rings (Sólarljóð 56). And as shall be shown hereafter, the chief smiths are in the poetic Edda put in connection with Mimir as the one on whose fields they dwell, or in whose smithy they work.

In the mythology, artistic and creative powers are closely related to each other. The great smiths of the Rigveda hymns, the Ribhus, make horses for Indra, create a cow and her calf, make from a single goblet three equally good, diffuse vegetation over the fields, and make brooks flow in the valleys (Rigveda, iv. 34:9; iv. 38:8; i. 20:6, 110:3, and elsewhere). This they do although they are "mortals," who by their merits acquire immortality. In the Teutonic mythology Sindri and Brokk forge from a pig skin Frey's steed, which looks like a boar, and the sons of Ivaldi forge from gold locks that grow like other hair. The ring Draupnir, which the "dwarfs" Sindri and Brokk made, possesses itself creative power and produces every ninth night eight gold rings of equal weight with itself (Skáldskaparmál 43). The "mead-drinker" is the chief and master of all these artists. And on a closer examination it appears that Mimir's mead-well is the source of all these powers, which in the mythology are represented as creating, forming, and ordaining with wisdom.

In Hávamál (138-141) Odin relates that there was a time when he had not yet acquired strength and wisdom. But by self-sacrifice he was able to prevail on the celebrated Bolthorn's son, who dwells in the deep and has charge of the mead-fountain there and of the mighty runes, to give him (Odin) a drink from the precious mead, drawn from Odrerir:

It is evident that Odin here means to say that the first drink which he received from Mimir's fountain was the turning-point in his life; that before that time he had not blossomed, had made no progress in wisdom, had possessed no eloquence nor ability to do great deeds, but that he acquired all this from the power of the mead. This is precisely the same idea as we constantly meet with in Rigveda, in regard to the soma-mead as the liquid from which the gods got creative power, wisdom, and desire to accomplish great deeds. Odin's greatest and most celebrated achievement was that he, with his brothers, created Midgard. Would it then be reasonable to suppose that he performed this greatest and wisest of his works before he began to develop fruit, and before he got wisdom and the power of activity? It must be evident to everybody that this would be unreasonable. It is equally manifest that among the works which he considered himself able to perform after the drink from Mimir's fountain had given him strength, we must place in the front rank those for which he is most celebrated: the slaying of the chaos-giant Ymir, the raising of the crust of the earth, and the creation of Midgard. This could not be said more clearly than it is stated in the above strophe of Hávamál, unless Odin should have specifically mentioned the works he performed after receiving the drink. From Mimir's fountain and from Mimir's hand Odin has, therefore, received his creative power and his wisdom. We are thus also able to understand why Odin regarded this first drink from Odrerir so immensely important that he could resolve to subject himself to the sufferings which are mentioned in strophes 138 and 139. But when Odin by a single drink from Mimir's fountain is endowed with creative power and wisdom, how can the conclusion be evaded, that the myth regarded Mimir as endowed with Promethean power, since it makes him the possessor of the precious fountain, makes him drink therefrom every day, and places him nearer to the deepest source and oldest activity of these forces in the universe than Odin himself? The given and more instantaneous power, thanks to which Odin was made able to form the upper world, came from the lower world and from Mimir. The world-tree has also grown out of the lower world and is Mimir's tree, and receives from his hands its value. Thus the creative power with which the dwarf-list in Völuspá endowed the "mead-drinker" is rediscovered in Mimir. It is, therefore, perfectly logical when the mythology makes him its first smith and chief artist, and keeper of treasures and the ruler of a group of dwarfs, underground artists, for originally these were and remained creative forces personified, just as Rigveda's Ribhus, who smithied flowers, and grass, and animals, and opened the veins of the earth for fertilising streams, while they at the same time made implements and weapons.

That Mimir was the profound counsellor and faithful friend of the Asas has already been shown. Thus we discover in Mimir Modsognir's governing position among the artists, his creative activity, and his friendly relation to the gods.

Dvalin, created by Modsognir, is in the Norse sagas of the middle ages remembered as an extraordinary artist. He is there said to have assisted in the fashioning of the sword Tyrfing (Fornaldarsögur I, Hervarar saga, p. 200 - nema sverð seljið, það er sló Dvalinn), of Freyja's splendid ornament Brisingamen, celebrated also in Anglo-Saxon poetry (Fornald. II, Sörla þáttur, pp. 97-98). In the Snofrid song, which is attributed to Harald Fairhair, the drapa is likened unto a work of art, which rings forth from beneath the fingers of Dvalin (hrynr fram úr Dvalin's greip - Fornm. Saga, x. 208; Flat., i. 582). This beautiful poetical figure is all the more appropriately applied, since Dvalin was not only the producer of the beautiful works of the smith, but also sage and skald. He was one of the few chosen ones who in time's morning were permitted to taste of Mimir's mead, which therefore is called his drink (Dvalins drykkr - Skáldskaparmál 10).

But in the earliest antiquity no one partook of this drink who did not get it from Mimir himself.

Dvalin is one of the most ancient rune-masters, one of those who brought the knowledge of runes to those beings of creation who were endowed with reason (Hávamál 143). But all knowledge of runes came originally from Mimir. As skald and runic scholar, Dvalin, therefore, stood in the relation of disciple under the ruler of the lower world.

The myth in regard to the runes (cp. No. 26) mentioned three apprentices, who afterwards spread the knowledge of runes each among his own class of beings. Odin, who in the beginning was ignorant of the mighty and beneficent rune-songs (Hávamál 138-143), was by birth Mimir's chief disciple, and taught the knowledge of runes among his kinsmen, the Asas (Hávamál 143), and among men, his protégés (Sigurdrífumál 18 - sumar hafa mennskir menn). The other disciples were Dain (Dáinn) and Dvalin (Dvalinn). Dain, like Dvalin, is an artist created by Modsognir (Völuspá 11, Hauksbók and Gylfaginning). He is mentioned side by side with Dvalin, and like him he has tasted the mead of poesy (munnvigg Dáins - Fornm. Saga, v. 209). Dain and Dvalin taught the runes to their clans, that is, to elves and dwarfs (Hávamál 143). Nor were the giants neglected. They learned the runes from Ásviðr. Since the other teachers of runes belong to the clans, to which they teach the knowledge of runes - "Odin among Asas, Dain among elves, Dvalin among dwarfs" - there can be no danger of making a mistake, if we assume that Ásviðr was a giant. And as Mimir himself is a giant, and as the name Ásviðr (= Ásvinr) means Asa-friend, and as no one - particularly no one among the giants - has so much right as Mimir to this epithet, which has its counterpart in Odin's epithet, Míms vinr (Mimir's friend), then caution dictates that we keep open the highly probable possibility that Mimir himself is meant by Ásviðr.

All that has here been stated about Dvalin shows that the mythology has referred him to a place within the domain of Mimir's activity. We have still to point out two statements in regard to him. Sol is said to have been his leika (Alvíssmál 16 - kalla dvergar Dvalins leika; cp. Nafnaþulur). Leika, as a feminine word and referring to a personal object, means a young girl, a maiden, whom one keeps at his side, and in whose amusement one takes part at least as a spectator. The examples which we have of the use of the word indicate that the leika herself, and the person whose leika she is, are presupposed to have the same home. Sisters are called leikur, since they live together. Parents can call a foster-daughter their leika. In the neuter gender leika means a plaything, a doll or toy, and even in this sense it can rhetorically be applied to a person.

In the same manner as Sol is called Dvalin's leika, so the son of Nat and Delling, Dag, is called leikr Dvalins, the lad or youth with whom Dvalin amused himself (Hrafnagaldur 24.)

We have here found two points of contact between the mythic characters Dvalin and Delling. Dag, who is Dvalin's leikr, is Delling's son. Delling is the watchman of the castle of the ásmegir, which Dvalin's artists decorated.

Thus the whole group of persons among whom Dvalin is placed - Mimir, who is his teacher; Sol, who is his leika; Dag, who is his leikr; Nott, who is the mother of his leikr; Delling, who is the father of his leikr - have their dwellings in Mimir's domain, and belong to the subterranean class of the numina of Teutonic mythology.

From regions situated below Midgard's horizon, Nott, Sol, and Dag draw their chariots upon the heavens. On the eastern border of the lower world is the point of departure for their regular journeys over the heavens of the upper world ("the upper heavens," upphiminn - Völuspá 3; Vafþrúðnismál 20, and elsewhere; uppheimur - Alvíssmál 12). Nott has her home and, as shall be shown hereafter, her birthplace in dales beneath the ash Ygdrasil. There she takes her rest after the circuit of her journey has been completed. In the lower world Sol and Nott's son, Dag, also have their halls where they take their rest. But where Delling's wife and son have their dwellings there we should also look for Delling's own abode. As the husband of Nott and the father of Dag, Delling occupies the same place among the divinities of nature as the dawn and the glow of sunrise among the phenomena of nature. And outside the doors of Delling, the king of dawn, mythology has also located the dwarf Þjóðrerir ("he who moves the people"), who sings songs of awakening and blessing upon the world: "power to the Asas, success to the elves, wisdom to Hroptatyr" (afl gól hann ásum, en álfum frama, hyggju Hroptatý - Hávamál 160).

Unlike his kinsmen, Nott, Dag, and Sol, Delling has no duty which requires him to be absent from home a part of the day. The dawn is merely a reflection of Midgard's eastern horizon from Delling's subterranean dwelling. It can be seen only when Nott leaves the upper heaven and before Dag and Sol have come forward, and it makes no journey around the world. From a mythological standpoint it would therefore be possible to entrust the keeping of the castle of the ásmegir to the elf of dawn. The sunset-glow has another genius, Billing, and he, too, is a creation of Modsognir, if the dwarf-list is correct (Völuspá, Hauksbók). Sol, who on her way is pursued by two giant monsters in wolf-guise, is secure when she comes to her forest of the Varns behind the western horizon (til varna viðar - Grímnismál 39). There in western halls (Baldurs draumar 11) dwells Billing, the chief of the Varns (Billing veold Vernum - Cod. Exon. 320). There rests his daughter Rind bright as the sun on her bed, and his body-guard keeps watch with kindled lights and burning torches (Hávamál 97; cp. 100). Thus Billing is the watchman of the western boundary of Mimir's domain, Delling of the eastern.

From this it follows:
That the citadel of the ásmegir is situated in Mimir's lower world, and there in the regions of the elf of dawn.
That Svipdag, who has seen the citadel of the ásmegir, has made a journey in the lower world before he found Menglod and secured her as his wife.

The conclusion to which we have arrived in regard to the subterranean situation of the citadel is entirely confirmed by the other passage in the poetic Edda, where the ásmegir are mentioned by this name. Here we have an opportunity of taking a look within their castle, and of seeing the hall decorated with lavish splendour for the reception of an expected guest.

Vegtamskvida 6-7 [Baldurs draumar] tells us that Odin, being alarmed in regard to the fate of his son Baldur, made a journey to the lower world for the purpose of learning from a vala what foreboded his favourite son. When Odin had rode through Niflhel and come to green pastures (foldvegr), he found there below a hall decorated for festivity, and he asks the prophetess:

Hveim eru bekkir
baugum sánir,
flet fagurleg
flóuð gulli?"

"For whom are the benches strewn with rings and the gold beautifully scattered through the rooms?"

And the vala answers:

Hér stendur Baldri
um brugginn mjöður,
skírar veigar,
liggur skjöldur yfir,
en ásmegir
í ofvæni.

"Here stands for Baldur mead prepared, pure drink; shields are overspread, and the ásmegir are waiting impatiently."

Thus there stands in the lower world a hall splendidly decorated awaiting Baldur's arrival. As at other great feasts, the benches are strewn (cp. breiða bekki, strá bekki, búa bekki) with costly things, and the pure wonderful mead of the lower world is already served as an offering to the god. Only the shields which cover the mead-vessel need to be lifted off and all is ready for the feast. Who or what persons have, in so good season, made these preparations? The vala explains when she mentions the ásmegir and speaks of their longing for Baldur. It is this longing which has found utterance in the preparations already completed for his reception. Thus, when Baldur gets to the lower world, he is to enter the citadel of the ásmegir and there be welcomed by a sacrifice, consisting of the noblest liquid of creation, the strength-giving soma-madhu of Teutonic mythology. In the old Norse heathen literature there is only one more place where we find the word ásmegir, and that is in Olaf Tryggvason's saga, Ch. 16 (Heimskringla, p. 164, st. 119). For the sake of completeness this passage should also be considered, and when analysed it, too, sheds much and important light on the subject.

We read in this saga that Jarl Hakon proclaimed throughout his kingdom that the inhabitants should look after their temples and sacrifices, and so was done. Jarl Hakon's hird-skald, named Einar Skalaglam, who in the poem "Vellekla" celebrated his deeds and exploits, mentions his interest in the heathen worship, and the good results this was supposed to have produced for the jarl himself and for the welfare of his land. Einar says:

Og herþarfir hverfa,
Hlakkar móts, til blóta,
rauðbríkar fremst rækir
ríkur, ásmegir, slíku.
Nú grær jörð sem áðan, &c.

Put in prose: Og herþarfir ásmegir hverfa til blóta; ríkur Hlakkar móts rauðbríkar rækir fremst slíku. Nú grær jörð sem áðan.

Translation: "And the ásmegir required in war, turn themselves to the sacrificial feasts. The mighty promoter of the meeting of the red target of the goddess of war has honour and advantage thereof. Now grows the earth green as heretofore."

There can be no doubt that "the ásmegir required in war" refer to the men in the territory ruled by Hakon, and that "the mighty promoter of the meeting of the red target of the goddess of war" refers to the warlike Hakon himself, and hence the meaning of the passage in its plain prose form is simply this: "Hakon's men again devote themselves to the divine sacrifices. This is both an honour and an advantage to Hakon, and the earth again yields bountiful harvests."

To these thoughts the skald has given a garb common in poetry of art, by adapting them to a mythological background. The persons in this background are the ásmegir and a mythical being called "the promoter of the red target," rauðbríkar rækir. The persons in the foreground are the men in Hakon's realm and Hakon himself. The persons in the foreground are permitted to borrow the names of the corresponding persons in the background, but on the condition that the borrowed names are furnished with adjectives which emphasise the specific difference between the original mythic lenders and the real borrowers. Thus Hakon's subjects are allowed to borrow the appellation ásmegir, but this is then furnished with the adjective herþarfir (required in war), whereby they are specifically distinguished from the ásmegir of the mythical background, and Hakon on his part is allowed to borrow the appellation rauðbríkar rækir (the promoter of the red target), but this appellation is then furnished with the adjective phrase Hlakkar móts (of the meeting of the goddess of war), whereby Hakon is specifically distinguished from the rauðbríkar rækir of the mythical background.

The rule also requires that, at least on that point of which the skald happens to be treating, the persons in the mythological background should hold a relation to each other which resembles, and can be compared with, the relation between the persons in the foreground. Hakon's men stand in a subordinate relation to Hakon himself; and so must the ásmegir stand in a subordinate relation to that being which is called rauðbríkar rækir, providing the skald in this strophe as in the others has produced a tenable parallel. Hakon is, for his subjects, one who exhorts them to piety and fear of the gods. Rauðbríkar rækir, his counterpart in the mythological background, must have been the same for his ásmegir. Hakon's subjects offer sacrifices, and this is an advantage and an honour to Hakon, and the earth grows green again. In the mythology the ásmegir must have held some sacrificial feast, and (RAUÐBRÍKAR i rækir) must have had advantage and honour, and the earth must have regained its fertility. Only on these conditions is the figure of comparison to the point, and of such a character that it could be presented unchallenged to heathen ears familiar with the myths. It should be added that Einar's greatness as a skald is not least shown by his ability to carry out logically such figures of comparison. We shall later on give other examples of this.

Who is, then, this rauðbríkar rækir, "the promoter of the red target"?

In the mythological language rauðbrík (red target) can mean no other object than the sun. Compare röðull, which is frequently used to designate the sun. If this needed confirmation, then we have it immediately at hand in the manner in which the word is applied in the continuation of the paraphrase adapted to Hakon. A common paraphrase for the shield is the sun with suitable adjectives, and thus rauðbrík is applied here. The adjective phrase is here Hlakkar móts, "of the meeting of the war-goddess" (that is, qualifying the red target), whereby the red target (= sun), which is an attribute of the mythic rækir of the background, is changed to a shield, which becomes an attribute of the historical rækir of the foreground, namely Hakon jarl, the mighty warrior. Accordingly, rauðbríkar rækir of the mythology must be a masculine divinity standing in some relation to the sun.

This sun-god must also have been upon the whole a god of peace. Had he not been so, but like Hakon a war-loving shield-bearer, then the paraphrase hlakkar móts rauðbríkar rækir would equally well designate him as Hakon, and thus it could not be used to designate Hakon alone, as it then would contain neither a nota characteristica for him nor a differentia specifica to distinguish him from the mythic person, whose epithet rauðbríkar rækir he has been allowed to borrow.

This peaceful sun-god must have descended to the lower world and there stood in the most intimate relation with the ásmegir referred to the domain of Mimir, for he is here represented as their chief and leader in the path of piety and the fear of the gods. The myth must have mentioned a sacrificial feast or sacrificial feasts celebrated by the ásmegir. From this or these sacrificial feasts the peaceful sun-god must have derived advantage and honour, and thereupon the earth must have regained a fertility, which before that had been more or less denied it.

From all this it follows with certainty that rauðbríkar rækir of the mythology is Baldur. The fact suggested by the Vellekla strophe above analysed, namely, that Baldur, physically interpreted, is a solar divinity, the mythological scholars are almost a unit in assuming to be the case on account of the general character of the Baldur myth. Though Baldur was celebrated for heroic deeds he is substantially a god of peace, and after his descent to the lower world he is no longer connected with the feuds and dissensions of the upper world. We have already seen that he was received in the lower world with great pomp by the ásmegir, who impatiently awaited his arrival, and that they sacrifice to him that bright mead of the lower world, whose wonderfully beneficial and bracing influence shall be discussed below. Soon afterwards he is visited by Hermod. Already before Baldur's funeral pyre, Hermod upon the fastest of all steeds hastened to find him in the lower world (Gylfaginning 49), and Hermod returns from him and Nanna with the ring Draupnir for Odin, and with a veil for the goddess of earth, Fjörgyn-Frigg. The ring from which other rings drop, and the veil which is to beautify the goddess of earth, are symbols of fertility. Baldur, the sun-god, had for a long time before his death been languishing. Now in the lower world he is strengthened with the bracing mead of Mimir's domain by the ásmegir who gladly give offerings, and the earth regains her green fields.

Hakon's men are designated in the strophe as herþarfir ásmegir. When they are permitted to borrow the name of the ásmegir, then the adjective herþarfir, if chosen with the proper care, is to contain a specific distinction between them and the mythological beings whose name they have borrowed. In other words, if the real ásmegir were of such a nature that they could be called herþarfir, then that adjective would not serve to distinguish Hakon's men from them. The word herþarfir means "those who are needed in war," "those who are to be used in war". Consequently, the ásmegir are beings who are not to be used in war, beings whose dwelling, environment, and purpose suggest a realm of peace, from which the use of weapons is banished.

Accordingly, the parallel presented in Einar's strophe, which we have now discussed, is as follows:

In the background which Einar has given to his poetical paraphrase, we thus have the myth telling how the sun-god Baldur, on his descent to the lower world, was strengthened by the soma-sacrifice brought him by the ásmegir, and how he sent back with Hermod the treasures of fertility which had gone with him and Nanna to the lower world, and which restored the fertility of the earth.

To what category of beings do the ásmegir then belong? We have seen the word applied as a technical term in a restricted sense. The possibilities of application which the word with reference to its definition supplies are:

(1) The word may be used in the purely physical sense of Asa-sons, Asa-descendants. In this case the subterranean ásmegir would be by their very descent members of that god-clan that resides in Asgard, and whose father and clan-patriarch is Odin.
(2) The word can be applied to men. They are the children of the Asa-father in a double sense: the first human pair was created by Odin and his brothers (Völuspá 17-18; Gylfaginning 9), and their offspring are also in a moral sense Odin's children, as they are subject to his guidance and care. He is Allfather, and the father of the succeeding generations (alföðr, aldaföðr). A word resembling ásmegir in character is ásasynir, and this is used in Alvíssmál 16, in a manner which shows that it does not refer to any of those categories of beings that are called gods (see further, No. 62) [*] . The conception of men as sons of the gods is also implied in the all mankind embracing phrase, megir Heimdallar (Völuspá 1), with which the account of Rig-Heimdal's journeys on the earth and visits to the patriarchs of the various classes is connected [**] .

* Sól heitir með mönnum,
en sunna med goðum,
kalla dvergar Dvalins leika,
eygló jötnar,
álfar fagrahvel,
alskír ásasynir.

** Cp. also Gylfaginning 9, in regard to Odin: "Og fyrir því má hann heita Alföður, að hann er faðir allra goðanna og manna og alls þess, er af honum ok hans krafti var fullgjört.

The true meaning of the word in this case is determined by the fact that the ásmegir belong to the dwellers in the lower world already before the death of Baldur, and that Baldur is the first one of the Asas and sons of Odin who becomes a dweller in the lower world. To this must be added, that if ásmegir meant Asas, Einar would never have called the inhabitants of Norway, the subjects of jarl Hakon, herþarfir ásmegir, for herþarfir the Asas are themselves, and that in the highest degree. They constitute a body of more or less warlike persons, who all have been "needed in conflict" in the wars around Asgard and Midgard, and they all, Baldur included, are gods of war and victory. It would also have been malapropos to compare men with Asas on an occasion when the former were represented as bringing sacrifices to the gods; that is, as persons subordinate to them and in need of their assistance.

The ásmegir are, therefore, human beings excluded from the surface of the earth, from the mankind which dwell in Midgard, and are inhabitants of the lower world, where they reside in a splendid castle kept by the elf of dawn, Delling, and enjoy the society of Baldur, who descended to Hades. To subterranean human beings refers also Grímnismál 31, which says that men (mennskir menn) dwell under the roots of Ygdrasil; and Alvíssmál 16 (to be compared with 18, 20 [í helju], and other passages), and Skírnismál 34, which calls them ásliðar, a word which Gudbrand Vigfusson has rightly assumed to be identical with ásmegir.

Thus it is also demonstrated that the ásmegir are identical with the subterranean human persons Lif and Leifthrasir and their descendants in Mimir's grove. The care with which the mythology represents the citadel of the ásmegir kept, shown by the fact that the elf Delling, the counterpart of Heimdal in the lower world, has been entrusted with its keeping, is intelligible and proper when we know that it is of the greatest importance to shield Lif and Leifthrasir's dwelling from all ills, sickness, age, and moral evil (see above). It is also a beautiful poetic thought that it is the elf of the morning dawn - he outside of whose door the song of awakening and bliss is sung to the world - who has been appointed to watch those who in the dawn of a new world shall people the earth with virtuous and happy races. That the ásmegir in the lower world are permitted to enjoy the society of Baldur is explained by the fact that Lif and Leifthrasir and their offspring are after Ragnarok to accompany Baldur to dwell under his sceptre, and live a blameless life corresponding to his wishes. They are to be his disciples, knowing their master's commandments and having them written in their hearts.

We have now seen that the ásmegir already before Baldur's death dwell in Mimir's grove. We have also seen that Svipdag on his journey in the lower world had observed a castle, which he knew belonged to the ásmegir. The mythology knows two fimbul-winters: the former raged in time's morning, the other is to precede Ragnarok. The former occurred when Freyja, the goddess of fertility, was treacherously delivered into the power of the frost-giants and all the air was blended with corruption (Völuspá 25); when there came from the Elivogs stinging, ice-cold arrows of frost, which put men to death and destroyed the greenness of the earth (Hrafnagaldur 13; when King Snow ruled, and there came in the northern lands a famine which compelled the people to emigrate to the South (Saxo, Book VIII). Svipdag made his journey in the lower world during the time preceding the first fimbul-winter. This follows from the fact that it was he who liberated Freyja, the sister of the god of the harvests, from the power of the frost-giants (see Nos. 96-102). Lif and Leifthrasir were accordingly already at that time transferred to Mimir's grove. This ought to have occurred before the earth and her inhabitants were afflicted by physical and moral evil, while there still could be found undefiled men to be saved for the world to come; and we here find that the mythology, so far as the records make it possible for us to investigate the matter, has logically met this claim of poetic justice.