Northvegr - Prose Edda - Anderson Trans.

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Prose Edda - Anderson Trans.

Notes

CHAPTER 7

        Our ancestors divided the universe into nine worlds, and these again into three groups:
        1. Over the earth. Muspelheim, Ljosalfaheim and Asaheim.
        2. On the earth. Jotunheim, Midgard and Vanheim.
        3. Below the Earth. Svartalfaheim, Niflheim and Niflhel.
        The gods had twelve abodes:
        1. Thrudheim. The abode of Thor. His realm is Thrudvang, and
           his palace is Bilskirner.
        2. Ydaler. Uller's abode.
        3. Valaskjalf. Odin's hall.
        4. Sokvabek. The abode of Saga.
        5. Gladsheim, where there are twelve seats for the gods,
           besides the throne occupied by Alfather.
        6. Thrymheim. Skade's abode.
        7. Breidablik. Balder's abode.
        8. Himminbjorg. Heimdal's abode.
        9. Folkvang. Freyja's abode.
        10. Glitner. Forsete's abode.
        11. Noatun. Njord's abode.
        12. Landvide. Vidar's abode.
        According to the Lay of Grimner, the gods had twelve horses, but the owner of each horse is not given:
        (1) Sleipner (Odin's), (2) Goldtop (Heimdal's), (3) Glad, (4) Gyller, (5) Gler, (6) Skeidbrimer, (7) Silvertop, (8) Siner, (9) Gisl, (10) Falhofner, (11) Lightfoot, (12) Blodughofdi (Frey's).
        The owners of nine of them are not given, and, moreover, it is stated that Thor had no horse, but always either went on foot or drove his goats.
        The favorite numbers are three, nine and twelve. Monotheism was recognized in the unknown god, who is from everlasting to everlasting. A number of trinities were established, and the nine worlds were classified into three groups. The week had nine days, and originally there were probably but nine gods, that is, before the vans were united with the asas. The number nine occurs where Heimdal is said to have nine mothers, Menglad is said to have nine maid-servants, Æger had nine daughters, etc. When the vans were united with the asas, the number rose to twelve:
        (1) Odin, (2) Thor, (3) Tyr, (4) Balder, (5) Hoder, (6) Heimdal, (7) Hermod, (8) Njord, (9) Frey, (10) Uller, (11) Vidar, (12) Forsete.
        If we add to this list Brage, Vale and Loke, we get fifteen; but the Eddas everywhere declare that there are twelve gods, who were entitled to divine worship.
        The number of the goddesses is usually given as twenty-six.

CHAPTER 8

        Loke and his offspring are so fully treated in our Norse Mythology, that we content ourselves by referring our readers to that work.

CHAPTER 9

        Freyja's ornament Brising. In the saga of Olaf Tryggvason, there is a rather awkward story of the manner in which Freyja became possessed of her ornament. Freyja, it is told, was a mistress of Odin. Not far from the palace dwelt four dwarfs, whose names were Alfrig, Dvalin, Berling and Grer; they were skillful smiths. Looking one day into their stony dwelling, Freyja saw them at work on a beautiful golden necklace, or collar, which she offered to buy, but which they refused to part with, except on conditions quite incompatible with the fidelity she owed to Odin, but to which she, nevertheless, was tempted to accede. Thus the ornament became hers. By some means this transaction came to the knowledge of Loke, who told it to Odin. Odin commanded him to get possession of the ornament. This was no easy task, for no one could enter Freyja's bower without her consent. he went away whimpering, but most were glad on seeing him in such tribulation. When he came to the locked bower, he could nowhere find an entrance, and, it being cold weather, he began to shiver. He then transformed himself into a fly and tried every opening, but in vain; there was nowhere air enough to make him to get through [Loke (fire) requires air]. At length he found a hole in the roof, but not bigger than the prick of a needle. Through this he slipt. On his entrance he looked around to see if anyone was awake, but all were buried in sleep. He peeped in at Freyja's bed, and saw that she had the ornament round her neck, but that the lock was on the side she lay on. He then transformed himself into a flea, placed himself on Freyja's cheek, and stung her so that she awoke, but only turned herself round and slept again. He then laid aside his assumed form, cautiously took the ornament, unlocked the bower, and took his prize to Odin. In the morning, on waking, Freyja seeing the door open, without having been forced, and that her ornament was gone, instantly understood the whole affair. Having dressed herself, she repaired to Odin's hall, and upbraided him with having stolen her ornament, and insisted on its restoration, which she finally obtained. (Quoted by Thorpe.)
        Mention is also made of the Brósinga-men in the Beowulf (verse 2394). Here it is represented as belonging to Hermanric, but the legend concerning it has never been found.

CHAPTER 10

        This myth about Frey and Gerd is the subject of one of the most fascinating poems in the Elder Edda, the Journey of Skirner. It is, as Auber Forestier, in Echoes from Mistland, says, the germ of the Niblung story. Frey is Sigurd or Sigfrid, and Gerd is Brynhild. The myth is also found in another poem of the Elder Edda, the Lay of Fjolsvin, in which the god himself---there called Svipday (the hastener of the day)---undertakes the journey to arouse from the winter sleep the cold giant nature of the maiden Menglad (the sun-radiant daughter), who is identical with Freyja (the goddess of spring, promise, or of love between man and woman, and who can easily be compared with Gerd). Before the bonds which enchain the maiden can in either case be broken, Bele, (the giant of spring storms, corresponding to the dragon Fafner in the Niblung story,) must be conquered, and Wafurloge (the wall of bickering flames that surrounded the castle) must be penetrated. The fanes symbolize the funeral pyre, for whoever enters the nether world must scorn the fear of death. (Auber Forestier's Echoes from Mistland; Introduction, xliii, xliv.) We also find this story repeated again and again, in numberless variations, in Teutonic folk-lore; for instance, in The Maiden on the Glass Mountain, where the glass mountain takes the place of the bickering flame.

CHAPTER 11

        The tree Lerad (furnishing protection) must be regarded as a branch of Ygdrasil.

CHAPTER 12

        In Heimskringla Skidbladner is called Odin's ship. This is correct. All that belonged to the gods was his also.

CHAPTER 13

        For a thorough analysis of Thor as a spring god, as the god who dwells in the clouds, as the god of thunder and lightning, as the god of agriculture, in short, as the god of culture, we can do no better than to refer our readers to Der Mythus von Thor, nach Nordischen Quellen, von Ludwig Uhland, Stuttgart, 1836 and to Handbuch der Deutschen Mythologie, mit Einschluss der Nordischen, von Karl Simrock, Vierte Auflage, Bonn, 1874.

CHAPTER 14

        The death of Balder is justly regarded as the most beautiful myth in Teutonic mythology. It is connected with the Lay of Vegtam in the Elder Edda. Like so many other myths (Frey and Gerd, the Robbing of Idun, etc.) the myth symbolizes originally the end of summer and return of spring. Thus Balder dies every year and goes to Hel. But in the following spring he returns to the asas, and gladdens all things living and dead with his pure shining light. Gradually, however, the myth was changed from a symbol of the departing and returning of summer, and applied to the departing and returning of the world year, and thus the death of Balder prepares the way for Ragnarok and Regeneration. Balder goes to Hel and does not return to this world. Thokk refusses to weep for him. His return is promised after Ragnarok. The next spring does not bring him back, but the rejuvenated earth. Thus the death of Balder becomes the central thought in the drama of the fate of the gods and of the world. It is inseparably connected with the punishment of Loke and the twilight of the gods. The winter following the death of Balder is not an ordinary winter, but the Fimbul-winter, which is followed by no summer, but by the destruction of the world. The central idea in the Odinic religion, the destruction and regeneration of the world, has taken this beautiful sun-myth of Balder into its service. Balder is then no more merely the pure holy light of heaven; he symbolizes at the same time the purity and innocence of the gods; he is changed from a physical to an ethical myth. He impersonated all that was good and holy in the life of the gods; and so it came to pass that when the golden age had ceased, when thirst for gold (Gulveig), when sin and crime had come into the world, he was too good to live in it. As in Genesis fratricide (Cain and Abel) followed upon the eating of the forbidden fruit, and the loss of paradise; so, when the golden age (paradise) had ended among the asas, Loke (the serpent) brought fratricide (Hoder and Balder) among the gods; themselves and our ancestors regarded fratricide as the lowest depth of moral depravity. After the death of Balder
                Brothers slay brothers,
                Sisters' children
                Shed each other's blood,
                Hard grows the world,

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