Part 4 — V. THE IVALDE RACE. (continued 4)

The names also connect those whom we find to be kinsmen of Volund with Thjasse's. Alvalde is Thjasse's father; Ivalde is Volund's. Ívaldi is another form for Idvaldi. The long prefixed Í in Ívaldi is explained by the disappearance of d from Idvaldi. Id reappears in the name of Ivalde's daughter Idunn and Thjasse's brother Idi, and these are the only mythological names in which Id appears. Furthermore, it has already been pointed out, that of Alvalde's (Ölvaldi's) three sons there is one who has the epithet Wildboar (Aurnir, Urnir); and that among Ivalde's three sons there is one—namely, Orvandel-Egil—who has the same epithet (Ibor, Ebur, Ebbo); and that among Alvalde's sons one—namely, Thjasse—has the epithet Fjallgyldir, "mountain-wolf" (Haustlaung); while among Ivalde-Olmod's sons there is one—namely, Volund—who has the epithet Ásólfr, which also means "mountain-wolf."

In this connection it must not be forgotten that tradition has attached the qualities of giants, not only to Thjasse, but also to Volund. That this does not appear in the Elder Edda depends simply on the fact that Volund is not mentioned by this name in the genuine mythic songs, but only in the heroic fragment which we have in Volundarkvida. The memory that Volund, though an elf-prince in the mythology, and certainly not a full-blooded giant on his father's side, was regarded and celebrated in song as an iötunn,—the memory of this not only survives in Vilkinasaga, but appears there in an exaggeration fostered by later traditions, to the effect that his father Vade (see No. 110) is there called a giant, while his father's mother is said to have been a mermaid. In another respect, too, there survives in Vilkinasaga the memory of a relationship between Volund and the most famous giant-being. He and the giants Etgeir (Eggther) and Vidolf are cousins, according to chapter 175. If we examine the Norse sources, we find Vidolf mentioned in Hyndluljod (53) as progenitor of all the mythological valas, and Aurboda, the most notorious of the valas of mythology, mentioned in strophe 30 as a kinswoman of Thjasse. Thus while Hyndluljod makes Thjasse, the Vilkinasaga makes Volund, a kinsman of the giant Vidolf.

Though in a form greatly changed, the Vilkinasaga has also preserved the memory of the manner in which Volund's father closed his career. With some smiths ("dwarfs") who lived in a remote mountain, Vade had made an agreement, according to which, in return for a certain compensation, his son Volund should learn their wonderful art as smiths. When, toward the close of the time agreed upon, Vade appeared outside of the mountain, he was, before entering, killed by an avalanche in accordance with the treacherous arrangement of these smiths.

In the mythology Thjasse's father is the great drink-champion who, among his many names and epithets, as we have seen, also has some that refer to his position in the mythology in regard to fermented beverage; Svigdir (the great drinker) Ölvaldi, Ölmódr, Sumbl Finnakonungr. In regard to Svigdir's death, it has already been shown (see No. 89) that, on his complete disappearance from the mythology, he is outside of a mountain in which Suttung and Suttung's sons, descendants of Surt-Durinn, with Mimer the most ancient smith (see No. 89), have their halls; that on his arrival a treacherous dwarf, the doorkeeper of Suttung's sons, goes to meet him, and that he is "betrayed" by the dwarf, never enters the rocky halls, and consequently must have died outside.

Vilkinasaga's very late statements (probably taken from German traditions), in regard to the death of Volund's father, thus correspond in the main features with what is related in the Norse records as to how Thjasse's father disappeared from the scene of mythology.

In regard to the birth and rank of Thjasse's father among the mythic powers, the following statements in poems from the heathen time are to be observed. When Haustlaung tells how Thjasse falls into the vaferflames kindled around Asgard, it makes use of the words Greipar bidils son svidnar, "the son of Greip's wooer is scorched." Thus Thjasse's mother is the giantess Greip, who, according to a stanza cited in the Younger Edda, i. 288, is a daughter of the giant Geirrödr and a sister of Gjalp. One of these sisters, and, so far as we can see, Greip, is, in Thorsdrapa, called meinsvarans hapts arma farmr, "the embrace of the arms of the perjurous hapt." Höpt, sing hapt, is like bönd, meaning the same, an appellation of lower and higher powers, numina of various ranks. If by the perjurous mistress of the hapt Greip, and not the sister Gjalp, is meant, then Thjasse's father is a being who belonged to the number of the numina of the mythology, and who, with a giantess whose bidill he had been, begat the son Thjasse, and probably also the latter's brothers Idi and Gángr (Aurnir). What rank this perjurous hapt held among the powers is indicated in Vellekla, strophe 9, which, like the foregoing strophe 8, and the succeeding strophes 10, 11, treats of Hakon Jarl's conflicts at Dannevirke, whither he was summoned, in the capacity of a vassal under the Danish king, Harald Blue-tooth, to defend the heathen North against Emperor Otto II.'s effort to convert Denmark to Christianity by arms. The strophe, which here, too, in its paraphrases presents parallels between Hakon Jarl and his mythic progenitor Thjasse, says that the Danish king (fémildr konungr) desired that the Morkwood's Hlodyn's (Mork-wood's earth's, that is to say, the woody Norway's) elf, he who came from the North (myrkmarkar Hlodynjar alfs, thess er kom nordan), was to be tested in "murder-frost," that is to say, in war (vid mord-frost freista), when he (Denmark's king) angrily bade the cold-hard storm-watcher (stirdan vedrhirdi, Hakon Jarl) of the Hordaland dwellers (of the Norsemen) defend Dannevirke (Virki varda) against the southland Njords of the shield-din (fyr serkja-hlym-val-Njördum, "the princes of the southland warriors").

Here, too, the myth about Thjasse and of the fimbul-winter forms the kernel out of which the paraphrases adapted to Hakon Jarl have grown. Hakon is clothed with the mask of the cold-hard storm-watcher who comes from the North and can let loose the winter-winds. Emperor Otto and the chiefs who led the southern troops under him are compared with Njord and his kinsmen, who, in the mythology, fought with Volund and the powers of frost, and the battle between the warriors of the South and the North is compared with a "murder-frost," in which Hakon coming from the North meets the Christian continental Teutons at Dannevirke.

Thus the mythical kernel of the strophe is as follows: The elf of the Morkwood of Hlodyn, the cold-hard storm-watcher, tested his power with frost-weather when he fought with Njord and his kinsmen.

The Hlodyn of the Morkwood—that is to say, the goddess of the Jotunheim woods—is in this connection Thjasse's daughter Skade, who, in Haleygjatal, is called Járnvidja of Járnvidr, the Ironwood, which is identical with the Morkwood (Darkwood). Thjasse himself, whose father is called "a perjurous hapt" in Thorsdrapa, is here called an elf. Alone, this passage would not be sufficient to decide the question as to which class of mythical beings Thjasse and his father belonged, the less so as álfr, applied in a paraphrase, might allude to any sort of being according to the characterisation added. But "perjurous hapt" cannot possibly be a paraphrase for a giant. Every divinity that has violated its oath is "a perjurous hapt," and the mythology speaks of such perjuries. If a god has committed perjury, this is no reason why he should be called a giant. If a giant has committed perjury, this is no reason why he should be called a hapt, for it is nothing specially characteristic of the giant nature that it commits perjury or violates its oath. In fact, it seems to me that there should be the gravest doubts about Thjasse's being a giant in the strictest and completest sense of the word, from the circumstances that he is a star-hero; that distinguished persons considered it an honour to be descended from him; that Hakon Jarl's skalds never tired of clothing him with the appearance of his supposed progenitor, and of comparing the historical achievements of the one with the mythical exploits of the other; and that he, Thjasse, not only robbed Idun, which indeed a genuine giant might do, but that he also lived with her many long years, and, so far as we can see, begat with her the daughter Skade. It should be remembered, from the foregoing pages, what pains the mythology takes to get the other asynje, Freyja, who had fallen into the hands of giants, back pure and undefiled to Asgard, and it is therefore difficult to believe that Idun should be humiliated and made to live for many years in intimacy with a real giant. It follows from this that when Thjasse, in the above-cited mythological kernel of the strophe of Vellekla, is called an álfr, and when his father in Thorsdrapa is called a hapt, a being of higher or lower divine rank, then álfr is a further definition of the idea hapt, and informs us to which class of numina Thjasse belonged—namely, the lower class of gods called elves. Thus, on his father's side, Thjasse is an elf. So is Volund. In Volundarkvida he is called a prince of elves. Furthermore, it should be observed that, in the strophe-kernel presented above, Thjasse is represented as one who has fought with Njord and his allies. In Saxo it is Anund-Volund and his brother the archer who fight with Njord-Fridlevus and his companions; and as Njord in Saxo marries Anund-Volund's daughter, while in the mythology he marries Thjasse's daughter, then this is another recurrence of the fact which continually comes to the surface in this investigation, namely, that whatever is told of Volund is also told of Thjasse.

114.

PROOFS THAT IVALDE'S SONS ARE OLVALDE'S (continued). A REVIEW OF THORSDRAPA.

(21) We now come to a mythic record in which Thjasse's brothers Idi and Gángr, and he too, in a paraphrase, are mentioned under circumstances well suited to throw light on the subject before us, which is very important in regard to the epic connection of the mythology.

Of Thor's expedition to Geirrod, we have two very different accounts. One is recorded by the author of Skaldskaparmal; the other is found in Eilif Gundrunson's Thorsdrapa.

In Skaldskaparmal (Younger Edda, i. 284) we read:

Only for pleasure Loke made an expedition in Freyja's feather guise, and was led by his curiosity to seat himself in an opening in the wall of Geirrod's house and peep in. There he was captured by one of Geirrod's servants, and the giant, who noticed from his eyes that it was not a real falcon, did not release him before he had agreed so to arrange matters that Thor should come to Geirrod's hall without bringing with him his hammer and belt of strength. This Loke was able to bring about. Thor went to Geirrod without taking any of these implements—not even his steel gloves—with him. Loke accompanied him. On the way thither Loke visited the giantess whose name was Grídr, and who was Vidar the Silent's mother. From her Thor learned the facts about Geirrod—namely, that the latter was a cunning giant and difficult to get on with. She lent Thor her own belt of strength, her own iron gloves, and her staff, Grídarvölr. Then Thor proceeded to the river which is called Vimur, and which is the greatest of all rivers. There he buckled on his belt of strength, and supported himself in the stream on the Grídarvölr. Loke held himself fast to the belt of strength. When Thor reached the middle of the stream, the water rose to his shoulders. Thor then perceived that up in a mountain chasm below which the river flowed stood Gjalp, Geirrod's daughter, with one foot on each side of the river, and it was she who caused the rising of the tide. Then Thor picked up a stone and threw it at the giantess, saying: "At its mouth the river is to be stopped." He did not miss his mark. Having reached the other bank of the river, he took hold of a rowan, and thus gained the land. Hence the proverb: "Thor's salvation, the rowan." And when Thor came to Geirrod a goat-house was first given to him and Loke (according to Codex Regius; according to the Upsala Codex a guest-house) as their lodgings. Then are related the adventures Thor had with Geirrod's daughters Gjalp and Greip, and how he, invited to perform games in Geirrod's hall, was met by a glowing iron which Geirrod threw against him with a pair of tongs, but which he caught with the iron gloves and threw back with so great force that the iron passed through a post, behind which Geirrod had concealed himself, and through Geirrod himself and his house wall, and then penetrated into the earth.

This narrative, composed freely from mythical and pseudo-mythical elements, is related to Thorsdrapa, composed in heathen times, about in the same manner as Bragarædur's account of Odin and Suttung is related to that of Havamál. Just as in Bragarædur punctum saliens lies in the coarse jest about how poor poetry originated, so here a crude anecdote built on the proverb, "A stream is to be stemmed at its mouth," seems to be the basis of the story. In Christian times the mythology had to furnish the theme not only for ancient history, heroic poems, and popular traditions, but also for comic songs.

Now, a few words in regard to Thorsdrapa. This song, excellent from the standpoint of poetry and important from a mythological point of view, has, in my opinion, hitherto been entirely misunderstood, not so much on account of the difficulties found in the text—for these disappear, when they are considered without any preconceived opinion in regard to the contents—as on account of the undeserved faith in Skaldskaparmal's account of Thor's visit to Geirrod, and on account of the efforts made under the influence of this misleading authority to rediscover the statements of the latter in the heathen poem. In these efforts the poetics of the Christian period in Iceland have been applied to the poem, and in this way all mythological names, whose real meaning was forgotten in later times, have received a general faded signification, which on a more careful examination is proved to be incorrect. With a collection of names as an armoury, in which the names of real or supposed "dwarfs," "giants," "sea-kings," &c., are brought together and arranged as synonyms, this system of poetics teaches that from such lists we may take whatever dwarf name, giant name, &c., we please to designate whichever "dwarf," "giant," &c., we please. If, therefore, Thorsdrapa mentions "Idi's chalet" and "Gángr's war-vans," then, according to this system of poetics, Idi and Gángr's—though they in heathen times designated particular mythic persons who had their own history, their own personal careers—have no other meaning than the general one of "a giant," for the reason that Idi and Gángr are incorporated in the above-named lists of giant names. Such a system of poetics could not arise before the most of the mythological names had become mere empty sounds, the personalities to whom they belonged being forgotten. The fact that they have been adapted, and still continue to be adapted, to the poems of the heathen skalds, is one of the reasons why the important contributions which names and paraphrases in the heathen poetry are able to furnish in mythological investigations have remained an unused treasure.

While Skaldskaparmal makes Loke and no one else accompany Thor to Geirrod, and represents the whole matter as a visit to the giant by Thor, we learn from Thorsdrapa that this journey to Jotunheim is an expedition of war, which Thor makes at the head of his warriors against the much-dreaded chief of giants, and that on the way thither he had to fight a real battle with Geirrod's giants before he is able to penetrate to the destination of his expedition, Geirrod's hall, where the giants put to flight in the battle just mentioned gather, and where another battle is fought. Thorsdrapa does not mention with a single word that Loke accompanied Thor on this warlike expedition. Instead of this, we learn that he had a secret understanding with one of Geirrod's daughters, that he encouraged Thor to go, and gave him untruthful accounts of the character of the road, so that, if not Thor himself, then at least the allies who went with him, might perish by the ambush laid in wait for them. That Loke, under such circumstances, should accompany Thor is highly incredible, since his misrepresentations in regard to the character of the way would be discovered on the journey, and reveal him as a traitor. But since Skaldskaparmal states that Loke was Thor's companion, the interpreters of Thorsdrapa have allowed him so to remain, and have attributed to him—the traitor and secret ally of the giants—and to Thjalfe (who is not mentioned in the Skaldskaparmal account) the exploits which Thor's companions perform against the giants. That the poem, for instance, in the expression Thjáfi med ýta sinni, "Thjalfe with his companions," in the most distinct manner emphasises the fact that a whole host of warriors had Thor as their leader on this expedition, was passed over as one of the obscure passages in which the poem was supposed to abound, and the obscurity of which simply consists in their contradicting the story in Skaldskaparmal. Thorsdrapa does not mention with a single word that Thor, on his journey to Geirrod, stopped at the home of a giantess Gridr, and borrowed from her a staff, a belt of strength, and iron gloves; and I regard it as probable that this whole episode in Skaldskaparmal has no other foundation than that the staff which Thor uses as his support on wading across the rapid stream is in Thorsdrapa now called grídarvölr, "the safety staff," and again, brautar lids tollr, "the way-helping tree." The name grídarvölr, and such proverbs as at ósi skall á stemma and reynir er björg thórs, appear to be the staple wares by the aid of which the story in Skaldskaparmal was framed. The explanation given in Skaldskaparmal of the proverb reynir er björg thórs, that, by seizing hold of a rowan growing on the river bank, Thor succeeded in getting out of the river, is, no doubt, an invention by the author of the story. The statement cannot possibly have had any support in the mythology. In it Thor is endowed with ability to grow equal to any stream he may have to cross. The rowan mentioned in the proverb is probably none other than the "way-helping tree," the "safety staff," on which he supports himself while wading, and which, according to Thorsdrapa (19), is a brotningr skógar, a tree broken or pulled up in the woods.

I now pass to the consideration of the contents of Thorsdrapa:

Strophe 1. The deceitful Loke encourages Thor to go from home and visit Geirrod, "the master of the temple of the steep altars." The great liar assures him that green paths would take him to Geirrod's halls, that is to say, they were accessible to travellers on foot, and not obstructed by rivers.

Note.—For Thor himself the condition of the roads might be of less importance. He who wades across the Elivagar rivers and subterranean streams did not need to be very anxious about finding water-courses crossing his paths. But from the continuation of the poem we learn that this expedition to Jotunheim was not a visit as a guest, or a meeting to fight a duel, as when Thor went to find Hrungner, but this time he is to press into Jotunheim with a whole army, and thus the character of the road he was to travel was of some importance. The ambush laid in his way does not concern Thor himself, but the giant-foes who constitute his army. If the latter perish in the ambush, then Geirrod and his giants will have Thor alone to fight against, and may then have some hope of victory.

Strophe 2. Thor did not require much urging to undertake the expedition. He leaves Asgard to visit Jotunheim. Of what happened on the way between Asgard and the Elivagar rivers, before Thor penetrated into Jotunheim, the strophe says:

thá er gjardvenjodr When the belt-wearer (Thor the possessor of the belt of strength)

endr (= iterum, rursus) now, as on former occasions,

ríkri Idja Gandvikr-setrs skotum strengthened by the men of Ide's chalet situated near Gandvik,

gördist frá thridia til Ymsa kindar, was on his way from Odin to Ymse's (Ymer's) race,

fystust their (Cod. Worm.) fýrstuz (Cod. Reg.) it was to them (to Thor and to the men of Ide's chalet) a joy (or they rushed thither)

at thrysta thorns nidjum to conquer Thorn's (Bolthorn-Ymer's) kinsmen.

Note.—The common understanding of this passage is (1) that endr has nothing to do with the contents, but is a complementary word which may be translated with "once upon a time," a part which endr has to play only too often in the interpretation of the old poems; (2) that Ide is merely a general giant name, applicable, like every other giant name, in a paraphrase Idja setr, which is supposed to mean Jotunheim; (3) that rikri Idja setrs skotum or rikri Gandvikr skotum was to give the hearers or readers of Thorsdrapa the (utterly unnecessary) information that Thor was stronger than the giants; and (4) that they who longed to subdue Ymer's kinsmen were Thor and Loke—the same Loke who, in secret understanding with the giant-chief and with one of his daughters (see below), has the purpose of enticing Thor and his companions in arms into a trap!

Rikri ... skotum is to be regarded as an elliptical sentence in which the instrumental preposition, as is often the case, is to be understood. When Thor came from Asgard to the chalet of Ide, situated near Gandvik, he there gets companions in arms, and through them he becomes rikri, through them he gets an addition to his own powers in the impending conflicts. The fact that when Thor invades Jotunheim he is at the head of an army is perfectly evident from certain expressions in the poem, and from the poem as a whole. Whence could all these warriors come all of a sudden? They are not dwellers in Asgard, and he has not brought them with him in his lightning chariot. They live near Gandvik, which means "the magic bay," the Elivagar. Gandvik was a purely mythological-geographical name before it became the name of the White Sea in a late Christian time, when the sea between Greenland and America got the mythic name Ginungagap. Their being the inhabitants on the coast of a bay gives the author of Thorsdrapa an occasion further on to designate them as vikings, bayings. We have already seen that it is a day's journey between Asgard and the Elivagar (see No. 108), and that on the southern coast Thor has an inn, where he stops, and where his precious team and chariot are taken care of while he makes expeditions into Jotunheim. The continuation of the poem shows that this time, too, he stopped at this inn, and that he got his warriors there. Now, as always before, he proceeds on foot, after having reached Jotunheim.

Strophe 3 first makes a mythic chronological statement, namely, that the daughter of Geirrod, "skilled in magic," had come to an understanding with Loke, before Rogner became the ally of the latter. This mythic chronological statement shows (1) that there was a time when Rogner did not share Loke's plans, which were inimical to the gods; (2) that the events recounted in Thorsdrapa took place before Rogner became a foe of the gods. Why Thorsdrapa thinks it necessary to give this information becomes apparent already in the fourth strophe.

Then the departure from Ide's chalet is mentioned. The host hostile to the giants proceeds to Jotunheim, but before it gets thither it must traverse an intermediate region which is called Endil's meadow.

We might expect that instead of speaking of a meadow as the boundary territory which had to be traversed before getting into Jotunheim, the poem would have spoken of the body of water behind which Jotunheim lies, and mentioned it by one of its names—Elivagar, Gandvik, or Hraun. But on a more careful examination it appears that Endil's meadow is only a paraphrase for a body of water. The proof of this is found in the fact that "Endil's skees," Endils andrar, Endils itrskid, is a common paraphrase for ship. So is Endils eykr, "Endil's horse." The meadow which Endil crosses on such skees and on such a horse must therefore be a body of water. And no other water can be meant than that which lies between Endil's chalet and Jotunheim, that is, Elivagar, Gandvik.

The name Endill may be the same as Vendill, Vandill (Younger Edda, i. 548), and abbreviation of Örvandill. The initial V was originally a semi-vowel, and as such it alliterated with other semi-vowels and with vowels (compare the rhymes on an Oland runic stone, Vandils jörmungrundar urgrandari). This easily-disappearing semi-vowel may have been thrown out in later times where it seemed to obscure the alliteration, and thus the form Endil may have arisen from Vendil, Vandil. "Örvandel's meadow" is accordingly in poetic language synonymous with Elivagar, and the paraphrase is a fitting one, since Orvandel-Egil had skees which bore him over land and sea, and since Elivagar was the scene of his adventures.

Strophe 4 tells that after crossing "Endil's meadow" the host of warriors invaded Jotunheim on foot, and that information about their invasion into the land of the giants came to the witches there.

Two important facts are here given in regard to these warriors: they are called Gángs gunn-vanir and Vargs fridar, "Gang's warrior-vans," and "Varg's defenders of the land." Thus, in the first strophes of Thorsdrapa, we meet with the names of Olvalde's three sons: Rögnir (Thjasse), Idi, and Gángr. The poem mentions Rogner's name in stating that the expedition occurred before Rogner became the foe of the gods; it names Ide's name when it tells that it was at his (Ide's) chalet near Gandvik that Thor gathered these warriors around him; and it names Gángr's name, and in connection therewith Vargr's name, when it is to state who the leaders were of those champions who accompanied Thor against Geirrod. Under such circumstances it is manifest that Thorsdrapa relates an episode in which Ide, Gang, and Thjasse appear as friends of Thor and foes of the giants, and that the poem locates their original country in the regions on the south coast of Elivagar, and makes Idja setr to be situated near the same strand, and play in Thor's expeditions the same part as Orvandel-Egil's abode near the Elivagar, which is also called chalet, Geirvandil's setr, and Ýsetr. The Vargr who is mentioned is, therefore, so far as can be seen, Rogner-Thjasse himself, who in Haustlaung, as we know, is called fjallgyldir, that is to say, wolf.

All the warriors accompanying Thor were eager to fight Ymer's descendants, as we have seen in the second strophe. But the last lines of strophe 4 represent one in particular as longing to contend with one of the warlike and terrible giantesses of giant-land. This champion is not mentioned by name, but he is characterised as bragdmildr, "quick to conceive and quick to move;" as brædivændr, "he who is wont to offer food to eat;" and as bölkveitir or bölkvetir Loka, "he who compensated Loke's evil deed." The characterisations fit Orvandel-Egil, the nimble archer and skee-runner, who, at his chalet, receives Thor as his guest, when the latter is on his way to Jotunheim, and who gave Thor Thjalfe and Roskva as a compensation, when Loke had deceitfully induced Thjalfe to break a bone belonging to one of Thor's slaughtered goats for the purpose of getting at the marrow. If Thorsdrapa had added that the champion thus designated also was the best archer of mythology, there could be no doubt that Egil was meant. This addition is made further on in the poem, and of itself confirms the fact that Egil took part in the expedition.

Strophe 5, compared with strophes 6 and 7, informs us that Thor, with his troop of champions, in the course of his march came into one of the wild mountain-regions of Jotunheim. The weather is bad and hail-showers fall. And here Thor finds out that Loke has deceived him in the most insolent manner. By his directions Thor has led his forces to the place where they now are, and here rushes forth from between the mountains a river into which great streams, swelling with hail-showers, roll down from the mountains with seething ice-water. To find in such a river a ford by which his companions can cross was for Thor a difficult matter.

Strophe 6. Meanwhile the men from Ide's chalet had confidently descended into the river. A comparison with strophes 7 and 8 shows that they cautiously kept near Thor, and waded a little farther up the river than he. They used their spears as staffs, which they put down into the stony bottom of the river. The din of the spears, when their metallic points came in contact with the stones of the bottom blended with the noise of the eddies roaring around the rocks of the river (Knátti hreggi höggvinn hlymthel vid möl glymja, enn fjalla fellihryn thaut med Fedju stedja).

Strophe 7. In the meantime the river constantly rises and increases in violence, and its ocean-like billows are already breaking against Thor's powerful shoulders. If this is to continue, Thor will have to resort to the power inherent in him of rising equally with the increase of the waves.

Note.—But the warriors from Ide's sæter, who do not possess this power, what are they to do? The plan laid between Loke and the witches of Jotunheim is manifestly to drown them. And the succeeding strophes show that they are in the most imminent danger.

Strophes 8 and 9. These bold warriors waded with firm steps; but the billowing masses of water increased in swiftness every moment. While Thor's powerful hands hold fast to the staff of safety, the current is altogether too strong for the spears, which the Gandvik champions have to support themselves on. On the mountains stood giantesses increasing the strength of the current. Then it happened that "the god of the bow, driven by the violence of the billows, rushed upon Thor's shoulders (kykva naudar áss, blasinn hrönnjardar skafls hvetvidri, thurdi haudrs runn of herdi), while Thjalfe with his comrades came, as if they had been automatically lifted up, and seized hold of the belt of the celestial prince" (Thor) (unnz thjálfi med ýta sinni kom sjálflopta á himinsjóla skaunar-seil).

Note.—Thus the plan laid by Loke and the giantesses to drown the men hostile to the giants, the men dwelling on the south coast of the Elivagar, came near succeeding. They were saved by their prudence in wading higher up the stream than Thor, so that, if they lost their foothold, they could be hurled by the eddies against him. One of the Gandvik champions, and, as the continuation of the poems shows, the foremost one among them, here characterised as "the god of the bow," is tossed by a storm-billow against Thor's shoulders, and there saves himself. Thjalfe and the whole remaining host of the warriors of Ide's sæter have at the same time been carried by the waves down against Hlodyn's powerful son, and save themselves by seizing hold of his belt of strength. With "the god of the bow" on his shoulders, and with a whole host of warriors clinging to his waist, Thor continues his wading across the stream.

In strophe 8, the Gandvik champions are designated by two paraphrases. We have already seen them described as "Gang's warrior-vans" and as "Varg's land-defenders." Here they are called "the clever warriors of the viking-sæter" (víkinga setrs snotrir gunnar runnar) and "Odin's land-defenders, bound by oaths" (Gauta eidsvara fridar). That Ide's sæter is called "the vikings' sæter" is explained by the fact that it is situated near Gandvik, and that these bayings had the Elivagar as the scene of their conflicts with the powers of frost. That they are Odin's land-defenders, bound by oaths, means that they are mythical beings, who in rank are lower than the Asas, and are pledged by oaths to serve Odin and defend his territory against the giants. Their sæter (chalet) near Gandvik is therefore an outpost against the powers of frost. It follows that Ide, Gang, and Thjasse originally are numina, though of a lower, serving rank; that their relation to the higher world of gods was of such a character that they could not by their very nature be regarded as foes of the giants, but are bound to the cause of the gods by oaths; but on the other hand they could not be full-blooded giants of the race produced from Ymer's feet (see No. 86). Their original home is not Jotunheim itself, but a land bordering on the home of the giants, and this mytho-geographical locality must correspond with their mytho-genealogical position. The last strophe in Thorsdrapa calls the giants slain by the Gandvik champions "Alfheim's calves," Alfheim's cattle to be slaughtered, and this seems to indicate that these champions belong to the third and lowest of those clans into which the divinities of the Teutonic mythology are divided, that is, the elves.

The Gandvik champion who rescues himself on Thor's shoulders, while the rest of them hold fast to his girdle, is a celebrated archer, and so well known to the hearers of Thorsdrapa, that it was not necessary to mention him by name in order to make it clear who he was. In fact, the epithet applied to him, "the god of the bow" (áss kykva naudar, and in strophe 18, tvívidar Týr), is quite sufficient to designate him as the foremost archer of mythology, that is, Orvandel-Egil, who is here carried on Thor's shoulders through the raging waves, just as on another occasion he was carried by Thor in his basket across the Elivagar. Already in strophe 4 he is referred to as the hero nimble in thought and body, who is known for his hospitality, and who made compensation for Loke's evil deed. The foremost one next after him among the Gandvik champions is Thjalfe, Egil's foster-son. The others are designated as Thjalfe's ýta sinni, his body of men.

Thus we find that the two foremost among "Gang's warrior-vans," who with Thor marched forth from "Ide's sæter," before Rogner (Thjasse) became Loke's ally, are Volund's and Slagfin's brother Egil and Egil's foster-son Thjalfe. We find that Egil and Thjalfe belong to the inhabitants of Ide's sæter, where Thor on this occasion had stopped, and where he had left his chariot and goats, for now, as on other occasions, he goes on foot to Jotunheim. And as in other sources Egil is mentioned as the one who on such occasions gives lodgings to Thor and his goats, and as Thorsdrapa also indicates that he is the hospitable host who had received Thor in his house, and had paid him a ransom for the damage caused by Loke to one of his goats, then this must be a most satisfactory proof that Ide's sæter is the same place as the Geirvadils setr inhabited by Egil and his brothers, and that Orvandel-Egil is identical either with Ide or Gang, from which it follows, again, that Alvalde's (Olvalde's) sons, Ide, Gang, and Thjasse, are identical with Ivalde's sons, Slagfin, Egil, and Volund.

That Egil is identical with Gang and not with Ide is apparent from a comparison with the Grotte-song. There Olvalde's sons are called Idi, Aurnir, and Thjazi, while in the Younger Edda they are called Idi, Gángr, and Thjazi. Thus Aurnir is identical with Gángr, and as Aurnir means "wild boar," and as "wild boar" (Ebur, Ibor, Ebbo) is an epithet of Egil, Orvandel-Egil must be identical with Gang.

In regard to the rest of Thorsdrapa I may be brief, since it is of less interest to the subject under discussion.

Strophe 10. In spite of the perilous adventure described above, the hearts of Thjalfe and the Gandvik champions were no more terrified than Thor's. Here they are designated as eids fiardar, "the men pledged by oath," with which is to be compared eidsvara fridar in strophe 8.

Strophes 11, 12, show that Thor landed safely with his burden. Scarcely had he and his companions got a firm foothold on the other strand before Geirrod's giant-clan, "the world-tree-destroying folk of the sea-belt," came to the spot, and a conflict arose, in which the attacks of the giants were firmly repulsed, and the latter were finally forced to retreat.

Strophe 13. After the victory Thor's terrible hosts pressed farther into Jotunheim to open Geirrod's hall, and they arrived there amid the din and noise of cave-dwellers.

The following strophes mention that Thor broke the backs of Geirrod's daughters, and pressed with his warriors into Geirrod's hall, where he was received with a piece of red-hot iron hurled by the latter, which, hurled back by Thor, caused the death of the giant-chief. Thor had given the glowing javelin such a force that some one who stood near him, probably Egil, "drank so that he reeled in the air-current of the piece of iron the air-drink of Hrimner's daughter" (svalg hrapmunum á siu lopti Hrimnis drósar lyptisylg). Hrimner's daughter is Gulveig-Heid (Hyndluljod, 32), and her "air-drink" is the fire, over which the gods held her lifted on their spears (Völuspa, 21).

As we see from the context, Geirrod's halls were filled with the men who had fled from the battle near the river, and within the mountain there arose another conflict, which is described in the last three strophes of the poem. Geirrod's hall shook with the din of battle. Thor swung his bloody hammer. "The staff of safety," "the help-tree of the way," the staff on which Thor supported himself in crossing the river, fell into Egil's hands (kom at tvívidar Tývi brautar lids tollr), who did not here have room to use his bow, but who, with this "convenient tree jerked (or broken) from the forest," gave death-blows to "the calves of Alfheim." The arrows from his quiver could not be used in this crowded place against the men of the mountain-chief.

The fact that the giants in Thorsdrapa use the sling is of interest to the question concerning the position of the various weapons of mythology. Geirrod is called vegtaugar thrjótr, "the industrious applier of the sling" (str. 17), and álmtaugar Ægir, "the Ægir of the sling made of elm-bast."

In the last strophe Egil is said to be helblótinn and hneitir, undirfjálfs bliku, expressions to which I shall recur further on.

Like the relation between Volund and his swan-maids in Volundarkvida, the relation between Rogner-Thjasse and Idun in Forspjallsljod is not that of the robber to his unwilling victim, but one of mutual harmony. This is confirmed by a poem which I shall analyse when the investigation reaches a point that demands it, and according to which Idun was from her childhood tied by bonds of love and by oath to the highly-gifted but unhappy son of Ivalde, to the great artist who, by his irreconcilable thirst for revenge, became the Lucifer of Teutonic mythology, while Loke is its Mefisto. I presume that the means of rejuvenation, the divine remedy against age (ellilyf ása—Haustlaung), which Idun alone in Asgard knows and possesses, was a product of Thjasse-Volund's art. The middle age also remembered Volund (Wieland) as a physician, and this trait seems to be from the oldest time, for in Rigveda, too, the counterparts of the Ivalde sons, that is, the Ribhus, at the request of the gods, invent means of rejuvenation. It may be presumed that the mythology described his exterior personality in a clear manner. From his mother he must have inherited his giant strength, which, according to the Grotte-song, surpassed Hrungner's and that of the father of the latter (Hard var Hrungnir ok hans fadir, thó var Thjazi theim auflgari—str. 9). With his strength beauty was doubtless united. Otherwise, Volundarkvida's author would scarcely have said that his swan-maid laid her arms around Anund's (Volund's) "white" neck. That his eyes were conceived as glittering may be concluded from the fact that they distinguish him on the starry canopy as a star-hero, and that in Volundarkvida Nidhad's queen speaks of the threatening glow in the gaze of the fettered artist (amon ero augu ormi theim enom frána—str. 17).

Ivalde's sons—Thjasse-Volund, Aurnir-Egil, and Ide-Slagfin—are, as we have seen, bastards of an elf and a giantess (Greip, Gambara). Ivalde's daughters, on the other hand (see No. 113), have as mother a sun-dis, daughter of the ruler of the atmosphere, Nokver. In other sources the statement in Forspjallsljod (6) is confirmed, that Ivalde had two groups of children, and that she who "among the races of elves was called Idun" belonged to one of them. Thus, while Idun and her sisters are half-sisters to Ivalde's sons, these are in turn half-brothers to pure giants, sons of Greip, and these giants are, according to the Grotte-song (str. 9), the fathers of Fenja and Menja. The relationship of the Ivalde sons to the gods on the one hand and to the giants on the other may be illustrated by the following scheme:

115.

REVIEW OF THE PROOFS OF VOLUND'S IDENTITY WITH THJASSE.

The circumstances which first drew my attention to the necessity of investigating whether Thjasse and Volund were not different names of the same mythic personality, which the mythology particularly called Thjasse, and which the heroic saga springing from the mythology in Christian times particularly called Volund, were the following: (1) In the study of Saxo I found in no less than three passages that Njord, under different historical masks, marries a daughter of Volund, while in the mythology he marries a daughter of Thjasse. (2) In investigating the statements anent Volund's father in Volundarkvida's text and prose appendix I found that these led to the result that Volund was a son of Sumbl, the Finn king—that is to say, of Olvalde, Thjasse's father. (3) My researches in regard to the myth about the mead produced the result that Svigder-Olvalde perished by the treachery of a dwarf outside of a mountain, where one of the smith-races of the mythology, Suttung's sons, had their abode. In Vilkinasaga's account of the death of Volund's father I discovered the main outlines of the same mythic episode.

The correspondence of so different sources in so unexpected a matter was altogether too remarkable to permit it to be overlooked in my mythological researches. The fact that the name-variation itself, Alvalde (for Olvalde), as Thjasse's father is called in Harbardsljod, was in meaning and form a complete synonym of Ivalde I had already observed, but without attaching any importance thereto.

The next step was to examine whether a similar proof of the identity of Thjasse's and Volund's mother was to be found. In one Norse mythological source Thjasse's mother is called Greip. Volund's and Egil's (Ayo's and Ibor's, Aggo's and Ebbo's) mother is in Paulus Diaconus and in Origo Longobardorum called Gambara, in Saxo Gambaruc. The Norse stem in the Latinised name Gambara is Gammr, which is a synonym of Greip, the name of Thjasse's mother. Thus I found a reference to the identity of Thjasse's mother and Volund's mother.

From the parents I went to the brothers. One of Volund's brothers bore the epithet Aurnir, "wild boar." Aurnir's wife is remembered in the Christian traditions as one who forebodes the future. Ebur's wife is a mythological seeress. One of Thjasse's brothers, Ide, is the only one in the mythology whose name points to an original connection with Ivalde (Idvalde), Volund's father, and with Idun, Volund's half-sister. Volund himself bears the epithet Brunne, and Thjasse's home is Brunnsacre. One of Thjasse's sons is slain at the instigation of Loke, and Loke, who in Lokasenna takes pleasure in stating this, boasts in the same poem that he has caused the slaying of Thjasse.

In regard to bonds of relationship in general, I found that on the one side Volund, like Thjasse, was regarded as a giant, and had relations among the giants, among whom Vidolf is mentioned both as Volund's and Thjasse's relative, and that on the other hand Volund is called an elf-prince, and that Thjasse's father belonged to the clan of elves, and that Thjasse's daughter is characterised, like Volund and his nearest relatives, as a skee-runner and hunter, and in this respect has the same epithet as Volund's nephew Ull. I found, furthermore, that so far as tradition has preserved the memory of star-heroes, every mythic person who belonged to their number was called a son of Ivalde or a son of Olvalde. Orvandel-Egil is a star-hero and a son of Ivalde. The Watlings, after whom the Milky Way is named, are descendants of Vate-Vade, Volund's father. Thjasse is a star-hero and the son of Olvalde. Ide, too, Thjasse's brother, "the torch-bearer," may have been a star-hero, and, as we shall show later, the memory of Volund's brother Slagfin was partly connected with the Milky Way and partly with the spots on the moon; while, according to another tradition, it is Volund's father whose image is seen in these spots (see Nos. 121, 123).

I found that Rogner is a Thjasse-epithet, and that all that is stated of Rogner is also told of Volund. Rogner was, like the latter, first the friend of the gods and then their foe. He was a "swan-gladdener," and Volund the lover of a swan-maid. Like Volund he fought against Njord. Like Volund he proceeded to the northernmost edge of the world, and there he worked with magic implements through the powers of frost for the destruction of the gods and of the world. And from some one he has taken the same ransom as Volund did, when the latter killed Nidhad's young sons and made goblets of their skulls.

I found that while Olvalde's sons, Ide, Aurner (Gang), and Thjasse, still were friends of the gods, they had their abode on the south coast of the Elivagar, where Ivalde had his home, called after him Geirvadils setr, and where his son Orvandel-Egil afterwards dwelt; that Thor on his way to Jotunheim visits Ide's setr, and that he is a guest in Egil's dwelling; that the mythological warriors who dwell around Ide's setr are called "warrior-vans," and that these "Gang's warrior-vans" have these very persons, Egil and his foster-son Thjalfe, as their leaders when they accompany Thor to fight the giants, wherefore the setr of the Olvalde sons Ide and Gang must be identical with that of the Ivalde sons, and Ide, Gang, and Thjasse identical with Slagfin, Egil, and Volund.

On these foundations the identity of Olvalde's sons with Ivalde's sons is sufficiently supported, even though our mythic records had preserved no evidence that Thjasse, like Volund, was the most celebrated artist of mythology. But such evidence is not wanting. As the real meaning of Regin is "shaper," "workman," and as this has been retained as a smith-name in Christian times, there is every reason to assume that Thjasse, who is called fjadrar-blads leik-Regin and vingvagna Rögnir, did himself make, like Volund, the eagle guise which he, like Volund, wears. The son of Ivalde, Volund, made the most precious treasures for the gods while he still was their friend, and the Olvalde son Thjasse is called hapta snytrir, "the decorator of the gods," doubtless for the reason that he had smithied treasures for the gods during a time when he was their friend and Thor's ofrúni (Thor's confidential friend). Volund is the most famous and, so far as we can see, also the first sword-smith, which seems to appear from the fact that his father Ivalde, though a valiant champion, does not use the sword but the spear as a weapon, and is therefore called Geirvandill. Thjasse was the first sword-smith, otherwise he would not have been called fadir mörna, "the father of the swords." Splendid implements are called verk Rögnis and Thjaza thingskil, Idja glýsmál, Idja ord—expressions which do not find their adequate explanation in the Younger Edda's account of the division of Olvalde's estate, but in the myth about the judgment which the gods once proclaimed in the contest concerning the skill of Sindre and the sons of Ivalde, when the treasures of the latter presented in court had to plead their own cause.

116.

A LOOK AT THE MYTH CONCERNING THJASSE-VOLUND. HIS EPITHET HLEBARDR. HIS WORST DEED OF REVENGE.

What our mythic records tell us about the sons of Olvalde and the sons of Ivalde is under such circumstances to be regarded as fragments which come to us from one and the same original myth. When combined, the fragments are found to dovetail together and form one whole. Volundarkvida (28) indicates that something terrible, something that in the highest degree aroused his indignation and awakened his deep and satanic thirst for revenge, had happened to Volund ere he, accompanied by his brothers, betook himself to the wintry wilderness, where he smithied the sword of revenge and the gand rings; and the poem makes Volund add that this injustice remained to be avenged when he left the Wolf-dales. It lies in the nature of the case that the saga about Volund did not end where the fragment of the Volundarkvida which we possess is interrupted. The balance of the saga must have related what Volund did to accomplish the revenge which he still had to take, and how the effort to take vengeance resulted. The continuation probably also had something to say about that swan-maid, that dis of vegetation, who by the name Hervor Alvitr spends nine years with Volund in the Wolfdales, and then, seized by longing, departs with the other swan-maids, but of whose faithful love Volund is perfectly convinced (Volundarkvida, 10). While Volund is Nidhad's prisoner, the hope he has built on the sword of revenge and victory smithied by him seems to be frustrated. The sword is in the power of Mimer-Nidhad, the friend of the gods. But the hope of the plan of revenge must have awakened again when Svipdag, Volund's nephew, succeeded in coming up from the lower world with the weapon in his possession. The conflict between the powers of frost and the kinsmen of Ivalde, who had deserted the gods, on the one side, and the gods and their favourite Halfdan, the Teutonic patriarch, on the other side, was kindled anew (see No. 33). Halfdan is repulsed, and finally falls in the war in which Volund got satisfaction by the fact that his sword conquered Thor's Mjolner and made Thor retreat. But once more the hope based on the sword of revenge is frustrated, this time by the possessor of the sword itself, Volund's young kinsman, who—victor in the war, but conquered by the love he cherished for Freyja, rescued by him—becomes the husband of the fair asynje and gives the sword of Volund to Frey, the god of the harvests. That, in spite of this crossing of his plan of revenge, Volund still did not give it up may be taken for granted. He is described not only as the most revengeful, but also as the most persistent and patient person (see "Doer the Scald's Complaint"), when patience could promote his plans. To make war on the gods with the aid of the giants, when the sword of victory had fallen into the hands of the latter, could not give him the least hope of success. After the mythology has given Volund satisfaction for the despicable judgment passed on the products of his skill, it unites the chain of events in such a manner that the same weapon which refuted the judgment and was to cause the ruin of the gods became their palladium against its own maker. What was Volund able to do afterwards, and what did he do? The answer to this question is given in the myth about Thjasse. With Idun—the Hervor Alvitr of the heroic poem—he confined himself in a mountain, whose halls he presumably decorated with all the wonders which the sagas of the middle ages, describing splendid mountain-halls and parks within the mountains, inherited from the mythology. The mountain must have been situated in a region difficult of access to the gods—according to Bragarædur in Jotunheim. At all events, Thjasse is there secure against every effort to disturb him, forcibly, in his retreat. The means against the depredations of time and years which Idun possesses have their virtue only when in her care. Without this means, even the gods of Asgard are subject to the influence of time, and are to grow old and die. And in the sense of a myth symbolising nature, the same means must have had its share in the rejuvenation of creation through the saps rising every year in trees and herbs. The destruction of the world—the approach of which Volund wished to precipitate with his sword of revenge—must come slowly, but surely, if Idun remains away from Asgard. This plan is frustrated by the gods through Loke, as an instrument compelled by necessity—compelled by necessity (Haustlaung, str. 11), although he delighted in the mischief of deceiving even his allies. Near Thjasse's mountain-halls is a body of water, on which he occasionally rows out to fish (Bragarædur.) Once, when he rows out for this purpose, perhaps accompanied by Skade, Idun is at home alone. Loke, who seems to have studied his customs, flies in a borrowed feather guise into the mountain and steals Idun, who, changed into a nut, is carried in his claws through space to Asgard. But the robbing of Idun was not enough for Loke. He enticed Thjasse to pursue. In his inconsiderate zeal, the latter dons his eagle guise and hastens after the robber into Asgard's vaferflames, where he falls by the javelins of the gods and by Thor's hammer. Sindre's work, the one surpassed by Volund, causes his death, and is avenged. I have already pointed out that this event explains Loke's words to Idun in Lokasenna, where he speaks of the murder of one of the Ivalde sons, and insists that she, Idun, embraced the one who caused his death.

The fate of the great artist and his tragical death help to throw light on the character of Loke and on the part he played in the mythology. Ivalde's sons are, in the beginning, the zealous friends of the gods, and the decorators and protectors of their creation. They smithy ornaments, which are the symbols of vegetation; and at their outpost by the Elivagar they defend the domain of vegetation against Jotunheim's powers of frost. As I have already stated, they are, like the Ribhus, at the same time heroes, promoters of growth, and artists of antiquity. The mythology had also manifestly endowed the sons of Ivalde with pleasing qualities—profound knowledge of the mysteries of nature, intelligence, strength, beauty, and with faithfulness toward their beloved. We find that, in time of adversity, the brothers were firmly united, and that their swan-maids love them in joy and in distress. For the powers of evil it was, therefore, of the greatest moment to bring about strife between the gods and these their "sworn men." Loke, who is a gedreynir (Thorsdrapa), "a searcher of the qualities of the soul," a "tempter of the character," has discovered in the great artist of antiquity the false but hitherto unawakened qualities of his character—his ambition and irreconcilable thirst for revenge. These qualities, particularly the latter, burst forth fully developed suddenly after the injustice which, at Loke's instigation, the gods have done to the sons of Ivalde. The thirst for revenge breaks out in Thjasse-Volund in a despicable misdeed. There is reason for assuming that the terrible vengeance which, according to the heroic saga, he took against Nidhad, and which had its counterpart in the mythology itself, was not the worst crime which the epic of the Teutonic mythology had to blame him for. Harbardsljod (20) alludes to another and worse one. Speaking of Thjasse (str. 19), Hárbardr-Loke[12] there boasts that—

hardan jotun ec hugda Hlebard vera, gaf han mer gambantein, en ec velta hann or viti.

Harbard-Loke here speaks of a giant who, in his mind, was a valiant one, but whose "senses he stole," that is, whom he "cunningly deprived of thought and reflection." There are two circumstances to which these words might apply. The one concerns the giant-builder who built the Asgard-wall, and, angry on account of the trick by which Loke cheated him out of the compensation agreed on, rushed against the gods and was slain by Thor. The other concerns Thjasse, who, seeing his beloved carried away by Loke and his plan about to be frustrated, recklessly rushed into his certain ruin. The real name of the giant alluded to is not given, but it is indicated by the epithet Hlébardr, which, according to the Younger Edda, (ii. 484), is a synonym of Vargr and Gyldir. It has already been shown above that Vargr in Thorsdrapa and Fjallgyldir in Haustlaung are epithets of Thjasse. Loke says that this same giant, whose sense he cunningly robbed, had previously given him a gambanteinn. This word means a weapon made by Volund. His sword of revenge and victory is called gambanteinn in Skirnersmal. But gambanteinn is, at the same time, a synonym of mistelteinn, hence, in an Icelandic saga from the Christian time, Volund's sword of victory also reappears by the name mistelteinn (see No. 60). Thus the giant Hlebard gave Loke a weapon, which, according to its designation, is either Volund's sword of victory or the mistletoe. It cannot be the sword of victory. We know the hands to which this sword has gone and is to go: Volund's, Mimer-Nidhad's, the night-dis Sinmara's, Svipdag's, Frey's, Aurboda's and Eggther's, and finally Fjalar's and Surt's. The weapon which Thjasse's namesake Hlebard gives Loke must, accordingly, have been the mistletoe. In this connection we must bear in mind what is said of the mistletoe. Unfortunately, the few words of Völuspa are the only entirely reliable record we have on this subject; but certain features of Gylfaginning's account (Younger Edda, i. 172-174) may be mythologically correct. "Slender and fair"—not dangerous and fair to behold—grew, according to Völuspa, the mistletoe, "higher than the fields" (as a parasite on the trees); but from the shrub which seemed innocent became "a dangerous arrow of pain," which Hödr hurled. According to a poetic fragment united with Vegtamskvida ("Balder's draumar"), and according to Gylfaginning, the gods had previously exacted an oath from all things not to harm Balder; but, according to Gylfaginning, they had omitted to exact an oath from one thing, namely, the mistletoe. By cunning Loke found this out. He went and pulled up the mistletoe, which he was afterwards able to put into Hoder's hand, while, according to Gylfaginning, the gods were amusing themselves by seeing how every weapon aimed at Balder hit him without harming him. But that Loke should hand Hoder this shrub in the form in which it had grown on the tree, and that Hoder should use it in this form to shoot Balder, is as improbable as that Hoder was blind.[13] We must take Völuspa's words to mean that the shrub became an arrow, and we must conceive that this arrow looked like every other arrow, and for this reason did not awaken suspicion. Otherwise the suspicion would at once have been awakened, for they who had exacted the oath of things, and Frigg who had sent the messengers to exact the oaths, knew that the mistletoe was the only thing in the whole world that had not been sworn. The heathen songs nowhere betray such inconsistencies and such thoughtlessness as abound in the accounts of the Younger Edda. The former are always well conceived, at times incisive, but they always reveal a keen sense of everything that may give even to the miraculous the appearance of reality and logic. The mistletoe was made into an arrow by some one who knew how to turn it into a "dangerous arrow of pain" in an infallible manner. The unhappy shot depended on the magic qualities that were given to the mistletoe by the hands that changed it into an arrow. The event becomes comprehensible, and the statements found in the various sources dovetail together and bear the test of sound criticism, if Loke, availing himself of the only thing which had not been bound by oath not to harm Balder, goes with this shrub, which of itself was innocent and hardly fit for an arrow, to the artist who hated the gods, to the artist who had smithied the sword of revenge, and if the latter, with his magic skill as a smith, makes out of the mistelteinn a new gambanteinn dangerous to the gods, and gives the weapon to Loke in order that he might accomplish his evil purpose therewith. As Hlebard is a Thjasse-synonym, as this Thjasse-synonym is connected with the weapon-name gambanteinn, which indicates a Thjasse-work, and as Loke has treated Thjasse as he says he has treated Hlebard—by a cunning act he robbed him of his senses—then all accessible facts go to establish the theory that by Hlebard is meant the celebrated ancient artist deceived by Loke. And as Hlebard has given him a weapon which is designated by the name of the sword of revenge, but which is not the sword of revenge, while the latter, on the other hand and for corresponding reasons, also gets the name mistelteinn, then all the facts go to show that the weapon which Hlebard gave to Loke was the mistletoe fraught with woes and changed to an arrow. If Gylfaginning's unreliable account, based on fragmentary and partly misunderstood mythic records presented in a disjointed manner, had not been found, and if we had been referred exclusively to the few but reliable statements which are to be found in regard to the matter in the poetic songs, then a correct picture of this episode, though not so complete as to details, would have been the result of a compilation of the statements extant. The result would then have been: (1) Balder was slain by an arrow shot by Hoder (Völuspa, Vegtamskvida); (2) Hoder was not the real slayer, but Loke (Lokasenna, 28); (3) the material of which the arrow was made was a tender or slender (mjór) mistletoe (Völuspa); (4) previously all things had sworn not to harm Balder ("Balder's draumar"), but the mistletoe must, for some reason or other, have been overlooked by the messengers sent out to exact the oaths, since Balder was mortally wounded by it; (5) since it was Loke who arranged (réd) matters so that this happened, it must have been he who had charge of the mistletoe for the carrying out of his evil purpose; (6) the mistletoe fell into the hands of a giant-smith hostile to the gods, and mentioned under circumstances that refer to Thjasse (Harbardsljod); (7) by his skill as a smith he gave such qualities to the mistletoe as to change it into "a dangerous arrow of pain," and then gave the arrow to Loke (Harbardsljod); (8) from Loke's hands it passed into Hoder's, and was shot by the latter (Lokasenna, Völuspa).

It is dangerous to employ nature-symbolism as a means of mythological investigation. It is unserviceable for that purpose, so long as it cannot be subjected to the rules of severe methodics. On the other hand, it is admissible and justifiable to consider from a natural symbolic standpoint the results gained in a mythological investigation by the methodological system. If, as already indicated, Hlebard is identical with Thjasse-Volund, then he who was the cause of the fimbul-winter and sent the powers of frost out upon the earth, also had his hand in the death of the sun-god Balder and in his descent to the lower world. There is logic in this. And there is logic in the very fact that the weapon with which the sun-god is slain is made from the mistletoe, which blossoms and produces fruit in the winter, and is a plant which rather shuns than seeks the light of the sun. When we remember how the popular traditions have explained the appearance and qualities of various animals and plants by connecting them with the figures of mythology or of legendary lore, then I suppose it is possible that the popular fancy saw in the mistletoe's dread of light the effect of grief and shame at having been an instrument in evil hands for evil purposes. Various things indicate that the mistletoe originally was a sacred plant, not only among the Celts, but also among the Teutons. The Hindooic Aryans also knew sacred parasitical plants.

The word gamban which forms a part of gambanteinn means "compensation," "ransom," when used as a noun, and otherwise "retaliating." In the Anglo-Saxon poetry occurs (see Grein's Dictionary) the phrase gamban gyldan, "to compensate," "to pay dues." In the Norse sources gamban occurs only in the compounds gambanteinn (Skirnersmal, 33; Harbardsljod, 20), gambanreidi (Skirnersmal, 33), and gambansumbl (Lokasenna, 8). In the song of Skirner, the latter threatens Gerd, who refused Frey's offer of marriage, that she shall be struck by gambanreidi goda, the avenging wrath of the gods. In Lokasenna, Loke comes unbidden into the banquet of the gods in Ægir's hall to mix bitterness with their gladness, and he demands either a place at the banquet table or to be turned out of doors. Brage answers that the gods never will grant him a seat at a banquet, "since they well know for whom among beings they are to prepare gambansumbl," a banquet of revenge or a drink of revenge. This he manifestly mentions as a threat, referring to the fate which soon afterwards happens to Loke, when he is captured and bound, and when a venom-spitting serpent is fastened above his mouth. For the common assumption that gamban means something "grand," "magnificent," "divine," there is not a single shadow of reason. Gambanteinn is accordingly "the twig of revenge," and thus we have the mythological reason why Thjasse-Volund's sword of revenge and the mistletoe arrow were so called. With them he desires to avenge the insult to which he refers in Volundarkvida, 28: Nu hefi ec hefnt harma minna allra nema einna ivithgjarnra.

117.

THE GUARD AT HVERGELMER AND THE ELIVAGAR.

It has already been shown (see Nos. 59, 93) that the Elivagar have their source in the subterranean fountain Hvergelmer, situated on a mountain, which separates the subterranean region of bliss (Hel) from Nifelhel. Here, near the source of the Elivagar, stands the great world-mill, which revolves the starry heavens, causes the ebb and flood of the ocean and regulates its currents, and grinds the bodies of the primeval giants into layers of mould on the rocky substrata (see Nos. 79, 80). From Hvergelmer, the mother of all waters, the northern root of the world-tree draws saps, which rise into its topmost branches, evaporate into Eikthyrnir above Asgard, and flow thence as vafer-laden clouds (see No. 36), which emit fructifying showers upon Midgard, and through the earth they return to their original source, the fountain Hvergelmer. The Hvergelmer mountain (the Nida-mountains, Nidafjöll) cannot have been left without care and protection, as it is of so vast importance in the economy of the world, and this the less since it at the same time forms the boundary between the lower world's realm of bliss and Nifelhel, the subterranean Jotunheim, whose frost-thurses sustain the same relation to the inhabitants on the evergreen fields of bliss as the powers of frost in the upper Jotunheim sustain to the gods of Asgard and to the inhabitants of Midgard. There is no reason for assuming that the guard of brave sworn warriors of the Asgard gods, those warriors whom we have already seen in array near the Elivagar, should have only a part of this body of water to keep watch over. The clan of the elves, under their chiefs, the three sons of Ivalde, even though direct evidence were wanting, must be regarded as having watched over the Elivagar along their whole extent, even to their source, and as having had the same important duty in reference to the giants of the lower world as in reference to those of the upper. As its name indicates, Nifelheim is shrouded in darkness and mist, against which the peaks of the Hvergelmer mountain form the natural rampart as a protection to the smiling fields of bliss. But gales and storms might lift themselves above these peaks and enshroud even Mimer's and Urd's realms in mist. The elves are endowed with power to hinder this. The last strophe in Thorsdrapa, so interesting from a mythological standpoint, confirms this view. Egil is there called hneitir undir-fjálfs bliku, and is said to be helblótinn. Blika is a name for clouds while they are still near the horizon and appear as pale vapours, which to those skilled in regard to the weather forbode an approaching storm (compare Vigfusson's Dict., 69). Undir-fjálfr is thought by Egilson to mean subterranean mountains, by Vigfusson "the deep," abyssus. Hneitir undir-fjalfs bliku is "he who conquers (or resolves, scatters) the clouds rising, storm-foreboding, from the abyss (or over the lower-world mountain)." As Egil can be thus characterised, it is easy to explain why he is called "helblótinn," "he who receives sacrifices in the subterranean realm of bliss." He guards the Teutonic elysian fields against the powers of frost and the mists of Nifelheim, and therefore receives tokens of gratitude from their pious inhabitants.

The vocation of the sons of Ivalde, as the keepers of the Hvergelmer fountain and of the Elivagar, has its counterpart in the vocation which, in the Iranian mythology, is attributed to Thjasse's prototype, the star-hero Tistrya (Tishya). The fountain Hvergelmer, the source of the ocean and of all waters, has in the Iranian mythology its counterpart in the immense body of water Vourukasha. Just as the Teutonic world-tree grows from its northern root out of Hvergelmer, the Iranian world-tree Gaokerena grows out of Vourukasha (Bundehesh, 18). Vourukasha is guarded by Tistrya, assisted by two heroes belonging to the class of mythological beings that are called Yazatas (Izads; in the Veda literature Yajata), "they who deserve offerings," and in the Iranian mythology they form the third rank of divine beings, and thus correspond to the elves of the Teutonic mythology. Assisted by these two heroes and by the "fevers of the just," Tistrya defends Vourukasha, and occasionally fights against the demon Apaosha, who desires to destroy the world (Bundehesh, 7). Tistrya, as such, appears in three forms: as a youth with bright and glistening eyes, as a wild boar, and as a horse. Can it be an accident that these forms have their counterparts in the Teutonic mythology in the fact that one of Thjasse's brothers (Egil-Orvandel-Ebur) has the epithet "wild boar," and that, as shall be shown below, his other brother (Slagfin) bears the epithet Hengest, and that Thjasse-Volund himself, who for years was possessor of, and presumably invented, the "remedy against aging," which Idun, his beloved, has charge of—that Thjasse-Volund himself was regarded as a youth with a "white neck" (Volundarkvida, 2) and with glittering eyes (Volundarkvida, 17), which after his death were placed in the heavens as stars?

118.

SLAGFIN. HIS IDENTITY WITH GJUKE. SLAGFIN, EGIL, AND VOLUND ARE NIFLUNGS.

I now come to the third Ivalde son, Slagfin. The name Slagfin (Slagfidr) occurs nowhere else than in Volundarkvida, and in the prose introduction to the same. All that we learn of him is that, like Egil, he accompanied his brother Volund to the Wolfdales; that, like them, he runs on skees and is a hunter; and that, when the swan-maids, in the ninth year of their abode in the Wolfdales, are overcome by longing and return to the south, he goes away to find his beloved, just as Egil goes to find his. We learn, furthermore, that Slagfin's swan-maid is a sister of Volund's and a kinswoman of Egil's, and that she, accordingly, is Slagfin's sister (half-sister). She is called Hladgudr Svanhvit, likewise a name which occurs nowhere else. Her (and accordingly also that of Volund's swan-maid) mother is called Swan-feather, Svanfjödr (Slagfin's beloved is Svanfjadrar drós—str. 2). The name Svan-feather reminds us of the Svanhild Gold-feather mentioned in Fornm., ii. 7, wife of one Finalf. If Svanfeather is identical with Svanhild Goldfeather, then Finalf must originally be identical with Ivalde, who also is an elf and bears the name Finnakonungr, Sumblus Phinnorum rex. But this then simply confirms what we already know, namely, that the Ivalde sons and two of the swan-maids are brothers and sisters. It, however, gives us no clue by which we can trace Slagfin in other sources, and rediscover him bearing other names, and restore the myth concerning him which seems to be lost. That he, however, played an important part in the mythology may be assumed already from the fact that his brothers hold places so central in the great epic of the mythology. It is, therefore, highly probable that he is mentioned in our mythic fragments, though concealed under some other name. One of these names, viz., Ide, we have already found (see No. 114); and thereby we have learned that he, with his brother Egil, had a citadel near the Elivagar, and guarded their coasts against the powers of frost. But of his fate in general we are ignorant. No extensive researches are required, however, before we find circumstances which, compared with each other, give us the result that Slagfin is Gjuke, and therewith the way is open for a nearer acquaintance with his position in the heroic saga, and before that in the mythology. His identity with Gjuke is manifest from the following circumstances:

The Gjukungs, famous in the heroic saga, are, according to the saga itself, the first ones who bear this name. Their father is Gjuke, from whom this patronymic is derived. Through their father they belong to a race that is called Hniflungs, Niflungs, Nebelungs. The Gjukungs form a branch of the Niflung race, hence all Gjukungs are Niflungs, but not all Niflungs Gjukungs. The Younger Edda says correctly, Af Niflunga ætt var Gjuki (Younger Edda, i. 522), and Atlakvida (17) shows that the Gjukungs constitute only a part of the Niflungs. The identity of the Gjukungs in this relative sense with the Niflungs is known and pointed out in Atlamal (47, 52, 88), in Brot Sigurdarkvida (16), in Atlakvida (11, 17, 27), and in "Drap Niflunga."

Who the Niflung race are in the widest sense of the word, or what known heroes the race embraced besides Gjuke and his sons—to this question the saga of Helge Hundingsbane (i. 48) gives important information, inasmuch as the passage informs us that the hostile race which Helge Hundingsbane—that is to say, Halfdan Borgarson (see No. 29)—combats are the Niflungs. Foremost among the Niflungs Hodbrod is mentioned in this poem, whose betrothed Helge (Halfdan Borgarson) gets into his power. It has already been shown that, in this heroic poem, Hodbrod is the copy of the mythological Orvandel-Egil (see Nos. 29, 32, 101). It follows that Volund, Orvandel-Egil, and Slagfin are Niflungs, and that Gjuke either is identical with one of them or that he at all events is descended from the same progenitor as they.

The great treasure of works smithied from gold and other precious things which the Gjukungs owned, according to the heroic traditions, are designated in the different sources in the same manner as inherited. In Atlakvida (11) the Gjukung treasure is called arf Niflunga; so also in Atlakvida (27). In Gudrunarkvida (ii. 25) the queen of the deceased Gjuke promises her and Gjuke's daughter, Gudrun, that she is to have the control of all the treasures "after (at) her dead father (fjöld allz fjar at thin faudur daudan)," and we are told that those treasures, together with the halls in which they were kept and the precious carpets, are an inheritance after (at) Hlaudver, "the fallen prince" (hringa rauda Hlaudves sali, arsal allan at jofur fallin). From Volundarkvida we gather that Volund's and Slagfin's swan-maids are daughters of Hlaudver and sisters of their lovers. Thus Hlaudver is identical with Ivalde, Volund's, Egil's, and Slagfin's father (see No. 123). Ivalde's splendidly decorated halls, together with at least one son's share of his golden treasures, have thus passed as an inheritance to Gjuke, and from Gjuke to his sons, the Gjukungs. While the first song about Helge Hundingsbane tells us that Volund, Egil, and Slagfin were, like Gjuke, Niflungs, we here learn that Gjuke was the heir of Volund's, Egil's, and Slagfin's father. And while Thorsdrapa, compared with other sources, has already informed us that Ide-Slagfin and Gang-Egil inhabited that citadel near the Elivagar which is called "Ide's chalet" and Geirvadel's (Geirvandel's) chalet, and while Geirvandel is demonstrably an epithet of Ivalde,[14] and as Ivalde's citadel accordingly passed into the possession of Slagfin and Egil, we here find that Ivalde's citadel was inherited by Gjuke. Finally, we must compare herewith Bragarædur (ch. 2), where it is said that Ivalde (there called Olvalde) was survived by his sons, who harmoniously divided his great treasures. Thus Gjuke is one of the sons of Ivalde, and inherited halls and treasures after Ivalde; and as he can be neither Volund nor Egil, whose fates we already know, he must be Slagfin—a result confirmed by the evidence which we shall gradually present below.

119.

THE NIFLUNG HOARD IS THE TREASURE LEFT BY VOLUND AND HIS BROTHERS.

When Volund and Egil, angry at the gods, abandoned Frey to the power of the giants and set out for the Wolfdales, they were unable to take with them their immense treasures inherited from their father and augmented by themselves. Nor did they need them for their purposes. Volund carried with him a golden fountain in his wealth-bringing arm-ring (see Nos. 87, 98, 101) from which the seven hundred rings, that Nidhad to his astonishment discovered in his smithy, must have come. But the riches left by these brothers ought not to fall into the hands of the gods, who were their enemies. Consequently they were concealed. Saxo (Hist., 193) says of the father of Svipdag-Ericus, that is to say, of Orvandel-Egil, that he long had had great treasures concealed in earth caves (gazæ, quas diu clausæ telluris antra condiderant). The same is true of Gjuke-Slagfin, who went with his brothers to the Wolfdales. Vilkinasaga (see below) has rescued an account of a treasure which was preserved in the interior of a mountain, and which he owned. The same is still more and particularly applicable to Volund, as he was the most famous smith of the mythology and of the heroic saga. The popular fancy conceived these treasures left and concealed by Volund as being kept in earth caves, or in mountain halls, guarded and brooded over by dragons. Or it conceived them as lying on the bottom of the sea, or in the bottom of deep rivers, guarded by some dwarf inhabiting a rocky island near by. Many of the songs and sagas of heathendom and of the older days of Christianity were connected with the refinding and acquisition of the Niblung hoard by some hero or other as the Volsung Sigmund, the Borgar descendant Hadding-Dieterich, and Siegfried-Sigurd-Fafnersbane. The Niflung treasure, hodd Niflunga (Atlakvida, 26), Nibelunge Hort, is in its more limited sense these Volund treasures, and in its most general signification the golden wealth left by the three brothers. This wealth the saga represents as gathered again largely in the hands of the Gjukungs, after Sigurd, upon the victory over Fafner, has reunited the most important one of Volund's concealed treasures with that of the Gjukung's, and has married the Gjukung sister Gudrun. The German tradition, preserved in middle-age poems, shows that the continental Teutons long remembered that the Nibelunge Hort originally was owned by Volund, Egil, and Slagfin-Gjuke. In Lied von Siegfried the treasure is owned by three brothers who are "Niblungs." Only one of them is named, and he is called King Euglin, a name which, with its variation Eugel, manifestly is a variation of Eigel, as he is called in the Orentel saga and in Vilkinasaga, and of Egil as he is called in the Norse records. King Euglin is, according to Lied von Siegfried, an interpreter of stars. Siegfried bids him Lasz mich deyner kunst geniessen, Astronomey genannt. This peculiar statement is explained by the myth according to which Orvandel-Egil is a star-hero. Egil becomes, like Atlas of the antique mythology, a king versed in astronomy in the historical interpretation of mythology. In Nibelunge Noth the treasure is owned by "the valiant" Niblungs, Schilbunc and Niblunc. Schilbunc is the Norse Skilfingr, and I have already shown above that Ivalde-Svigder is the progenitor of the Skilfings. The poem Biterolf knows that the treasure originally belonged to Nibelót, der machet himele guldîn; selber wolt er got sîn. These remarkable words have their only explanation in the myths concerning the Niflung Volund, who first ornamented Asgard with golden works of art, and subsequently wished to destroy the inhabitants of Asgard in order to be god himself. The Norse heroic saga makes the treasures brooded over by Fafner to have been previously guarded by the dwarf Andvare, and makes the latter (Sigurdarkvida Fafn., ii. 3) refer to the first owner. The saga characterises the treasure guarded by him as that gull, er Gustr átti. In the very nature of the case the first maker and possessor of these works must have been one of the most celebrated artists of the mythology; and as Gustr means "wind," "breath of wind;" as, again, Volund in the mythology is the only artist who is designated by a synonym of Gustr, that is, by Byrr, "wind" (Volundarkvda, 12), and by Loptr, "the airy one" (Fjölsvinnsmal, 26); as, furthermore, the song cycle concerning Sigurd Fafnersbane is connected with the children of Gjuke Volund's brother, and in several other respects strikes roots down into the myth concerning Ivalde's sons; and as, finally, the German tradition shows an original connection between Nibelunge Hort and the treasures of the Ivalde sons, then every fact goes to show that in Gustr we have an epithet of Volund, and that the Niflung hoard, both in the Norse and in the German Sigurd-Siegfried saga was the inheritance and the works of Volund and his brothers. Vigfusson assumes that the first part of the compound Slagfin is slagr, "a tone," "a melody," played on a stringed instrument. The correctness of this opinion is corroborated by the fact that Slagfin-Gjuke's son, Gunnar, is the greatest player on stringed instruments in the heroic literature. In the den of serpents he still plays his harp, so that the crawling venomous creatures are enchanted by the tones. This wonderful art of his is explained by the fact that his father is "the stringed instrument's" Finn, that is, Slagfin. The horse Grane, who carries Sigurd and the hoard taken from Fafner, probably at one time bore Volund himself, when he proceeded to the Wolfdales. Grane at all events had a place in the Volund-myth. The way traversed by Volund from his own golden realm to the Wolfdales, and which in part was through the northern regions of the lower world (fyr mágrindr nedan—Fjölsvinnsmal, 26) is in Volundarkvida (14) called Grane's way. Finally, it must here be stated that Sigurdrifva, to whom Sigurd proceeds after he has gotten possession of Fafner's treasure, (Griperssaga, 13-15), is a mythic character transferred to the heroic saga, who, as shall be shown in the second part of this work, held a conspicuous position in the myths concerning the Ivalde sons and their swan-maids. She is, in fact, the heroic copy of Idun, and originally she had nothing to do with Budle's daughter Brynhild. The cycle of the Sigurd songs thus attaches itself as the last ring or circle in the powerful epic to the myth concerning the Ivalde sons. The Sigurd songs arch themselves over the fateful treasures which were smithied and left by the fallen Lucifer of the Teutonic mythology, and which, like his sword of revenge and his arrow of revenge, are filled with curses and coming woe. In the heroic poems the Ivalde sons are their owners. The son's son Svipdag wields the sword of revenge. The son's sons Gunnar and Hogne go as the possessors of the Niblung treasure to meet their ruin. The myth concerning their fathers, the Ivalde sons, arches itself over the enmity caused by Loke between the gods on the one hand, and the great artists, the elf-princes, the protectors of growth, the personified forces of the life of nature, on the other hand. In connection herewith the myth about Ivalde himself revolves mainly around "the mead," the soma, the strength-giving saps in nature. He too, like his sons afterwards, gets into conflict with the gods and rebels against them, seeks to deprive them of the soma sap which he had discovered, allies himself with Suttung's sons, in whose keeping the precious liquid is rediscovered, and is slain outside of their door, while Odin is within and carries out the plan by which the mead becomes accessible to gods and to men (see No. 89). This chain of events thus continues through three generations. And interwoven with it is the chain of events opposed to it, which develops through the generations of the other great mythic race of heroes: that of the Heimdal son Borgar, of the Borgar son Halfdan, and of the Halfdan sons Hadding and Guthorm (Dieterich and Ermenrich). Borgar fights and must yield to the assault of Ivalde, and subsequently of his sons from the North in alliance with the powers of frost (see Nos. 22, 28). Halfdan contends with Ivalde's sons, recaptures for vegetation the Teutonic country as far as to "Svarin's mound," but is slain by Ivalde's grandson Svipdag, armed with the Volund sword (see Nos. 32, 33, 102, 103). In the conflict between Svipdag and Guthorm-Ermenrich on the one side, and Hadding on the other, we see the champions divided into two camps according to the mythological antecedents of their families: Amalians and Hildings on Hadding's side, the descendants of Ivalde on the other (see Nos. 42, 43). Accordingly, the Gjukungs, "the kings on the Rhine," are in the German tradition on Ermenrich's side. Accordingly, Vidga Volundson, in spite of his bond of friendship with Hadding-Dieterich, also fights under Ermenrich's banner. Accordingly, Vildebur-Egil is again called to life in the heroic saga, and there appears as the protector and helper of the Volund son, his own nephew. And accordingly, Vate-Walther, too (see No. 123), identical with Ivalde, Volund's father, is reproduced in the heroic saga to bear the banner of Ermenrich in the battles (cp. No. 43).

120.

SLAGFIN-GJUKE'S SYNONYMS DANKRAT (THAKKRÁDR), IRUNG, ALDRIAN. SLAGFIN A STAR-HERO LIKE HIS BROTHERS. ALDRIAN'S IDENTITY WITH CHELDRICUS-GELDERUS.

Slagfin-Gjuke has many names in the German traditions, as in the Norse. Along with the name Gibich, Gibche (Gjuke), occur the synonyms Dankrat, Irung, and Aldrian. In the latter part of Nibelunge Noth Gibich is called Dankrat (cp. "Klage;" Biterolf also has the name Dankrat, and speaks of it in a manner which shows that in some of the sources used by the author Dankrat was a synonym of Gibich). In Vilkinasaga Gjuke appears now as Irung, now as Aldrian. Aldrian is (Vilkinasaga, 150) king of Niflungaland, and has the sons Hogne, Gunnar, Gernoz, and Gilzer. Irung (Vilkin., 15) is also king of Niflungaland, and has the sons Hogne, Gunnar, Gudzorm, Gernoz, and Gisler. As Gjuke also is a Niflung, and has the sons Hogne, Gunnar, and Guthorm, there can be no doubt that Gjuke, Gibche, Dankrat, Irung, and Aldrian are synonyms, designating one and the same person, namely, Volundarkvida's Slagfin, the Ide of the mythology. Nibelunge Noth, too, speaks of Aldrian as the father of Hagen (Hogne). Aldrian's wife is called Oda, Gibich's "Frau Uote," Dankrat's "Frau Ute."

The Norse form for Dankrat (Tancred) is thakkrádr, Thakkrad. This name appears a single time in the Norse records, and then in connection with Volund and Nidhad. In Volundarkvida (39) Thakkrad is mentioned as Nidhad's chief servant, who still remains in his service when Volund, his revenge accomplished, flies in an eagle's guise away from his prison. That this servant bears a name that belongs to Slagfin-Gjuke, Volund's brother, cannot be an accident. We must compare an account in Vilkinasaga, according to which Volund's other brother Egil was in Nidhad's service when Volund flew away. It follows that the heroic saga made not only Volund, but also Slagfin and Egil, fall into Nidhad's hands. Both in Volundarkvida itself and in its prose introduction we read that when the home-sick swan-maids had left the Wolfdales, Egil and Slagfin betook themselves thence, Egil going to the east to look for his swan-maid Olrun, Slagfin going south to find his Svanhvit (Volundarkvida, 4), and that Nidhad thereupon learned—the song does not say how—that Volund was alone in the Wolfdales (Volundarkvida, 6). The assumption here lies near at hand, that Nidhad found it out from the fact that Slagfin and Egil, though going away in different directions, fell into his power while they were looking for their beloved. Whether this feature belonged to the myth or not cannot be determined. At all events it is remarkable that we refind in Volundarkvida the Gjuke name Thakkrad, as in Vilkinasaga we find Volund's brother Egil in Nidhad's environment.

The name Irung, Iring, as a synonym of Gjuke, is of more importance from a mythological point of view. Widukind of Corvei (about the year 950) tells us in ch. 13 of his Saxon Chronicle that "the Milky Way is designated by Iring's name even to this day." Just previously he has mentioned a Saxon warrior by this name, whom he believes to have been the cause of this appellation ( ... Iringi nomine, quem ita vocitant, lacteus cœli circulus sit vocatus; and in the Aursberg Chronicle, according to J. Grimm, ... lacteus cæli circulus Iringis, nomine Iringesstraza sit vocatus). According to Anglo-Saxon glossaries, the Milky Way is called Iringes uueg. With this we should compare the statements made above, that the Milky Way among the Teutonic population of England was called the way of the Watlings (that is, the descendants of Vate, i.e., Ivalde). Both the statements harmonize. In the one it is the descendants of Ivalde in general, in the other it is Slagfin-Iring whose name is connected with the Milky Way. Thus Slagfin, like Volund and Orvandel-Egil, was a star-hero. In "Klage" it is said of Iring and two other heroes, in whose company he appears in two other poems, that they committed grave mistakes and were declared banished, and that they, in spite of efforts at reconciliation, remained under the penalty to the end of their lives. Biterolf says that they were exiles and threatened by their foes. Here we have a reverberation of the myth concerning the conflict between the gods and the Ivalde sons, of Frey's unsuccessful effort to reconcile the enemies, and of their flight to the extreme north of the earth. In the German poems they take flight to Attila.

The Gjuke synonym Aldrian is a name formed in analogy with Albrian, which is a variation of Elberich. In analogy herewith Aldrian should be a variation of Elderich, Helderich. In Galfrid of Monmouth's British History there is a Saxon saga-hero Cheldricus, who, in alliance with a Saxon chief Baldulf, fights with King Artus' general Cador, and is slain by him. How far the name-forms Aldrian-Elderich have any connection with the Latinised Cheldricus I think best to leave undetermined; but there are other reasons which, independently of a real or apparent name-identity, indicate that this Cheldricus is the same person as Aldrian-Gjuke. Bugge has already pointed out that Baldrian corresponds to Balder, Cador to Hödr; that Galfrid's account has points of contact with Saxo's about the war between Balder and Hoder, and that Galfrid's Cheldricus corresponds to Saxo's King Gelderus, Geldr, who fights with Hoder and falls in conflict with him.

That which at once strikes us in Saxo's account of Gelderus (see No. 101) is that he takes arms against Hotherus, when he learns that the latter has got possession of the sword of victory and the wealth-producing ring—treasures that were smithied by Volund, and in that sense belonged to the Niblung hoard. That Saxo in this manner gave a reason for the appearance of Gelderus can only be explained by the fact that Gelderus had been in some way connected with the Niblung hoard, and looked upon himself as more entitled to it than Hotherus. This right could hardly be based on any other reason than the fact that Gelderus was a Niflung, a kinsman of the maker and owner of the treasures. In the Vilkinasaga the keeper and protector of the Niblung hoard, the one who has the key to the rocky chambers where the hoard is kept bears the very name Aldrian, consequently the very surname of Slagfin-Gjuke, Volund's and Egil's brother. This of itself indicates that Gelderus is Slagfin-Aldrian.

121.

SLAGFIN'S IDENTITY WITH HJUKE. HIS APPEARANCE IN THE MOON-MYTH AND IN THE BALDER-MYTH. BIL'S IDENTITY WITH IDUN.

From Slagfin-Gelderus' part in the war between the two divine brothers Balder and Hoder, as described both by Saxo and by Galfrid, we must draw the conclusion that he is a mythic person historified, and one who had taken an important part in the Balder-myth as Balder's friend, and also as Hoder's though he bore weapons against the latter. According to Saxo, Hoder honours the dust of his slain opponent Gelderus in a manner which indicates a previous friendly relation between them. He first gives Gelderus a most splendid funeral (pulcherrimum funeris obsequium), then he builds a magnificent grave-mound for him, and decorates it with tokens of his respect (veneratio) for the dead one.

The position of Slagfin-Gelderus to the two contending divine brothers, his brothership-in-arms with Balder, the respect and devotion he receives from his opponent Hoder, can only be explained by the fact that he had very intimate relations with the two brothers and with the mythical persons who play a part in the Balder-myth. According to Saxo, Hoder was fostered by Gevarr, the moon-god, Nanna's father. As Nanna's foster-brother, he falls in love with her who becomes the wife of his brother, Balder. Now the mythology actually mentions an individual who was adopted by the moon-god, and accordingly was Hoder's foster-brother, but does not in fact belong to the number of the real gods. This foster-son inherits in the old Norse records one of the names with which the moon-god is designated in the Anglo-Saxon poems—that is, Hoce, a name identical with the Norse Hjúke. Hnaf (Hnæfr, Næfr, Nanna's father) is also, as already shown, called Hoce in the Beowulf poem (see Nos. 90, 91). From the story about Bil and Hjuke, belonging to the myth about the mead and preserved in the Younger Edda, we know that the moon-god took these children to himself, when they were to carry to their father Vidfinnr, the precious burden which they had dipped out of the mead-fountain, Byrger (see Nos. 90, 91).