The Younger Edda; Also called Snorre's Edda, or The Prose Edda

The passage in verse, which has given translators so much trouble in a transposed form, would read as follows: Gefjun glad drew that excellent land (djúpródul = the deep sun = gold; öðla = udal = property; djúpródul öðla = the golden property), Denmark’s increase (Seeland), so that it reeked (steamed) from the running oxen. The oxen bore four heads and eight eyes, as they went before the wide piece of robbed land of the isle so rich in grass.

Gefjun is usually interpreted as a goddess of agriculture, and her name is by some derived from γῆ; and fjon, that is, terræ separatio; others compare it with the Anglo-Saxon geofon = the sea. The etymology remains very uncertain.

CHAPTER II

It is to the delusion or eye-deceit mentioned in this chapter that Snorre Sturlasson refers in his Heimskringla, in Chapter VI of Ynglinga Saga.

Thjodolf of Hvin was a celebrated skald at the court of Harald Fairhair.

Thinking thatchers, etc. Literally transposed, this passage would read: Reflecting men let shields (literally Svafner’s, that is Odin’s roof-trees,) glisten on the back. They were smitten with stones. To let shields glisten on the back, is said of men who throw their shields on their backs to protect themselves against those who pursue the flying host.

Har means the High One, Jafnhar the Equally High One, and Thride the Third One. By these three may be meant the three chief gods of the North: Odin, Thor and Frey; or they may be simply an expression of the Eddic trinity. This trinity is represented in a number of ways: by Odin, Vile and Ve in the creation of the world, and by Odin, Hœner and Loder in the creation of Ask and Embla, the first human pair. The number three figures extensively in all mythological systems. In the pre-chaotic state we have Muspelheim, Niflheim and Ginungagap. Fornjot had three sons: Hler, Loge and Kare. There are three norns: Urd, Verdande and Skuld. There are three fountains: Hvergelmer, Urd’s and Mimer’s; etc. (See Norse Mythology, pp. 183, 195, 196.)

Har being Odin, Har’s Hall will be Valhal. You will not come out from this hall unless you are wiser. In the lay of Vafthrudner, of the Elder Edda, we have a similar challenge, where Vafthrudner says to Odin:

Out will you not comeFrom our hallsUnless I find you to be wiser (than I am).

CHAPTER III

This chapter gives twelve names of Odin. In the Eddas and in the skaldic lays he has in all nearly two hundred names. His most common name is Odin (in Anglo-Saxon and in Old High German Wodan), and this is thought by many to be of the same origin as our word god. The other Old Norse word for god, tivi, is identical in root with Lat. divus; Sansk. dwas; Gr. Διός (Ζεύς); and this is again connected with Tyr, the Tivisco in the Germania of Tacitus. (See Max Müller’s Lectures on the Science of Language, 2d series, p. 425). Paulus Diakonus states that Wodan, or Gwodan, was worshiped by all branches of the Teutons. Odin has also been sought and found in the Scythian Zalmoxis, in the Indian Buddha, in the Celtic Budd, and in the Mexican Votan. Zalmoxis, derived from the Gr. Ζαλμός,136 helmet, reminds us of Odin as the helmet-bearer (Grimm, Gesch. der Deutschen Sprache). According to Humboldt, a race in Guatemala, Mexico, claim to be descended from Votan (Vues des Cordillères, 1817, I, 208). This suggests the question whether Odin’s name may not have been brought to America by the Norse discoverers in the 10th and 11th centuries, and adopted by some of the native races. In the Lay of Grimner (Elder Edda) the following names of Odin are enumerated:

Grim is my nameAnd Ganglere,Herjan and Helmet-bearer,Thekk and Thride,Thud and Ud,Helblinde and Har,Sad and Svipal,And Sanngetal,Herteit and Hnikar,Bileyg and Baleyg,Bolverk, Fjolner,Grim and Grimner,Glapsvid and Fjolsvid,Sidhot, Sidskeg,Sigfather, Hnikud,Alfather, Valfather,Atrid and Farmatyr.With one nameWas I never namedWhen I fared ’mong the peoples.Grimner they called meHere at Geirrod’s,But Jalk at Asmund’s,And Kjalar the timeWhen sleds (kjalka) I drew,And Thror at the Thing,Vidur on the battle-field,Oske and Ome,Jafnhar and Biflinde,Gondler and Harbard ’mong the gods.Svidur and SvidreHight I at Sokmimer’s,And fooled the ancient giantWhen I alone Midvitne’s,The mighty son’s,Bane had become.Odin I now am called,Ygg was my name before,Before that I hight Thund,Yak and Skilfing,Vafud and Hroptatyr,Got and Jalk ’mong the gods,Ofner and Svafner.All these names, I trow,Have to me alone been given.

What the etymology of all these names is, it is not easy to tell. The most of them are clearly Norse words, and express the various activities of their owner. It is worthy of notice that it is added when and where Odin bore this or that name (his name was Grim at Geirrod’s, Jalk at Asmund’s, etc.), and that the words sometimes indicate a progressive development, as Thund, then Ygg, and then Odin. First he was a mere sound in the air (Thund), then he took to thinking (Ygg), and at last he became the inspiring soul of the universe. Although we are unable to define all these names, they certainly each have a distinct meaning, and our ancestors certainly understood them perfectly. Har = the High One; Jafn-har = the Equally High One; Thride = the Third (Ζεὺς ἄλλος and Τρίτος; Alfather probably contracted from Aldafather = the Father of the Ages and the Creations; Veratyr = the Lord of Beings; Rögner = the Ruler (from regin); Got (Gautr, from gjóta, to cast) = the Creator, Lat. Instillator; Mjotud = the Creator, the word being allied to Anglo-Saxon meotod, metod, Germ. Messer, and means originally cutter; but to cut and to make are synonymous. Such names as these have reference to Odin’s divinity as creator, arranger and ruler of gods and men. Svid and Fjolsvid = the swift, the wise; Ganglere, Gangrad and Vegtam = the wanderer, the waywont; Vidrer = the weather-ruler, together with serpent-names like Ofner, Svafner, etc., refer to Odin’s knowledge, his journeys, the various shapes he assumes. Permeating all nature, he appears in all its forms. Names like Sidhot = the slouchy hat; Sidskeg = the long-beard; Baleyg = the burning-eye; Grimner = the masked; Jalk (Jack) = the youth, etc., express the various forms in which he was thought to appear,—to his slouchy hat, his long beard, or his age, etc. Such names as Sanngetal = the true investigator; Farmatyr = the cargo-god, etc., refer to his various occupations as inventor, discoverer of runes, protector of trade and commerce, etc. Finally, all such names as Herfather = father of hosts; Herjan = the devastator; Sigfather = the father of victory; Sigtyr = god of victory; Skilfing = producing trembling; Hnikar = the breaker, etc., represent Odin as the god of war and victory. Oske = wish, is thus called because he gratifies our desires. Gimle, as will be seen later, is the abode of the blessed after Ragnarok. Vingolf (Vin and golf) means friends’ floor, and is the hall of the goddesses. Hel is the goddess of death, and from her name our word hell is derived.

Our ancestors divided the universe into nine worlds: the uppermost was Muspelheim (the world of light); the lowest was Niflheim (the world of darkness). Compare the Greek word νεφέλη = mist. (See Norse Mythology, p. 187.)

Ginungagap. Ginn means wide, large, far-reaching, perhaps also void (compare the Anglo-Saxon gin = gaping, open, spacious; ginian = to gap; and ginnung = a yawning). Ginungagap thus means the yawning gap or abyss, and represents empty space. The poets use ginnung in the sense of a fish and of a hawk, and in geographical saga-fragments it is used as the name of the Polar Sea.

Hvergelmer. This word is usually explained as a transposition for Hvergemler, which would then be derived from Hver and gamall (old) = the old kettle; but Petersen shows that gelmir must be taken from galm, which is still found in the Jutland dialect, and means a gale (compare Golmstead = a windy place, and golme = to roar, blow). Gelmer is then the one producing galm, and Hvergelmer thus means the roaring kettle. The twelve rivers proceeding from Hvergelmer are called the Elivogs (Élivágar) in the next chapter. Éli-vágar means, according to Vigfusson, ice-waves. The most of the names occur in the long list of river names given in the Lay of Grimner, of the Elder Edda. Svol = the cool; Gunnthro = the battle-trough. Slid is also mentioned in the Vala’s Prophecy, where it is represented as being full of mud and swords. Sylg (from svelgja = to swallow) = the devourer; Ylg (from yla = to roar) = the roaring one; Leipt = the glowing, is also mentioned in the Lay of Helge Hunding’s Bane, where it is stated that they swore by it (compare Styx); Gjoll (from gjalla = to glisten and clang) = the shining, clanging one. The meaning of the other words is not clear, but they doubtless all, like those explained, express cold, violent motion, etc. The most noteworthy of these rivers are Leipt and Gjoll. In the Lay of Grimner they are said to flow nearest to the abode of man, and fall thence into Hel’s realm. Over Gjoll was the bridge which Hermod, after the death of Balder, crossed on his way to Hel. It is said to be thatched with shining gold, and a maid by name Modgud watches it. In the song of Sturle Thordson, on the death of Skule Jarl, it is said that “the king’s kinsman went over the Gjoll-bridge.” The farther part of the horizon, which often appears like a broad bright stream, may have suggested this river.

Surt means the swarthy or black one. Many have regarded him as the unknown (dark) god, but this is probably an error. But there was some one in Muspelheim who sent the heat, and gave life to the frozen drops of rime. The latter, and not Surt, who is a giant, is the eternal god, the mighty one, whom the skald in the Lay of Hyndla dare not name. It is interesting to notice that our ancestors divided the evolution of the world into three distinct periods: (1) a pre-chaotic condition (Niflheim, Muspelheim and Ginungagap); (2) a chaotic condition (Ymer and the cow Audhumbla); (3) and finally the three gods, Odin (spirit), Vile (will) and Ve (sanctity), transformed chaos into cosmos. And away back in this pre-chaotic state of the world we find this mighty being who sends the heat. It is not definitely stated, but it can be inferred from other passages, that just as the good principle existed from everlasting in Muspelheim, so the evil principle existed co-eternally with it in Hvergelmer in Niflheim. Hvergelmer is the source out of which all matter first proceeded, and the dragon or devil Nidhug, who dwells in Hvergelmer, is, in our opinion, the evil principle who is from eternity. The good principle shall continue forever, but the evil shall cease to exist after Ragnarok.

Ymer is the noisy one, and his name is derived from ymja = to howl (compare also the Finnish deity Jumo, after whom the town Umea takes its name, like Odinse).

Aurgelmer, Thrudgelmer and Bergelmer express the gradual development from aur (clay) to thrud (that which is compressed), and finally to berg (rock).

Vidolf, Vilmeide and Svarthofde are mentioned nowhere else in the mythology.

Bure and Bore mean the bearing and the born; that is, father and son.

Bolthorn means the miserable one, from bol = evil; and Bestla may mean that which is best. The idea then is that Bor united himself with that which was best of the miserable material at hand.

That the flood caused by the slaying of Ymer reminds us of Noah and his ark, and of the Greek flood, needs only to be suggested.

CHAPTER IV

Ask means an ash-tree, and Embla an elm-tree.

While the etymology of the names in the myths are very obscure, the myths themselves are clear enough. Similar myths abound in Greek mythology. The story about Bil and Hjuke is our old English rhyme about Jack and Gill, who went up the hill to fetch a pail of water.

CHAPTER V

In reference to the golden age, see Norse Mythology, pp. 182 and 197.

In the appendix to the German so-called Hero-Book we are told that the dwarfs were first created to cultivate the desert lands and the mountains; thereupon the giants, to subdue the wild beasts; and finally the heroes, to assist the dwarfs against the treacherous giants. While the giants are always hostile to the gods, the dwarfs are usually friendly to them.

Dwarfs. Both giants and dwarfs shun the light. If surprised by the breaking forth of day, they become changed to stone. In one of the poems of the Elder Edda (the Alvismál), Thor amuses the dwarf Alvis with various questions till daylight, and then cooly says to him: With great artifices, I tell you, you have been deceived; you are surprised here, dwarf, by daylight! The sun now shines in the hall. In the Helgakvida Atle says to the giantess Hrimgerd: It is now day, Hrimgerd! But Atle has detained you, to your life’s perdition. It will appear a laughable harbor-mark, where you stand as a stone-image.

In the German tales the dwarfs are described as deformed and diminutive, coarsely clad and of dusky hue: “a little black man,” “a little gray man.” They are sometimes of the height of a child of four years, sometimes as two spans high, a thumb high (hence, Tom Thumb). The old Danish ballad of Eline of Villenwood mentions a troll not bigger than an ant. Dvergmál (the speech of the dwarfs) is the Old Norse expression for the echo in the mountains.

In the later popular belief, the dwarfs are generally called the subterraneans, the brown men in the moor, etc. They make themselves invisible by a hat or hood. The women spin and weave, the men are smiths. In Norway rock-crystal is called dwarf-stone. Certain stones are in Denmark called dwarf-hammers. They borrow things and seek advice from people, and beg aid for their wives when in labor, all which services they reward. But they also lame cattle, are thievish, and will carry off damsels. There have been instances of dwarf females having married and had children with men. (Thorpe’s Northern Mythology.)

War. It was the first warfare in the world, says the Elder Edda, when they pierced Gullveig (gold-thirst) through with a spear, and burned her in Odin’s hall. Thrice they burned her, thrice she was born anew: again and again, but still she lives. When she comes to a house they call her Heide (the bright, the welcome), and regard her as a propitious vala or prophetess. She can tame wolves, understands witchcraft, and delights wicked women. Hereupon the gods consulted together whether they should punish this misdeed, or accept a blood-fine, when Odin cast forth a spear among mankind, and now began war and slaughter in the world. The defenses of the burgh of the asas was broken down. The vans anticipated war, and hastened over the field. The valkyries came from afar, ready to ride to the gods’ people: Skuld with the shield, Skogul, Gunn, Hild, Gondul and Geirr Skogul. (Quoted by Thorpe.)

CHAPTER VI

In reference to Ygdrasil, we refer our readers to Norse Mythology, pp. 205-211, and to Thomas Carlyle’s Heroes and Hero-worship.

A connection between the norns Urd, Verdande and Skuld and the weird sisters in Shakspeare’s Macbeth has long since been recognized; but new light has recently been thrown upon the subject by the philosopher Karl Blind, who has contributed valuable articles on the subject in the German periodical “Die Gegenwart” and in the “London Academy.” We take the liberty of reproducing here an abstract of his article in the “Academy”:

* * * * * *

The fact itself of these Witches being simply transfigurations, or later disguises, of the Teutonic Norns is fully established—as may be seen from Grimm or Simrock. In delineating these hags, Shakspeare has practically drawn upon old Germanic sources, perhaps upon current folk-lore of his time.

It has always struck me as noteworthy that in the greater part of the scene between the Weird Sisters, Macbeth and Banquo, and wherever the Witches come in, Shakspeare uses the staff-rime in a remarkable manner. Not only does this add powerfully to the archaic impressiveness and awe, but it also seems to bring the form and figure of the Sisters of Fate more closely within the circle of the Teutonic idea. I have pointed out this striking use of the alliterative system in Macbeth in an article on “An old German Poem and a Vedic Hymn,” which appeared in Fraser in June, 1877, and in which the derivation of the Weird Sisters from the Germanic Norns is mentioned.

The very first scene in the first act of Macbeth opens strongly with the staff-rime:

1st Witch. When shall we three meet again—In thunder, lightning or in rain?2d Witch. When the hurly-burly’s done,When the battle’s lost and won.3d Witch. That will be ere set of sun.1st Witch. Where the place?2d Witch.Upon the heath.3d Witch. There to meet with Macbeth.1st Witch. I come, Graymalkin!All. Paddock calls. Anon.Fair is foul, and foul is fair.Hover through the fog and filthy air.

Not less marked is the adoption of the fullest staff-rime—together (as above) with the end-rime—in the third scene, when the Weird Sisters speak. Again, there is the staff-rime when Banquo addresses them. Again, the strongest alliteration, combined with the end-rime, runs all through the Witches’ spell-song in Act iv, scene 1. This feature in Shakspeare appears to me to merit closer investigation; all the more so because a less regular alliteration, but still a marked one, is found in not a few passages of a number of his plays. Only one further instance of the systematic employment of alliteration may here be noted in passing. It is in Ariel’s songs in the Tempest, Act i, scene 2. Schlegel and Tieck evidently did not observe this alliterative peculiarity. Their otherwise excellent translation does not render it, except so far as the obvious similarity of certain English and German words involuntarily made them do so. But in the notes to their version of Macbeth the character of the Weird Sisters is also misunderstood, though Warburton is referred to, who had already suggested their derivations from the Valkyrs or Norns.

It is an error to say that the Witches in Macbeth “are never called witches” (compare Act i, scene 3: “‘Give me!’ quoth I. ‘A-roint thee, witch!’ the rump-fed ronyon cries”). However, their designation as Weird Sisters fully settles the case of their Germanic origin.

This name “Weird” is derived from the Anglo-Saxon Norn Wyrd (Sax. Wurth; O. H. Ger. Wurd; Norse, Urd), who represents the Past, as her very name shows. Wurd is die Gewordene—the “Has Been,” or rather the “Has Become,” if one could say so in English.

* * * * * *

In Shakspeare the Witches are three in number—even as in Norse, German, as well as in Keltic and other mythologies. Urd, properly speaking, is the Past. Skuld is the Future, or “That Which shall Be.” Verdandi, usually translated as the Present, has an even deeper meaning. Her name is not to be derived from vera (to be), but from verda (Ger. werden). This verb, which has a mixed meaning of “to be,” “to become,” or to “grow,” has been lost in English. Verdandi is, therefore, not merely a representative of present Being, but of the process of Growing, or of Evolution—which gives her figure a profounder aspect. Indeed, there is generally more significance in mythological tales than those imagine who look upon them chiefly as a barren play of fancy.

Incidentally it may be remarked that, though Shakspeare’s Weird Sisters are three in number—corresponding to Urd, Verdandi and Skuld—German and Northern mythology and folk-lore occasionally speak of twelve or seven of them. In the German tale of Dornröschen, or the Sleeping Beauty, there are twelve good fays; and a thirteenth, who works the evil spell. Once, in German folk-lore, we meet with but two Sisters of Fate—one of them called Kann, the other Muss. Perhaps these are representatives of man’s measure of free will (that which he “can”), and of that which is his inevitable fate—or, that which he “must” do.

Though the word “Norn” has been lost in England and Germany, it is possibly preserved in a German folk-lore ditty, which speaks of three Sisters of Fate as “Nuns.” Altogether, German folk-lore is still full of rimes about three Weird Sisters. They are sometimes called Wild Women, or Wise Women, or the Measurers (Metten)—namely, of Fate; or, euphemistically, like the Eumenides, the Advisers of Welfare (Heil-Räthinnen), reminding us of the counsels given to Macbeth in the apparition scene; or the Quick Judges (Gach-Schepfen). Even as in the Edda, these German fays weave and twist threads or ropes, and attach them to distant parts, thus fixing the weft of Fate. One of these fays is sometimes called Held, and described as black, or as half dark half white—like Hel, the Mistress of the Nether World. That German fay is also called Rachel, clearly a contraction of Rach-Hel, i.e. the Avengeress Hel.

Now, in Macbeth also the Weird Sisters are described as “black.” The coming up of Hekate with them in the cave-scene might not unfitly be looked upon as a parallel with the German Held, or Rach-Hel, and the Norse Hel; these Teutonic deities being originally Goddesses of Nocturnal Darkness, and of the Nether World, even as Hekate.

In German folk-lore, three Sisters of Fate bear the names of Wilbet, Worbet and Ainbet. Etymologically these names seem to refer to the well-disposed nature of a fay representing the Past; to the warring or worrying troubles of the Present; and to the terrors (Ain = Agin) of the Future. All over southern Germany, from Austria to Alsace and Rhenish Hesse, the three fays are known under various names besides Wilbet, Worbet, and Ainbet—for instance, as Mechtild, Ottilia, and Gertraud; as Irmina, Adela, and Chlothildis, and so forth. The fay in the middle of this trio is always a good fay, a white fay—but blind. Her treasure (the very names of Ottilia and Adela point to a treasure) is continually being taken from her by the third fay, a dark and evil one, as well as by the first. This myth has been interpreted as meaning that the Present, being blinded as to its own existence, is continually being encroached upon, robbed as it were, by the dark Future and the Past. Of this particular trait there is no vestige in Shakspeare’s Weird Sisters. They, like the Norns, “go hand in hand.” But there is another point which claims attention Shakspeare’s Witches are bearded. (“You should be women, and yet your beards forbid me to interpret that you are so.” Act i, scene 3.)

It need scarcely be brought to recollection that a commingling of the female and male character occurs in the divine and semi-divine figures of various mythological systems—including the Bearded Venus. Of decisive importance is, however, the fact of a bearded Weird Sister having apparently been believed in by our heathen German forefathers.

Near Wessobrunn, in Upper Bavaria, where the semi-heathen fragment of a cosmogonic lay, known as “Wessobrunn Prayer,” was discovered, there has also been found, of late, a rudely-sculptured three-headed image. It is looked upon as an ancient effigy of the German Norns. The Cloister of the three Holy Bournes, or Fountains, which stands close by the place of discovery, is supposed to have been set up on ground that had once served for pagan worship. Probably the later monkish establishment of the Three Holy Bournes had taken the place of a similarly named heathen sanctuary where the three Sisters of Fate were once adored. Indeed, the name of all the corresponding fays in yet current German folk-lore is connected with holy wells. This quite fits in with the three Eddic Bournes near the great Tree of Existence, at one of which—apparently at the oldest, which is the very Source of Being—the Norns live, “the maidens that over the Sea of Age travel in deep foreknowledge,” and of whom it is said that:

They laid the lots, they ruled the lifeTo the sons of men, their fate foretelling.

Now, curiously enough, the central head of the slab found near Wessobrunn, in the neighborhood of the Cloister of the Three Holy Bournes, is bearded. This has puzzled our archæologists. Some of them fancied that what appears to be a beard might after all be the hair of one of the fays or Norns, tied round the chin. By the light of the description of the Weird Sisters in Shakspeare’s Macbeth we, however, see at once the true connection.