Myths of the Norsemen: From the Eddas and Sagas by H. A. Guerber

Myths of the Norsemen

From the Eddas and Sagas

By
H. A. Guerber
Author of “The Myths of Greece and Rome” etc.

London
George G. Harrap & Company
15 York Street Covent Garden
1909 

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Contents

1. Chap. Page
2. I. The Beginning 1
3. II. Odin 16
4. III. Frigga 42
5. IV. Thor 59
6. V. Tyr 85
7. VI. Bragi 95
8. VII. Idun 103
9. VIII. Niörd 111
10. IX. Frey 117
11. X. Freya 131
12. XI. Uller 139
13. XII. Forseti 142
14. XIII. Heimdall 146
15. XIV. Hermod 154
16. XV. Vidar 158
17. XVI. Vali 162
18. XVII. The Norns 166
19. XVIII. The Valkyrs 173
20. XIX. Hel 180
21. XX. Ægir 185
22. XXI. Balder 197
23. XXII. Loki 216
24. XXIII. The Giants 230
25. XXIV. The Dwarfs 239
26. XXV. The Elves 246
27. XXVI. The Sigurd Saga 251
28. XXVII. The Frithiof Saga 298[vi]
29. XXVIII. The Twilight of the Gods 329
30. XXIX. Greek and Northern Mythologies—A Comparison 342
31. Index to Poetical Quotations 367
32. Glossary and Index 369

List of Illustrations

1. Norsemen Landing in Iceland (Oscar Wergeland) Frontispiece
2.   To face page
3. The Giant with the Flaming Sword (J. C. Dollman) 2
4. The Wolves Pursuing Sol and Mani (J. C. Dollman) 8
5. Odin (Sir E. Burne-Jones) 16
6. The Chosen Slain (K. Dielitz) 18
7. A Viking Foray (J. C. Dollman) 20
8. The Pied Piper of Hamelin (H. Kaulbach) 28
9. Odin (B. E. Fogelberg) 36
10. Frigga Spinning the Clouds (J. C. Dollman) 42
11. Tannhäuser and Frau Venus (J. Wagrez) 52
12. Eástre (Jacques Reich) 54
13. Huldra’s Nymphs (B. E. Ward) 58
14. Thor (B. E. Fogelberg) 60
15. Sif (J. C. Dollman) 64
16. Thor and the Mountain (J. C. Dollman) 72
17. A Foray (A. Malmström) 88
18. The Binding of Fenris (Dorothy Hardy) 92
19. Idun (B. E. Ward) 100
20. Loki and Thiassi (Dorothy Hardy) 104
21. Frey (Jacques Reich) 118
22. Freya (N. J. O. Blommér) 132
23. The Rainbow Bridge (H. Hendrich) 146
24. Heimdall (Dorothy Hardy) 148
25. Jarl (Albert Edelfelt) 152
26. The Norns (C. Ehrenberg) 166
27. The Dises (Dorothy Hardy) 170[viii]
28. The Swan-Maiden (Gertrude Demain Hammond, R.I.) 174
29. The Ride of the Valkyrs (J. C. Dollman) 176
30. Brunhild and Siegmund (J. Wagrez) 178
31. The Road to Valhalla (Severin Nilsson) 182
32. Ægir (J. P. Molin) 186
33. Ran (M. E. Winge) 190
34. The Neckan (J. P. Molin) 194
35. Loki and Hodur (C. G. Qvarnström) 202
36. The Death of Balder (Dorothy Hardy) 206
37. Hermod before Hela (J. C. Dollman) 210
38. Loki and Svadilfari (Dorothy Hardy) 222
39. Loki and Sigyn (M. E. Winge) 228
40. Thor and the Giants (M. E. Winge) 230
41. Torghatten 234
42. The Peaks of the Trolls 244
43. The Elf-Dance (N. J. O. Blommér) 246
44. The White Elves (Charles P. Sainton, R.I.) 248
45. Old Houses with Carved Posts 250
46. The Were-Wolves (J. C. Dollman) 260
47. A Hero’s Farewell (M. E. Winge) 264
48. The Funeral Procession (H. Hendrich) 268
49. Sigurd and Fafnir (K. Dielitz) 274
50. Sigurd Finds Brunhild (J. Wagrez) 278
51. Odin and Brunhild (K. Dielitz) 280
52. Aslaug (Gertrude Demain Hammond, R.I.) 282
53. Sigurd and Gunnar (J. C. Dollman) 284[ix]
54. The Death of Siegfried (H. Hendrich) 288
55. The End of Brunhild (J. Wagrez) 290
56. Ingeborg (M. E. Winge) 304
57. Frithiof Cleaves the Shield of Helgé (Knut Ekwall) 308
58. Ingeborg Watches her Lover Depart (Knut Ekwall) 312
59. Frithiof’s Return to Framnäs (Knut Ekwall) 316
60. Frithiof at the Shrine of Balder (Knut Ekwall) 318
61. Frithiof at the Court of Ring (Knut Ekwall) 320
62. Frithiof Watches the Sleeping King (Knut Ekwall) 324
63. Odin and Fenris (Dorothy Hardy) 334
64. The Ride of the Valkyrs (H. Hendrich) 344
65. The Storm-Ride (Gilbert Bayes)

    Chap. Page
    I. The Beginning 1
    II. Odin 16
    III. Frigga 42
    IV. Thor 59
    V. Tyr 85
    VI. Bragi 95
    VII. Idun 103
    VIII. Niörd 111
    IX. Frey 117
    X. Freya 131
    XI. Uller 139
    XII. Forseti 142
    XIII. Heimdall 146
    XIV. Hermod 154
    XV. Vidar 158
    XVI. Vali 162
    XVII. The Norns 166
    XVIII. The Valkyrs 173
    XIX. Hel 180
    XX. Ægir 185
    XXI. Balder 197
    XXII. Loki 216
    XXIII. The Giants 230
    XXIV. The Dwarfs 239
    XXV. The Elves 246
    XXVI. The Sigurd Saga 251
    XXVII. The Frithiof Saga 298[vi]
    XXVIII. The Twilight of the Gods 329
    XXIX. Greek and Northern Mythologies—A Comparison 342
    Index to Poetical Quotations 367
    Glossary and Index 369

[vii]
[Contents]
 

List of Illustrations

    Norsemen Landing in Iceland (Oscar Wergeland) Frontispiece
      To face page
    The Giant with the Flaming Sword (J. C. Dollman) 2
    The Wolves Pursuing Sol and Mani (J. C. Dollman) 8
    Odin (Sir E. Burne-Jones) 16
    The Chosen Slain (K. Dielitz) 18
    A Viking Foray (J. C. Dollman) 20
    The Pied Piper of Hamelin (H. Kaulbach) 28
    Odin (B. E. Fogelberg) 36
    Frigga Spinning the Clouds (J. C. Dollman) 42
    Tannhäuser and Frau Venus (J. Wagrez) 52
    Eástre (Jacques Reich) 54
    Huldra’s Nymphs (B. E. Ward) 58
    Thor (B. E. Fogelberg) 60
    Sif (J. C. Dollman) 64
    Thor and the Mountain (J. C. Dollman) 72
    A Foray (A. Malmström) 88
    The Binding of Fenris (Dorothy Hardy) 92
    Idun (B. E. Ward) 100
    Loki and Thiassi (Dorothy Hardy) 104
    Frey (Jacques Reich) 118
    Freya (N. J. O. Blommér) 132
    The Rainbow Bridge (H. Hendrich) 146
    Heimdall (Dorothy Hardy) 148
    Jarl (Albert Edelfelt) 152
    The Norns (C. Ehrenberg) 166
    The Dises (Dorothy Hardy) 170[viii]
    The Swan-Maiden (Gertrude Demain Hammond, R.I.) 174
    The Ride of the Valkyrs (J. C. Dollman) 176
    Brunhild and Siegmund (J. Wagrez) 178
    The Road to Valhalla (Severin Nilsson) 182
    Ægir (J. P. Molin) 186
    Ran (M. E. Winge) 190
    The Neckan (J. P. Molin) 194
    Loki and Hodur (C. G. Qvarnström) 202
    The Death of Balder (Dorothy Hardy) 206
    Hermod before Hela (J. C. Dollman) 210
    Loki and Svadilfari (Dorothy Hardy) 222
    Loki and Sigyn (M. E. Winge) 228
    Thor and the Giants (M. E. Winge) 230
    Torghatten 234
    The Peaks of the Trolls 244
    The Elf-Dance (N. J. O. Blommér) 246
    The White Elves (Charles P. Sainton, R.I.) 248
    Old Houses with Carved Posts 250
    The Were-Wolves (J. C. Dollman) 260
    A Hero’s Farewell (M. E. Winge) 264
    The Funeral Procession (H. Hendrich) 268
    Sigurd and Fafnir (K. Dielitz) 274
    Sigurd Finds Brunhild (J. Wagrez) 278
    Odin and Brunhild (K. Dielitz) 280
    Aslaug (Gertrude Demain Hammond, R.I.) 282
    Sigurd and Gunnar (J. C. Dollman) 284[ix]
    The Death of Siegfried (H. Hendrich) 288
    The End of Brunhild (J. Wagrez) 290
    Ingeborg (M. E. Winge) 304
    Frithiof Cleaves the Shield of Helgé (Knut Ekwall) 308
    Ingeborg Watches her Lover Depart (Knut Ekwall) 312
    Frithiof’s Return to Framnäs (Knut Ekwall) 316
    Frithiof at the Shrine of Balder (Knut Ekwall) 318
    Frithiof at the Court of Ring (Knut Ekwall) 320
    Frithiof Watches the Sleeping King (Knut Ekwall) 324
    Odin and Fenris (Dorothy Hardy) 334
    The Ride of the Valkyrs (H. Hendrich) 344
    The Storm-Ride (Gilbert Bayes) 

 

 

Introduction

The prime importance of the rude fragments of poetry preserved in early Icelandic literature will now be disputed by none, but there has been until recent times an extraordinary indifference to the wealth of religious tradition and mythical lore which they contain.

The long neglect of these precious records of our heathen ancestors is not the fault of the material in which all that survives of their religious beliefs is enshrined, for it may safely be asserted that the Edda is as rich in the essentials of national romance and race-imagination, rugged though it be, as the more graceful and idyllic mythology of the South. Neither is it due to anything weak in the conception of the deities themselves, for although they may not rise to great spiritual heights, foremost students of Icelandic literature agree that they stand out rude and massive as the Scandinavian mountains. They exhibit “a spirit of victory, superior to brute force, superior to mere matter, a spirit that fights and overcomes.”1 “Even were some part of the matter of their myths taken from others, yet the Norsemen have given their gods a noble, upright, great spirit, and placed them upon a high level that is all their own.”2 “In fact these old Norse songs have a truth in them, an inward perennial truth and greatness. [xii]It is a greatness not of mere body and gigantic bulk, but a rude greatness of soul.”3

The introduction of Christianity into the North brought with it the influence of the Classical races, and this eventually supplanted the native genius, so that the alien mythology and literature of Greece and Rome have formed an increasing part of the mental equipment of the northern peoples in proportion as the native literature and tradition have been neglected.

Undoubtedly Northern mythology has exercised a deep influence upon our customs, laws, and language, and there has been, therefore, a great unconscious inspiration flowing from these into English literature. The most distinctive traits of this mythology are a peculiar grim humour, to be found in the religion of no other race, and a dark thread of tragedy which runs throughout the whole woof, and these characteristics, touching both extremes, are writ large over English literature.

But of conscious influence, compared with the rich draught of Hellenic inspiration, there is little to be found, and if we turn to modern art the difference is even more apparent.

This indifference may be attributed to many causes, but it was due first to the fact that the religious beliefs of our pagan ancestors were not held with any real tenacity. Hence the success of the more or less considered policy of the early Christian missionaries to confuse the heathen beliefs, and merge them in the [xiii]new faith, an interesting example of which is to be seen in the transference to the Christian festival of Easter of the attributes of the pagan goddess Eástre, from whom it took even the name. Northern mythology was in this way arrested ere it had attained its full development, and the progress of Christianity eventually relegated it to the limbo of forgotten things. Its comprehensive and intelligent scheme, however, in strong contrast with the disconnected mythology of Greece and Rome, formed the basis of a more or less rational faith which prepared the Norseman to receive the teaching of Christianity, and so helped to bring about its own undoing.

The religious beliefs of the North are not mirrored with any exactitude in the Elder Edda. Indeed only a travesty of the faith of our ancestors has been preserved in Norse literature. The early poet loved allegory, and his imagination rioted among the conceptions of his fertile muse. “His eye was fixed on the mountains till the snowy peaks assumed human features and the giant of the rock or the ice descended with heavy tread; or he would gaze at the splendour of the spring, or of the summer fields, till Freya with the gleaming necklace stepped forth, or Sif with the flowing locks of gold.”4

We are told nothing as to sacrificial and religious rites, and all else is omitted which does not provide material for artistic treatment. The so-called Northern Mythology, therefore, may be regarded as [xiv]a precious relic of the beginning of Northern poetry, rather than as a representation of the religious beliefs of the Scandinavians, and these literary fragments bear many signs of the transitional stage wherein the confusion of the old and new faiths is easily apparent.

But notwithstanding the limitations imposed by long neglect it is possible to reconstruct in part a plan of the ancient Norse beliefs, and the general reader will derive much profit from Carlyle’s illuminating study in “Heroes and Hero-worship.” “A bewildering, inextricable jungle of delusions, confusions, falsehoods and absurdities, covering the whole field of Life!” he calls them, with all good reason. But he goes on to show, with equal truth, that at the soul of this crude worship of distorted nature was a spiritual force seeking expression. What we probe without reverence they viewed with awe, and not understanding it, straightway deified it, as all children have been apt to do in all stages of the world’s history. Truly they were hero-worshippers after Carlyle’s own heart, and scepticism had no place in their simple philosophy.

It was the infancy of thought gazing upon a universe filled with divinity, and believing heartily with all sincerity. A large-hearted people reaching out in the dark towards ideals which were better than they knew. Ragnarok was to undo their gods because they had stumbled from their higher standards.

We have to thank a curious phenomenon for the [xv]preservation of so much of the old lore as we still possess. While foreign influences were corrupting the Norse language, it remained practically unaltered in Iceland, which had been colonised from the mainland by the Norsemen who had fled thither to escape the oppression of Harold Fairhair after his crushing victory of Hafrsfirth. These people brought with them the poetic genius which had already manifested itself, and it took fresh root in that barren soil. Many of the old Norse poets were natives of Iceland, and in the early part of the Christian era, a supreme service was rendered to Norse literature by the Christian priest, Sæmund, who industriously brought together a large amount of pagan poetry in a collection known as the Elder Edda, which is the chief foundation of our present knowledge of the religion of our Norse ancestors. Icelandic literature remained a sealed book, however, until the end of the eighteenth century, and very slowly since that time it has been winning its way in the teeth of indifference, until there are now signs that it will eventually come into its own. “To know the old Faith,” says Carlyle, “brings us into closer and clearer relation with the Past—with our own possessions in the Past. For the whole Past is the possession of the Present; the Past had always something true, and is a precious possession.”

The weighty words of William Morris regarding the Volsunga Saga may also be fitly quoted as an introduction to the whole of this collection of “Myths of [xvi]the Norsemen”: “This is the great story of the North, which should be to all our race what the Tale of Troy was to the Greeks—to all our race first, and afterwards, when the change of the world has made our race nothing more than a name of what has been—a story too—then should it be to those that come after us no less than the Tale of Troy has been to us.”

---

1 “Northern Mythology,” Kauffmann.

2 Halliday Sparling.

3 Carlyle, “Heroes and Hero Worship.”

4 “Northern Mythology,” Kauffmann

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Myths of Greece and Rome by H. A. Guerber

MYTHS OF GREECE AND ROME

NARRATED WITH SPECIAL REFERENCE TO
LITERATURE AND ART

BY

H. A. GUERBER
LECTURER ON MYTHOLOGY

AMERICAN BOOK COMPANY
NEW YORK   CINCINNATI   CHICAGO

Copyright, 1893, by
American Book Company.

Copyright. 1921, by
H. A. Guerber.

—
Guerber’s Myths.

E.P. 44

DEDICATED

TO MY KIND FRIENDS

MISS MACKIE AND MISS MASTERS

IN WHOSE SCHOOLS MY LECTURES WERE FIRST GIVEN

MADE IN U. S. A.

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 PREFACE.

THE aim of this book is to present a complete and entertaining account of Grecian and Roman mythology in such a manner that the student will appreciate its great influence upon literature and art.

 

These myths, an inexhaustible fund of inspiration for the poets and artists of the past, have also inspired many noted modern works. To impress this fact forcibly upon the student, appropriate quotations from the poetical writings of all ages, from Hesiod’s “Works and Days,” to Tennyson’s “Œnone,” have been inserted in the text, while reproductions of ancient masterpieces and noted examples of modern painting and sculpture are plentifully used as illustrations.

 

The myths are told as graphically and accurately as possible, great care being taken, however, to avoid the more repulsive features of heathen mythology; and when two or more versions of the same myth occur, the preference has invariably been given to the most popular, that is to say, to the one which has inspired the greatest works.

 

Both the Latin and the Greek forms of proper names are given, but the Latin names are usually retained throughout the narrative, because more frequently used in poetry and art.

  

The closing chapter includes an analysis of myths by the light of philology and comparative mythology, and the philological explanation of the stories related in the preceding chapters.

 

A map, genealogical table, and complete glossary and index adapt this little volume for constant use in the library and art gallery, at home and abroad.

CONTENTS.

MAP SHOWING LOCATION OF MYTHS     8

LIST OF ILLUSTRATIONS     10

CHAP. I.     The Beginning of All Things     11

II.     Jupiter     39

III.     Juno     51

IV.     Minerva     55

V.     Apollo     61

VI.     Diana     93

VII.     Venus     103

VIII.     Mercury     131

IX.     Mars     138

X.     Vulcan     144

XI.     Neptune     149

XII.     Pluto     159

XIII.     Bacchus     171

XIV.     Ceres and Proserpina     183

XV.     Vesta     198

XVI.     Janus     205

XVII.     Somnus and Mors     208

XVIII.     Æolus     213

XIX.     Hercules     216

XX.     Perseus     240

XXI.     Theseus     250

XXII.     Jason     263

XXIII.     The Calydonian Hunt     275

XXIV.     Œdipus     280

XXV.     Bellerophon     291

XXVI.     Minor Divinities     297

XXVII.     The Trojan War     305

XXVIII.     Adventures of Ulysses     337

XXIX.     Adventures of Æneas     360

XXX.     Analysis of Myths     378

GENEALOGICAL TABLE     402

INDEX TO POETICAL QUOTATIONS     405

GLOSSARY AND INDEX     407

 

 LIST OF ILLUSTRATIONS.

     
Homer     2
Amor     14
Fountain of Cybele (Rhea)     19
Minerva and Prometheus     26
Pandora     30
Hope     34
Olympian Zeus     40
Ganymede and the Eagle     42
The Abduction of Europa     46
Juno     50
Iris     53
Minerva     56
Apollo Belvedere     66
Apollo and Daphne     69
Orpheus and Eurydice     78
Farnese Bull     81
Aurora     86
Apollo and the Muses     89
Diana of Versailles     92
Niobe     95
Venus de Milo     102
Fourth Hour of the Night     104
Sleeping Love     109
Hero and Leander     115
Cupid awakening Psyche     125
Charon and Psyche     129
Flying Mercury     133
Venus de Milo and Mars     141
The Forge of Vulcan     146
Fountain of Neptune     150
Father Nile     157
The Furies     162
The Three Fates     164
Bacchus     175
Marriage of Bacchus and Ariadne     180
Abduction of Proserpina     185
Ceres     189
A Nymph     191
School of the Vestal Virgins     199
The Vestal Tuccia     201
Genius of Death     209
Hercules an Infant     217
Hercules and Centaur     222
Mounted Amazon going to the Chase     225
Hercules at the Feet of Omphale     231
Fortuna     233
Farnese Hercules     237
Perseus     245
Perseus and Andromeda     247
Dædalus and Icarus     254
Ariadne     258
Theseus     261
Jason and the Dragon     270
Medea     272
Atalanta’s Race     277
Œdipus and the Sphinx     284
Antigone and Ismene     289
Chimæra     293
Vertumnus and Pomona     302
Paris     309
Abduction of Helen     313
Parting of Hector and Andromache     322
Thetis bearing the Armor of Achilles     327
Laocoon     334
Triumph of Galatea     340
Acis and Galatea (Evening)     342
Circe and the Friends of Ulysses     348
Siren     351
Penelope     356
Æneas at the Court of Dido     368
Cumæan Sibyl     371

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Mythology: Timeless Tales of Gods and Heroes by Edith Hamilton

 Mythology: Timeless Tales of Gods and Heroes 

 

 by Edith Hamilton

 

 Mythology: Timeless Tales of Gods and Heroes is a book written by Edith Hamilton, published in 1942 by Little, Brown and Company. It has been reissued since then by several publishers, including its 75th anniversary illustrated edition. It retells stories of Greek, Roman, and Norse mythology drawn from a variety of sources. The introduction includes commentary on the major classical poets used as sources, and on how changing cultures have led to changing characterizations of the deities and their myths. It is frequently used in high schools and colleges as an introductory text to ancient mythology and belief. Wikipedia

 

 About the Author

Edith Hamilton, an educator, writer and a historian, was born August 12, 1867 in Dresden, Germany, of American parents and grew up in Fort Wayne, Indiana. Her father began teaching her Latin when she was seven years old and soon added Greek, French, and German to her curriculum. Hamilton's education continued at Miss Porter's School in Farmington, Connecticut, and at Bryn Mawr College near Philadelphia, Pennsylvania, from which she graduated in 1894 with an M.A. degree. The following year, she and her sister Alice went to Germany and were the first women students at the universities of Munich and Leipzich.

Hamilton returned to the United States in 1896 and accepted the position of headmistress of the Bryn Mawr Preparatory School in Baltimore, Maryland. For the next twenty-six years, she directed the education of about four hundred girls per year. After her retirement in 1922, she started writing and publishing scholarly articles on Greek drama. In 1930, when she was sixty-three years old, she published The Greek Way, in which she presented parallels between life in ancient Greece and in modern times. The book was a critical and popular success. In 1932, she published The Roman Way, which was also very successful. These were followed by The Prophets of Israel (1936), Witness to the Truth: Christ and His Interpreters (1949), Three Greek Plays, translations of Aeschylus and Euripides (1937), Mythology (1942), The Great Age of Greek Literature (1943), Spokesmen for God (1949) and Echo of Greece (1957). Hamilton traveled to Greece in 1957 to be made an honorary citizen of Athens and to see a performance in front of the Acropolis of one of her translations of Greek plays. She was ninety years old at the time. At home, Hamilton was a recipient of many honorary degrees and awards, including election to the American Academy of Arts and Letters. Edith Hamilton died on May 31, 1963 in Washington, D.C.

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