SAGA-BOOK - Viking Society Web Publications

SAGA-BOOK - Viking Society Web Publications SAGA-BOOK - Viking Society Web Publications

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104 Saga-Book of the Viking Society there is no difference between 6i5inn's manner of speech and Vaiprurinir's. On the other hand the subject-matter and framework of Valuspa can hardly be separated, as has already been shown. This demonstrates at once that Valuspa was hammered out in a hotter forge. The organisation of content and the cohesion of Vafpruonismal show this even better. 6i5inn's first question (st. 20) is, it is true, about the origin of heaven and earth, and his next to last (st. 52) about his fall in Ragnarok, but in st. 17 there is talk of the battlefield of Surtr and the gods, in st. 48, right in the middle of other material, of the noms, and so on. The poem is a jumble of odd fragments of erudition without any proper organisation, and no attempt is made to trace the causal connection of events. In Valuspa it is quite different. There the tale of the life of the gods is followed in strict chronological order and each event is tied up with the next, even though the pace is quick. The poem is sustained by a strong framework of art and philosophy. In Vafpruonismal the treatment of the subject is cool and dry. The poem is clear and easily understood, full of names and facts. On the other hand there is the swell of poetic excitement in Valuspa. It is true that the principal events of the mythology had to be mentioned, but the poet merely uses these as stepping-stones. In Vafpruonismal they are like stones threaded on a string, in Valuspa like gravel rolled onward by a rushing current. This is why the poem is so obscure that hardly a single stanza can be completely explained, and the way to understanding is rather by living at the speed of the current than by staring at individual pebbles. The understanding of individual events is different. In Vafpruonismal a crude imagination and an unpolished taste, which swallows every camel of popular credulity, produce such curious things as: Undir hendi vaxa kvMu hrimpursi

Voluspci mey ok mog saman; f6tr vid fceti gat ens frMa j otuns sexhof6al'5an son. 64 105 The descriptions in V oluspd are drawn from a, very different world.P The earth is not made from Ymir, but has risen out of the sea; dew is not the drops from the muzzle of Hrimfaxi but the spray from the holy river which cascades down over the ash of Yggdrasill; the sun is not caught by the wolf, it is darkened; Fenrir does not swallow 6l'5inn, who is killed without further description; Vil'5arr does not tear Fenrir's jaws apart, but stabs him to the heart.56 Where the rebirth of the world is described there emerges a twofold philosophy of life, as will be shown later. Vaffiruonismdl speaks both of the terrible winter and of the flame of Surtr without integrating them (Hoddmimis holt, st. 45, could guard against the winter but not the burning of the world). In V oluspd the various ideas about the end of the world are welded into a consistent whole. A comparison of V olusPd with the other Eddaic mythological poems, in so far as it could be carried out, would produce a similar result. They have little of its majesty and inspiration. Their appearance is quite different. It is enough to mention the catalogues of names in Grimnismdl, the word-count of Alvissmdl, the threats of Skirnismdl, the humour of Prymskvioa, the mockery of Hcirbaroslj60 and the scabrousness of Lokasenna. In Prymskvioa the giant sits on the mound, cuts the manes of his horses and makes collars for his dogs. In V oluspd he sits on the mound and - plays the harp! The giants of V oluspd, Hrymr with his linden shield, Surtr with the bright sword, are polished personages in comparison with the giants of popular mythology. 51 VafprMnismlil st. 33. .. See Olrik, Om Ragnarok, I 269. 5' Cf. VafprMnismlil st. 14, 21, 47 and 53.

Voluspci<br />

mey ok mog saman;<br />

f6tr vid fceti<br />

gat ens frMa j otuns<br />

sexhof6al'5an son. 64<br />

105<br />

The descriptions in V oluspd are drawn from a, very<br />

different world.P The earth is not made from Ymir,<br />

but has risen out of the sea; dew is not the drops from the<br />

muzzle of Hrimfaxi but the spray from the holy river<br />

which cascades down over the ash of Yggdrasill; the sun is<br />

not caught by the wolf, it is darkened; Fenrir does not<br />

swallow 6l'5inn, who is killed without further description;<br />

Vil'5arr does not tear Fenrir's jaws apart, but stabs him to<br />

the heart.56 Where the rebirth of the world is described<br />

there emerges a twofold philosophy of life, as will be shown<br />

later. Vaffiruonismdl speaks both of the terrible winter<br />

and of the flame of Surtr without integrating them<br />

(Hoddmimis holt, st. 45, could guard against the winter<br />

but not the burning of the world). In V oluspd the various<br />

ideas about the end of the world are welded into a<br />

consistent whole.<br />

A comparison of V olusPd with the other Eddaic<br />

mythological poems, in so far as it could be carried out,<br />

would produce a similar result. They have little of its<br />

majesty and inspiration. Their appearance is quite<br />

different. It is enough to mention the catalogues of names<br />

in Grimnismdl, the word-count of Alvissmdl, the threats<br />

of Skirnismdl, the humour of Prymskvioa, the mockery<br />

of Hcirbaroslj60 and the scabrousness of Lokasenna. In<br />

Prymskvioa the giant sits on the mound, cuts the manes of<br />

his horses and makes collars for his dogs. In V oluspd he<br />

sits on the mound and - plays the harp! The giants of<br />

V oluspd, Hrymr with his linden shield, Surtr with the<br />

bright sword, are polished personages in comparison with<br />

the giants of popular mythology.<br />

51 VafprMnismlil st. 33.<br />

.. See Olrik, Om Ragnarok, I 269.<br />

5' Cf. VafprMnismlil st. 14, 21, 47 and 53.

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