Svidur and Svidre Hight I at Sokmimer's, And fooled the ancient giant When 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 G.o.ds, 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 (?e?? ????? and ???t??); Alfather probably contracted from _Alda_father = the Father of the Ages and the Creations; Veratyr = the Lord of Beings; Rogner = the Ruler (from regin); Got (Gautr, from _gjota_, 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 G.o.ds 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 a.s.sumes. 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-G.o.d, 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 = G.o.d of victory; Skilfing = producing trembling; Hnikar = the breaker, etc., represent Odin as the G.o.d 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 G.o.ddesses. Hel is the G.o.ddess of death, and from her name our word _h.e.l.l_ 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 ?ef??? = mist. (See Norse Mythology, p. 187.)

GINUNGAGAP. Ginn means wide, large, far-reaching, perhaps also void (compare the Anglo-Saxon _gin_ = gaping, open, s.p.a.cious; ginian = to gap; and ginnung = a yawning). Ginungagap thus means the yawning gap or abyss, and represents empty s.p.a.ce. 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 (elivagar) in the next chapter. eli-vagar 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) G.o.d, 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 G.o.d, 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 G.o.ds, Odin (spirit), Vile (will) and Ve (sanct.i.ty), 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 pa.s.sages, 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 a.s.sist the dwarfs against the treacherous giants. While the giants are always hostile to the G.o.ds, 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 Alvismal), 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, coa.r.s.ely 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. Dvergmal (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 G.o.ds 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 antic.i.p.ated war, and hastened over the field. The valkyries came from afar, ready to ride to the G.o.ds' 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 pa.s.sages of a number of his plays.

Only one further instance of the systematic employment of alliteration may here be noted in pa.s.sing. 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 _Dornroschen_, 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-Rathinnen_), 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.