Chapter LVII: Section VII: A Brief Review

The lives and exploits of the propitious divinities have now been presented; and in presenting the myths we have not only given the forces and phenomena of nature symbolized by the myths, but we have also tried to bring the mythology down from heaven to the earth, and exhibit the value it had in the minds of our ancestors. We have tried, as Socrates did with his philosophy, to show what influence the myths have had upon the life of our forefathers; in other words, we have tried to put a kernel into the shell. We have tried to present the mythology, not as the science and laws by which the universe is governed, but as something—call it science or what you will—by which to illustrate how the contemplation of the forces and phenomena of nature have influenced human thought and action. Language is in its origin nothing but impressions from nature, which having been revolved for a time in the human mind find their expression in words. Poetry is in its origin nothing else but expressions of human thought and feeling called forth by the contemplation of the wonderful works of God. And this is also true of mythology.

We have found the propitious divinities divided into three classes, those of heaven, those of earth, and those of the sea. The union or marriage between heaven and earth has been promoted in various myths. The king of heaven is but _one_, but he embraces the earth in various forms, and the earth is, in a new form, wedded to the god of thunder; nay, the vans, or divinities of the sea, arise and fill the land with blessings in various ways. The manner in which the gods are combined and interlinked with each other in one grand system is a feature peculiar to the Norse mythology. There is not, as in the Greek, a series of separate groups and separate dwellings, but the gods come in frequent contact with each other. Odin rules in the heavens, Thor in the clouds, Heimdal in the rainbow, Balder in the realms of light, Frey with his elves of light in the earth, but the sun affects them all: it is Odin’s eye, it is Balder’s countenance, Heimdal needs it for his rainbow, and Frey governs its rays; and still the sun itself rides as a beaming maid with her horses from morning until evening. The earth has its various forms, and the seed planted in the earth has its own god (Frey), surrounded by the spirits of the groves, the forests and the fountains. And the king of heaven unites man with nature; he not only provides for his animal life, but also breathes into him a living soul and inspires him with enthusiasm. He sits with Saga at the fountain of history; he sends out his son Brage, the god of poetry and eloquence, and unites him with Idun, the rejuvenating goddess, whose carefully protected rivers meander through the grove full of fruit trees bearing golden apples; and he lets his other son, Balder, the ruler of light, marry the industrious flower-goddess, Nanna, who with her maids spreads a fragrant carpet over the earth. And as the god of thunder rules but to protect heaven and earth, so the naked desert and the impenetrable forest exist only to remind us of the incorruptible vital force of nature, safe against all attacks. The imperishableness of nature appears more strikingly in the stupendous mountains and gigantic forests than in the fertile, cultivated and protected parts of the earth. Now let us again ask: Is there nothing here for the poet or artist? Has the Norse mythology nothing that can be elaborated and clothed with beautiful forms and colors? Does this mythology not contain germs that art can develop into fragrant leaves, swelling buds and radiant blossoms? Does not this our Gothic inheritance deserve a place with the handmaids of literature? Will not our poets, public speakers, lecturers, essayists, and writers of elegant literature generally, who make so many quaint allusions to, and borrow so many elegant and suggestive illustrations from, Greek mythology; will they not, we say, do their own ancestors the honor to dip their pen occasionally into the mythology of the Gothic race? It is bad practice to borrow when we can get along without it, besides the products of the south thrive not well in our northern Gothic soil and climate. Ygdrasil grows better here, and that is a tree large enough and fruitful enough to sustain the Gothic race with enthusiasm and inspiration for centuries yet to come, and to supply a a whole race of future bards and poets and artists with a precious and animating elixir. Our next generation will comprehend this.

Footnote 73:

How Skade came to choose Njord when she was permitted to choose a
husband among the gods, seeing only their feet, was related on page
277.

Footnote 74:

Rocky islands.