(see No. 63)—a fountain whose veins, together with the deepest root of the world-tree, extends to a depth which not even Odin's thought can penerate (Havam., 138). By self-sacrifice in his youth Odin received from Bestla's brother (Mimer; see No. 88) a drink from the precious liquor of this fountain and nine fimbul-songs (Havam., 140; cp. Sigrdr., 14), which were the basis of the divine magic of the application of the power of the word and of the rune over spiritual and natural forces, in prayer, in sacrifices and in other religious acts, in investigations, in the practical affairs of life, in peace and in war (Havam., 144 ff.; Sigrdr., 6 ff.). The character and purpose of these songs are clear from the fact that at the head is placed "help's fimbul-song," which is able to allay sorrow and cure diseases (Havam., 146).
In the hands of Odin they are a means for the protection of the power of the Asa-gods, and enable them to assist their worshippers in danger and distress. To these belong the fimbul-song of the runes of victory; and it is of no little interest that we, in Havamál, 156, find what Tacitus tells about the barditus of the Germans, the shield-song with which they went to meet their foes—a song which Ammianus Paulus himself has heard, and of which he gives a vivid description. When the Teutonic forces advanced to battle the warriors raised their shields up to a level with the upper lip, so that the round of the shield formed a sort of sounding-board for their song. This began in a low voice and preserved its subdued colour, but the sound gradually increased, and at a distance it resembled the roar of the breakers of the sea. Tacitus says that the Teutons predicted the result of the battle from the impression the song as a whole made upon themselves: it might sound in their ears in such a manner that they thereby became more terrible to their enemies, or in such a manner that they were overcome by despair. The above-mentioned strophe of Havamál gives us an explanation of this: the warriors were roused to confidence if they, in the harmony of the subdued song increasing in volume, seemed to perceive Valfather's voice blended with their own. The strophe makes Odin say: Ef ec scal til orrostu leitha langvini, undir randir ec gel, en their meth ríki fara heilir hildar til, heilir hildi frá—"If I am to lead those to battle whom I have long held in friendship, then I sing under their shields. With success they go to the conflict, and successfully they go out of it." Völuspa also refers to the shield-song in 47, where it makes the storm-giant, Hrymr, advancing against the gods, "lift his shield before him" (hefiz lind fyrir), an expression which certainly has another significance than that of unnecessarily pointing out that he has a shield for protection. The runes of victory were able to arrest weapons in their flight and to make those whom Odin loved proof against sword-edge and safe against ambush (Havam., 148, 150). Certain kinds of runes were regarded as producing victory and were carved on the hilt and on the blade of the sword, and while they were carved Tyr's name was twice named (Sigrdr., 6).
Another class of runes (brimrúnar, Sigrdr., 10; Havam., 150) controlled the elements, purified the air from evil beings (Havm., 155), gave power over wind and waves for good purposes—as, for instance, when sailors in distress were to be rescued—or power over the flames when they threatened to destroy human dwellings (Havam., 152). A third kind of runes (málrúnar) gave speech to the mute and speechless, even to those whose lips were sealed in death (see No. 70). A fourth kind of runes could free the limbs from bonds (Havam., 149). A fifth kind of runes protected against witchcraft (Havam., 151). A sixth kind of runes (ölrúnar) takes the strength from the love-potion prepared by another man's wife, and from every treachery mingled therein (Sigrdr., 7, 8). A seventh kind (bjargrúnar and limrúnar) helps in childbirth and heals wounds. An eighth kind gives wisdom and knowledge (hugrúnar, Sigrdr., 13; cp. Havam., 159). A ninth kind extinguishes enmity and hate, and produces friendship and love (Havam., 153, 161). Of great value, and a great honour to kings and chiefs, was the possession of healing runes and healing hands; and that certain noble-born families inherited the power of these runes was a belief which has been handed down even to our time. There is a distinct consciousness that the runes of this kind were a gift of the blithe gods. In a strophe, which sounds as if it were taken from an ancient hymn, the gods are beseeched for runes of wisdom and healing: "Hail to the gods! Hail to the goddesses! Hail to the bounteous Earth (the goddess Jord). Words and wisdom give unto us, and healing hands while we live!" (Sigrdr., 4).
In ancient times arrangements were made for spreading the knowledge of the good runes among all kinds of beings. Odin taught them to his own clan; Dáinn taught them to the Elves; Dvalinn among the dwarfs; Ásvinr (see No. 88) among the giants (Havam., 143). Even the last-named became participators in the good gift, which, mixed with sacred mead, was sent far and wide, and it has since been among the Asas, among the Elves, among the wise Vans, and among the children of men (Sigrdr., 18). The above-named Dvalinn, who taught the runes to his clan of ancient artists, is the father of daughters, who, together with dises of Asa and Vana birth, are in possession of bjargrúnar, and employ them in the service of man (Fafnism., 13).
To men the beneficent runes came through the same god who as a child came with the sheaf of grain and the tools to Scandia. Hence the belief current among the Franks and Saxons that the alphabet of the Teutons, like the Teutons themselves, was of northern origin. Rigsthula expressly presents Heimdal as teaching runes to the people whom he blessed by his arrival in Midgard. The noble-born are particularly his pupils in runic lore. Of Heimdal's grandson, the son of Jarl Borgar, named Kon-Halfdan, it is said:
| En Konr ungr kunni runar, æfinrunar ok alldrrunar. Meir kunni hann monnum bjarga, eggjar deyfa, ægi legia, klok nam fugla, kyrra ellda, sæva ok svefia, sorgir lægia. | But Kon the young taught himself runes, runes of eternity and runes of earthly life. Then he taught himself men to save, the sword-edge to deaden, the sea to quiet, bird-song to interpret, fires to extinguish, to soothe and comfort, sorrows to allay. |
The fundamental character of this rune-lore bears distinctly the stamp of nobility. The runes of eternity united with those of the earthly life can scarcely have any other reference than to the heathen doctrines concerning religion and morality. These were looked upon as being for all time, and of equal importance to the life hereafter. Together with physical runes with magic power—that is, runes that gave their possessors power over the hostile forces of nature—we find runes intended to serve the cause of sympathy and mercy.
27.
SORCERY THE REVERSE OF THE SACRED RUNES. GULLVEIG-HEIDR, THE SOURCE OF SORCERY. THE MORAL DETERIORATION OF THE ORIGINAL MAN.
But already in the beginning of time evil powers appear for the purpose of opposing and ruining the good influences from the world of gods upon mankind. Just as Heimdal, "the fast traveller," proceeds from house to house, forming new ties in society and giving instruction in what is good and useful, thus we soon find a messenger of evil wandering about between the houses in Midgard, practising the black art and stimulating the worst passions of the human soul. The messenger comes from the powers of frost, the enemies of creation. It is a giantess, the daughter of the giant Hrimnir (Hyndlulj., 32), known among the gods as Gulveig and by other names (see Nos. 34, 35), but on her wanderings on earth called Heidr. "Heid they called her (Gulveig) when she came to the children of men, the crafty, prophesying vala, who practised sorcery (vitti ganda), practised the evil art, caused by witchcraft misfortunes, sickness, and death (leikin, see No. 67), and was always sought by bad women." Thus Völuspa describes her. The important position Heid occupies in regard to the corruption of ancient man, and the consequences of her appearance for the gods, for man, and for nature (see below), have led Völuspa's author, in spite of his general poverty of words, to describe her with a certain fulness, pointing out among other things that she was the cause of the first war in the world. That the time of her appearance was during the life of Borgar and his son shall be demonstrated below.
In connection with this moral corruption, and caused by the same powers hostile to the world, there occur in this epoch such disturbances in nature that the original home of man and culture—nay, all Midgard—is threatened with destruction on account of long, terrible winters. A series of connected myths tell of this. Ancient artists—forces at work