age of strife, which ever since has reigned in the world. His significance in this respect is distinctly manifest in the poem. The raven, to whom the battle-field will soon be as a wellspread table, is yet suffering from hunger (andvanr átu); but from the high tree in which it sits, it has on the day after the birth of the child, presumably through the window, seen the newcomer, and discovered that he possessed "the sharp eyes of the Hildings," and with prophetic vision it has already seen him clad in coat of mail. It proclaims its discovery to another raven in the same tree, and foretells that theirs and the age of the wolves has come: "We shall thrive."
The parents of the child heard and understood what
the raven said. Among the runes which Heimdal, Borgar's father, taught him, and which the son of the latter in time learned, are the knowledge of bird-speech (Konr ungr klök nam fugla—Rigsthula, 43, 44). The raven's appearance in the song of Helge Hundingsbane is to be compared with its relative the crow in Rigsthula; the one foretells that the new-born one's path of life lies over battle-fields, the other urges the grown man to turn away from his peaceful amusements. Important in regard to a correct understanding of the song, and characteristic of the original relation of the strophes quoted to the myth concerning primeval time, is the circumstance that Halfdan's ("Helge Hundingsbane's") parents are not pleased with the prophecies of the raven; on the contrary they are filled with alarm. Former interpreters have been surprised at this. It has seemed to them that the prophecy of the lad's future heroic and blood-stained career ought, in harmony with the general spirit pervading the old Norse literature, to have awakened the parents' joy and pride. But the matter is explained by the mythic connection which makes Borgars' life constitute the transition period from a happy and peaceful golden age to an age of warfare. With all their love of strife and admiration for warlike deeds, the Teutons still were human, and shared with all other people the opinion that peace and harmony is something better and more desirable than war and bloodshed. Like their Aryan kinsmen, they dreamed of primeval Saturnia regna, and looked forward to a regeneration which is to restore the reign of peace. Borgar, in the myth, established the community, was the legislator and judge. He was the hero of peaceful deeds, who did not care to employ weapons except against wild beasts and robbers. But the myth had also equipped him with courage and strength, the necessary qualities for inspiring respect and interest, and had given him abundant opportunity for exhibiting these qualities in the promotion of culture and the maintenance of the sacredness of the law. Borgar was the Hercules of the northern myth, who fought with the gigantic beasts and robbers of the olden time. Saxo (Hist., 23) has preserved the traditions which tell how he at one time fought breast to breast with a giant bear, conquering him and bringing him fettered into his own camp.
As is well known, the family names Ylfings, Hildings, Budlungs, &c., have in the poems of the Christian skalds lost their specific application to certain families, and are applied to royal and princely warriors in general. This is in perfect analogy with the Christian Icelandic poetry, according to which it is proper to take the name of any viking, giant, or dwarf, and apply it to any special viking, giant, or dwarf, a poetic principle which scholars even of our time claim can also be applied in the interpretation of the heathen poems. In regard to the old Norse poets this method is, however, as impossible as it would be in Greek poetry to call Odysseus a Peleid, or Achilleus a Laertiatid, or Prometheus Hephæstos, or Hephæstos Dædalos. The poems concerning Helge Hundingsbane are compiled in Christian times from old songs about Borgar's son Halfdan, and we find that the patronymic appellations Ylfing, Hilding, Budlung, and Lofdung are copiously strewn on "Helge Hundingsbane." But, so far as the above-quoted strophes are concerned, it can be shown that the appellations Ylfing, Hilding, and Budlung are in fact old usage and have a mythic foundation. The German poem "Wolfdieterich und Sabin" calls Berchtung (Borgar) Potelung—that is, Budlung; the poem "Wolfdieterich" makes Berchtung the progenitor of the Hildings, and adds: "From the same race the Ylfings have come to us"—von dem selbe geslehte sint uns die wilfinge kumen (v. 223).
Saxo mentions the Hilding Hildeger as Halfdan's half-brother, and the traditions on which the saga of Asmund Kæmpebane is based has done the same (compare No. 43). The agreement in this point between German, Danish, and Icelandic statements points to an older source common to them all, and furnishes an additional proof that the German Berchtung occupied in the mythic genælogies precisely the same place as the Norse Borgar.
That Thor is one of Halfdan's fathers, just as Heimdal is one of Borgar's, has already been pointed out above (see No. 25). To a divine common fatherhood point the words: "Drott it is said, saw in him (the lad just born) a dayling (son of a god of light), a son divine." Who the divine partner-father is, is indicated by the fact that a storm has broken out the night when Drott's son is born. There is a thunder-strife vig thrimo, the eagles screech, and holy waters fall from the heavenly mountains (from the clouds). The god of thunder is present, and casts his shadow over the house where the child is born.
31.
HALFDAN'S CHARACTER. THE WEAPON-MYTH.
The myths and heroic poems are not wanting in ideal heroes, who are models of goodness of heart, justice, and the most sensitive nobleness. Such are, for example, the Asa-god Balder, his counter part among heroes, Helge Hjorvardson, Beowulf, and, to a certain degree also, Sigurd Fafnesbane. Halfdan did not belong to this group. His part in the myth is to be the personal representative of the strife-age that came with him, of an age when the inhabitants of the earth are visited by the great winter and by dire misfortunes, when the demoralisation of the world has begun along with disturbances in nature and when the words already are applicable, "hart er i heimi" (hard is the world). Halfdan is guilty of the abduction of a woman—the old custom of taking a maid from her father by violence or cunning is illustrated in his saga. It follows, however, that the myth at the same time embellished him with qualities which made him a worthy Teutonic patriarch, and attractive to the hearers of the songs concerning him. These qualities are, besides the necessary strength and courage, the above-mentioned knowledge of runes, wherein he even surpasses his father (Rigsth.), great skaldic gifts (Saxo, Hist., 325), a liberality which makes him love to strew gold about him (Helge Hund., i. 9), and an extraordinary, fascinating physical beauty—which is emphasised by Saxo (Hist., 30), and which is also evident from the fact that the Teutonic myth makes him, as the Greek myth makes Achilleus, on one occasion don a woman's attire, and resemble a valkyrie in this guise (Helge Hund., ii.). No doubt the myth also described him as the model of a faithful foster-brother in his relations to the silent Hamal, who externally was so like him that the one could easily be taken for the other (cp. Helge Hund., ii. 1, 6). In all cases it is certain that the myth made the foster-brotherhood between Halfdan and Hamal the basis of the unfailing fidelity with which Hamal's descendants, the Amalians, cling to the son of Halfdan's favourite Hadding, and support his cause even amid the most difficult circumstances (see Nos. 42, 43). The abduction of a woman by Halfdan is founded in the physical interpretation of the myth, and can thus be justified. The wife he takes by force is the goddess of vegetation, Groa, and he does it because her husband Orvandel has made a compact with the powers of frost (see Nos. 33, 38, 108, 109).
There are indications that our ancestors believed the sword to be a later invention than the other kinds of weapons, and that it was from the beginning under a curse. The first and most important of all sword-smiths was, according to the myth, Thjasse,[17] who accordingly is called fadir mörna, the father of the swords (Haustlaung, Younger Edda, 306). The best sword made by him is intended to make way for the destruction of the gods (see Nos. 33, 98, 101, 103). After various fortunes it comes into the possession of Frey, but is of no service to Asgard. It is given to the parents of the giantess Gerd, and in Ragnarok it causes the death of Frey.
Halfdan had two swords, which his mother's father, for whom they were made, had buried in the earth, and his mother long kept the place of concealment secret from him. The first time he uses one of them he slays in a duel his noble half-brother Hildeger, fighting on the side of the Skilfings, without knowing who he is (cp. Saxo, Hist., 351, 355, 356, with Asmund Kæmpebane's saga). Cursed