The _Solar Liod_, or Song of the Sun, is almost wholly the composition of Sæmund. But then he derived his materials from ancient pagan times.
2. Of the mytho-didactic poems, the first place may well be assigned to the _Vafthrudnis-mâl_. It is, like many of the other Odinic pieces, in the form of a dialogue. Odin expresses his resolution to visit Vafthrudnir, a famous giant or genius, and of contending with him in science. Frigga, his queen, “to whom the future is known,” attempts to dissuade him from the journey, because “no one of the genii is to be compared with Vafthrudnir in wisdom and valour.” If Odin should be vanquished in the contest, he must perish, and with him all the gods who were dependent on him. But he persists, assumes the disguise of a weary traveller, and proceeds to the palace of the sage giant. On this poem, however, we shall not further dilate, as a translation of it may be found in a volume of the present collection.[16] This contest between the chief of the gods and the giant is derived from the same source as the war of the Titans with Jove.
_Grimnis-mâl_, or Grimner’s Song, is another of the mytho-didactic class. Grimner is no other than Odin, who has assumed the disguise of an aged minstrel, for a purpose explained by the Icelandic introduction to the poem. King Rodung had two sons, the one eight, the other ten years of age. One day they embarked in a boat to pass some hours in fishing. A storm arising, they were driven into an unknown sea, and cast upon a strange coast. Approaching a hut, they were hospitably received by the master and mistress, who seemed to be a rustic pair, but who in reality were Odin and Frigga. Agner, the elder, was the favourite of the latter, Geirrod, the younger, of the former. In the hut they remained the whole winter; and when spring arrived, they were led to the sea-coast, and embarked in a new vessel which their hosts presented to them. When bidding adieu, the male rustic whispered something into Geirrod’s ear. The purport of this secret may be inferred from the conduct of the prince just as he reached land. As he leaped on shore, he pushed the boat away, exclaiming to his brother Agner, “Go, where the evil genii may seize thee!” Repairing to his father’s court, he found that father no more, and he was immediately proclaimed king of the country. On the other hand, Agner was among the giants or evil genii, and married to a woman of that hated race. Great, therefore, was the contrast between the fortunes of the two; and Odin one day, from the highest heaven, pointed it out in triumph to his goddess-queen. Frigga declared that Geirrod was undeserving of the good fortune; that he was a niggard who starved his dependents and guests. This the god refused to credit; and when she persisted in the charge, he assumed a mortal form to try the experiment. But what man can equal a woman, either god or goddess, in cunning? Frigga sent one of her confidential messengers to Geirrod, telling him to be on his guard against a wise magician then in his dominions, who had resolved to destroy him: that magician was to be known by this token—that no dog would bark at him. The royal command was therefore given that dogs should be set on all who approached the palace, and whomsoever they refused to assail should be brought before him. A man, covered with a blue peltz, was brought before him and questioned; but the stranger would return no other answer than that he was called Grimner. In great wrath, the king placed him between two great fires—an infallible way of discovering a wizard—and commanded that he should receive no food. There he remained eight days and eight nights, suffering from the heat and from thirst, when Agner, the son of Geirrod, a boy of ten years, took pity on him, and presented him with a full horn, observing that his father did wrong thus to punish a guiltless man. Here the piece opens: Odin exclaims that the fire is hot; and prophesies that the royal youth shall, for this service, soon hold the sceptre of the Goths. He then proceeds—somewhat oddly, only immortal beings may be privileged to say or do what they please—to describe in succession the twelve mansions of heaven. (To this description we shall afterwards advert, when we endeavour to explain the cosmogony of the Scandinavians.) He ended by declaring who he was; and that the death of Geirrod was at hand. In great fear, the king arose to release the divine speaker; but stumbling, the point of his sword entered his body, and Agner was immediately proclaimed.