Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. Myths of the Norsemen by H. A. Guerber (free ereaders .TXT) 📖
- Author: H. A. Guerber
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“Thrymheim the sixth is named,
Where Thiassi dwelt,
That all-powerful Jötun.”
Lay of Grimnir (Thorpe’s tr.).
Isolated from her beloved companions, Idun pined, grew pale and sad, but persistently refused to give Thiassi the smallest bite of her magic fruit, which, as he well knew, would make him beautiful and renew his strength and youth.
“All woes that fall
On Odin’s hall
Can be traced to Loki base.
From out Valhalla’s portal
’Twas he who pure Iduna lured,—
Whose casket fair
Held apples rare
That render gods immortal,—
And in Thiassi’s tower immured.”
Valhalla (J. C. Jones).
Time passed. The gods, thinking that Idun had accompanied her husband and would soon return, at first paid no heed to her departure, but little by little the beneficent effect of the last feast of apples passed away. They began to feel the approach of old age, and saw their youth and beauty disappear; so, becoming alarmed, they began to search for the missing goddess.
Close investigation revealed the fact that she had last been seen in Loki’s company, and when Odin sternly called him to account, he was forced to admit that he had betrayed her into the storm-giant’s power.
“By his mocking, scornful mien,
Soon in Valhal it was seen
’Twas the traitor Loki’s art
Which had led Idun apart
To gloomy tower
And Jotun power.”
Valhalla (J. C. Jones).
The attitude of the gods now became very menacing, and it was clear to Loki that if he did not devise means to restore the goddess, and that soon, his life would be in considerable danger.
He assured the indignant gods, therefore, that he would leave no stone unturned in his efforts to secure the release of Idun, and, borrowing Freya’s falcon plumage, he flew off to Thrym-heim, where he found Idun alone, sadly mourning her exile from Asgard and her beloved Bragi. Changing the fair goddess into a nut according to some accounts, or according to others, into a swallow, Loki grasped her tightly between his claws, and then rapidly retraced his way to Asgard, hoping that he would reach the shelter of its high walls ere Thiassi returned from a fishing excursion in the Northern seas to which he had gone.
Meantime the gods had assembled on the ramparts of the heavenly city, and they were watching for the return of Loki with far more anxiety than they had felt for Odin when he went in search of Od-hroerir. Remembering the success of their ruse on that occasion, they had gathered great piles of fuel, which they were ready to set on fire at any moment.
Suddenly they saw Loki coming, but descried in his wake a great eagle. This was the giant Thiassi who had suddenly returned to Thrym-heim and found that his captive had been carried off by a falcon, in whom he readily recognised one of the gods. Hastily donning his eagle plumes he had given immediate chase and was rapidly overtaking his prey. Loki redoubled his efforts as he neared the walls of Asgard, and ere Thiassi overtook him he reached the goal and sank exhausted in the midst of the gods. Not a moment was lost in setting fire to the accumulated fuel, and as the pursuing Thiassi passed over the walls in his turn, the flames and smoke brought him to the ground crippled and half stunned, an easy prey to the gods, who fell ruthlessly upon him and slew him.
The Æsir were overjoyed at the recovery of Idun, and they hastened to partake of the precious apples which she had brought safely back. Feeling the return of their wonted strength and good looks with every mouthful they ate, they good-naturedly declared that it was no wonder if even the giants longed to taste the apples of perpetual youth. They vowed therefore that they would place Thiassi’s eyes as a constellation in the heavens, in order to soften any feeling of anger which his kinsmen might experience upon learning that he had been slain.
“Up I cast the eyes
Of Allvaldi’s son
Into the heaven’s serene:
They are signs the greatest
Of my deeds.”
Lay of Harbard (Thorpe’s tr.).
The physical explanation of this myth is obvious. Idun, the emblem of vegetation, is forcibly carried away in autumn, when Bragi is absent and the singing of the birds has ceased. The cold wintry wind, Thiassi, detains her in the frozen, barren north, where she cannot thrive, until Loki, the south wind, brings back the seed or the swallow, which are both precursors of the returning spring. The youth, beauty, and strength conferred by Idun are symbolical of Nature’s resurrection in spring after winter’s sleep, when colour and vigour return to the earth, which had grown wrinkled and grey.
As the disappearance of Idun (vegetation) was a yearly occurrence, we might expect to find other myths dealing with the striking phenomenon, and there is another favourite of the old scalds which, unfortunately, has come down to us only in a fragmentary and very incomplete form. According to this account, Idun was once sitting upon the branches of the sacred ash Yggdrasil when, growing suddenly faint, she loosed her hold and dropped to the ground beneath, and down to the lowest depths of Nifl-heim. There she lay, pale and motionless, gazing with fixed and horror-struck eyes upon the gruesome sights of Hel’s realm, trembling violently the while, like one overcome by penetrating cold.
“In the dales dwells
The prescient Dis,
From Yggdrasil’s
Ash sunk down,
Of alfen race,
Idun by name,
The youngest of Ivaldi’s
Elder children.
She ill brooked
Her descent
Under the hoar tree’s
Trunk confined.
She would not happy be
With Norvi’s daughter,
Accustomed to a pleasanter
Abode at home.”
Odin’s Ravens’ Song (Thorpe’s tr.).
Seeing that she did not return, Odin bade Bragi, Heimdall, and another of the gods go in search of her, giving them a white wolfskin to envelop her in, so that she should not suffer from the cold, and bidding them make every effort to rouse her from the stupor which his prescience told him had taken possession of her.
“A wolf’s skin they gave her,
In which herself she clad.”
Odin’s Ravens’ Song (Thorpe’s tr.).
Idun passively allowed the gods to wrap her in the warm wolfskin, but she persistently refused to speak or move, and from her strange manner her husband sadly suspected that she had had a vision of great ills. The tears ran continuously down her pallid cheeks, and Bragi, overcome by her unhappiness, at length bade the other gods return to Asgard without him, vowing that he would remain beside his wife until she was ready to leave Hel’s dismal realm. The sight of her woe oppressed him so sorely that he had no heart for his usual merry songs, and the strings of his harp were mute while he remained in the underworld.
“That voice-like zephyr o’er flow’r meads creeping,
Like Bragi’s music his harp strings sweeping.”
Viking Tales of the North (R. B. Anderson).
In this myth Idun’s fall from Yggdrasil is symbolical of the autumnal falling of the leaves, which lie limp and helpless on the cold bare ground until they are hidden from sight under the snow, represented by the wolfskin, which Odin, the sky, sends down to keep them warm; and the cessation of the birds’ songs is further typified by Bragi’s silent harp.
We have already seen how the Æsir and Vanas exchanged hostages after the terrible war they had waged against each other, and that while Hoenir, Odin’s brother, went to live in Vana-heim, Niörd, with his two children, Frey and Freya, definitely took up his abode in Asgard.
“In Vana-heim
Wise powers him created,
And to the gods a hostage gave.”
Lay of Vafthrudnir (Thorpe’s tr.).
As ruler of the winds, and of the sea near the shore, Niörd was given the palace of Nôatûn, near the seashore, where, we are told, he stilled the terrible tempests stirred up by Ægir, god of the deep sea.
“Niörd, the god of storms, whom fishers know;
Not born in Heaven—he was in Van-heim rear’d,
With men, but lives a hostage with the gods;
He knows each frith, and every rocky creek
Fringed with dark pines, and sands where sea-fowl scream.”
Balder Dead (Matthew Arnold).
He also extended his special protection over commerce and fishing, which two occupations could be pursued with advantage only during the short summer months, of which he was in a measure considered the personification.
Niörd is represented in art as a very handsome god, in the prime of life, clad in a short green tunic, with a crown of shells and seaweed upon his head, or a brown-brimmed hat adorned with eagle or heron plumes. As personification of the summer, he was invoked to still the raging storms which desolated the coasts during the winter months. He was also implored to hasten the vernal warmth and thereby extinguish the winter fires.
As agriculture was practised only during the summer months, and principally along the fiords or sea inlets, Niörd was also invoked for favourable harvests, for he was said to delight in prospering those who placed their trust in him.
Niörd’s first wife, according to some authorities, was his sister Nerthus, Mother Earth, who in Germany was identified with Frigga, as we have seen, but in Scandinavia was considered a separate divinity. Niörd was, however, obliged to part with her when summoned to Asgard, where he occupied one of the twelve seats in the great council hall, and was present at all the assemblies of the gods, withdrawing to Nôatûn only when his services were not required by the Æsir.
“Nôatûn is the eleventh;
There Niörd has
Himself a dwelling made,
Prince of men;
Guiltless of sin,
He rules o’er the high-built fane.”
Lay of Grimnir (Thorpe’s tr.).
In his home by the seashore, Niörd delighted in watching the gulls fly to and fro, and in observing the graceful movements of the swans, his favourite birds, which were held sacred to him. He spent many an hour, too, gazing at the gambols of the gentle seals, which came to bask in the sunshine at his feet.
Shortly after Idun’s return from Thrym-heim, and Thiassi’s death within the bounds of Asgard, the assembled gods were greatly surprised and dismayed to see Skadi, the giant’s daughter, appear one day in their midst, to demand satisfaction for her father’s death. Although the daughter of an ugly old Hrim-thurs, Skadi, the goddess of winter, was very beautiful indeed, in her silvery armour, with her glittering spear, sharp-pointed arrows, short white hunting dress, white fur leggings, and broad snowshoes; and the gods could not but recognise the justice of her claim, wherefore they offered the usual fine in atonement. Skadi, however, was so angry that she at first refused this compromise, and sternly demanded a life for a life, until Loki, wishing to appease her wrath, and thinking that if he could only make her cold lips relax in a smile the rest would be easy, began to play all manner of pranks. Fastening a goat to himself by an invisible cord, he went through a series of antics, which were reproduced by the goat; and the sight was so grotesque that all the gods fairly shouted with merriment, and
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