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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Vidar was not only a personification of the imperish-ability of Nature, but he was also a symbol of resurrection and renewal, exhibiting the eternal truth that new shoots and blossoms will spring forth to replace those which have fallen into decay.
The shoe he wore was to be his defence against the wolf Fenris, who, having destroyed Odin, would direct his wrath against him, and open wide his terrible jaws to devour him. But the old Northmen declared that Vidar would brace the foot thus protected against the monster’s lower jaw, and, seizing the upper, would struggle with him until he had rent him in twain.
As one shoe only is mentioned in the Vidar myths, some mythologists suppose that he had but one leg, and was the personification of a waterspout, which would rise suddenly on the last day to quench the wild fire personified by the terrible wolf Fenris.
Billing, king of the Ruthenes, was sorely dismayed when he heard that a great force was about to invade his kingdom, for he was too old to fight as of yore, and his only child, a daughter named Rinda, although she was of marriageable age, obstinately refused to choose a husband from among her many suitors, and thus give her father the help which he so sadly needed.
While Billing was musing disconsolately in his hall, a stranger suddenly entered his palace. Looking up, the king beheld a middle-aged man wrapped in a wide cloak, with a broad-brimmed hat drawn down over his forehead to conceal the fact that he had but one eye. The stranger courteously enquired the cause of his evident depression, and as there was that in his bearing that compelled confidence, the king told him all, and at the end of the relation he volunteered to command the army of the Ruthenes against their foe.
His services being joyfully accepted, it was not long ere Odin—for it was he—won a signal victory, and, returning in triumph, he asked permission to woo the king’s daughter Rinda for his wife. Despite the suitor’s advancing years, Billing hoped that his daughter would lend a favourable ear to a wooer who appeared to be very distinguished, and he immediately signified his consent. So Odin, still unknown, presented himself before the princess, but she scornfully rejected his proposal, and rudely boxed his ears when he attempted to kiss her.
Forced to withdraw, Odin nevertheless did not relinquish his purpose to make Rinda his wife, for he knew, thanks to Rossthiof’s prophecy, that none but she could bring forth the destined avenger of his murdered son. His next step, therefore, was to assume the form of a smith, in which guise he came back to Billing’s hall, and fashioning costly ornaments of silver and gold, he so artfully multiplied these precious trinkets that the king joyfully acquiesced when he inquired whether he might pay his addresses to the princess. The smith, Rosterus as he announced himself, was, however, as unceremoniously dismissed by Rinda as the successful general had been; but although his ear once again tingled with the force of her blow, he was more determined than ever to make her his wife.
The next time Odin presented himself before the capricious damsel, he was disguised as a dashing warrior, for, thought he, a young soldier might perchance touch the maiden’s heart; but when he again attempted to kiss her, she pushed him back so suddenly that he stumbled and fell upon one knee.
“Many a fair maiden
When rightly known,
Towards men is fickle;
That I experienced,
When that discreet maiden I
Strove to win;
Contumely of every kind
That wily girl
Heaped upon me;
Nor of that damsel gained I aught.”
Sœmund’s Edda (Thorpe’s tr.).
This third insult so enraged Odin that he drew his magic rune stick out of his breast, pointed it at Rinda, and uttered such a terrible spell that she fell back into the arms of her attendants rigid and apparently lifeless.
When the princess came to life again, her suitor had disappeared, but the king discovered with great dismay that she had entirely lost her senses and was melancholy mad. In vain all the physicians were summoned and all their simples tried; the maiden remained passive and sad, and her distracted father had well-nigh abandoned hope when an old woman, who announced herself as Vecha, or Vak, appeared and offered to undertake the cure of the princess. The seeming old woman, who was Odin in disguise, first prescribed a foot-bath for the patient; but as this did not appear to have any very marked effect, she proposed to try a more drastic treatment. For this, Vecha declared, the patient must be entrusted to her exclusive care, securely bound so that she could not offer the least resistance. Billing, anxious to save his child, was ready to assent to anything; and having thus gained full power over Rinda, Odin compelled her to wed him, releasing her from bonds and spell only when she had faithfully promised to be his wife.
The prophecy of Rossthiof was now fulfilled, for Rinda duly bore a son named Vali (Ali, Bous, or Beav), a personification of the lengthening days, who grew with such marvellous rapidity that in the course of a single day he attained his full stature. Without waiting even to wash his face or comb his hair, this young god hastened to Asgard, bow and arrow in hand, to avenge the death of Balder upon his murderer, Hodur, the blind god of darkness.
“But, see! th’ avenger, Vali, come,
Sprung from the west, in Rinda’s womb,
True son of Odin! one day’s birth!
He shall not stop nor stay on earth
His locks to comb, his hands to lave,
His frame to rest, should rest it crave,
Until his mission be complete,
And Balder’s death find vengeance meet.”
Valhalla (J. C. Jones).
In this myth, Rinda, a personification of the hard-frozen rind of the earth, resists the warm wooing of the sun, Odin, who vainly points out that spring is the time for warlike exploits, and offers the adornments of golden summer. She only yields when, after a shower (the footbath), a thaw sets in. Conquered then by the sun’s irresistible might, the earth yields to his embrace, is freed from the spell (ice) which made her hard and cold, and brings forth Vali the nourisher, or Bous the peasant, who emerges from his dark hut when the pleasant days have come. The slaying of Hodur by Vali is therefore emblematical of “the breaking forth of new light after wintry darkness.”
Vali, who ranked as one of the twelve deities occupying seats in the great hall of Glads-heim, shared with his father the dwelling called Valaskialf, and was destined, even before birth, to survive the last battle and twilight of the gods, and to reign with Vidar over the regenerated earth.
Vali is god of eternal light, as Vidar is of imperishable matter; and as beams of light were often called arrows, he is always represented and worshipped as an archer. For that reason his month in Norwegian calendars is designated by the sign of the bow, and is called Lios-beri, the light-bringing. As it falls between the middle of January and of February, the early Christians dedicated this month to St. Valentine, who was also a skilful archer, and was said, like Vali, to be the harbinger of brighter days, the awakener of tender sentiments, and the patron of all lovers.
The Northern goddesses of fate, who were called Norns, were in nowise subject to the other gods, who might neither question nor influence their decrees. They were three sisters, probably descendants of the giant Norvi, from whom sprang Nott (night). As soon as the Golden Age was ended, and sin began to steal even into the heavenly homes of Asgard, the Norns made their appearance under the great ash Yggdrasil, and took up their abode near the Urdar fountain. According to some mythologists, their mission was to warn the gods of future evil, to bid them make good use of the present, and to teach them wholesome lessons from the past.
The Norns
C. Ehrenberg
By Permission of the Berlin Photographic Co., 133 New Bond St., W.
These three sisters, whose names were Urd, Verdandi, and Skuld, were personifications of the past, present, and future. Their principal occupations were to weave the web of fate, to sprinkle daily the sacred tree with water from the Urdar fountain, and to put fresh clay around its roots, that it might remain fresh and ever green.
“Thence come the maids
Who much do know;
Three from the hall
Beneath the tree;
One they named Was,
And Being next,
The third Shall be.”
The Völuspâ (Henderson’s tr.).
Some authorities further state that the Norns kept watch over the golden apples which hung on the branches of the tree of life, experience, and knowledge, allowing none but Idun to pick the fruit, which was that with which the gods renewed their youth.
The Norns also fed and tenderly cared for two swans which swam over the mirror-like surface of the Urdar fountain, and from this pair of birds all the swans on earth are supposed to be descended. At times, it is said, the Norns clothed themselves with swan plumage to visit the earth, or sported like mermaids along the coast and in various lakes and rivers, appearing to mortals, from time to time, to foretell the future or give them sage advice.
The Norns sometimes wove webs so large that while one of the weavers stood on a high mountain in the extreme east, another waded far out into the western sea. The threads of their woof resembled cords, and varied greatly in hue, according to the nature of the events about to occur, and a black thread, tending from north to south, was invariably considered an omen of death. As these sisters flashed the shuttle to and fro, they chanted a solemn song. They did not seem to weave according to their own wishes, but blindly, as if reluctantly executing the wishes of Orlog, the eternal law of the universe, an older and superior power, who apparently had neither beginning nor end.
Two of the Norns, Urd and Verdandi, were considered to be very beneficent indeed, while the third, it is said, relentlessly undid their work, and often, when nearly finished, tore it angrily to shreds, scattering the remnants to the winds of heaven. As personifications of time, the Norns were represented as sisters of different ages and characters, Urd (Wurd, weird) appearing very old and decrepit, continually looking backward, as if absorbed in contemplating past events and people; Verdandi, the second sister, young, active, and fearless, looked straight before her, while Skuld, the type of the future, was generally represented as closely veiled, with head turned in the direction opposite to where Urd was gazing, and holding a book or scroll which had not yet been opened or unrolled.
These Norns were visited daily by the gods, who loved to consult them; and even Odin himself frequently rode down to the Urdar fountain to bespeak their aid, for they generally answered his questions, maintaining silence only about his
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