hill-people; the sea, lakes and rivers to the merman, mermaids and necks; and the small forces (waterfalls) to the fossegrims. Both the Catholic and Protestant priests have tried to excite an aversion to these beings, but in vain. They still live and fill the fairy-tales and folk-lore with their strange characters, and are capable of furnishing a series of unrivaled subjects for the painter and sculptor. These weird stories are excellently adapted to adorn our epic and dramatic poetry as well as our historic novels. But they must be thoroughly understood first, not only by the poet, but also by his reader. Thomas Keightley, from whom we have given a short abstract, has given us an excellent work in English on Gothic fairy mythology, and we would recommend our readers to read his work in connection with Dr. Dasent's Tales from the Fjeld. We have to present the original mythology, not its offspring.
Ygdrasil is a most sublime and finished myth. It is a symbol uniting all the elements of mythology into a poetical system. The tree symbolizes, and extends its roots and branches into, the whole universe. Its roots are gnawed by serpents, and stags bite its branches, but the immortal tree still stands firm and flourishes from age to age. The Norsemen's whole experience of life is here presented in a picture that either in regard to beauty or depth of thought finds no equal in all the other systems of mythology. Thomas Carlyle says: I like too that representation they (the Norsemen) have of the tree Ygdrasil: all life is figured by them as a tree. Ygdrasil, the Ash-tree of Existence, has its roots deep down in the kingdom of Hela, or Death; its trunk reaches up heaven-high, spreads its boughs over the whole universe. It is the Tree of Existence. At the foot of it, in the Death-kingdom, sit three Nornas (fates),—the Past, Present,
