the tongue of the people would, with a peculiar intensity of feeling, dwell upon the tragedy of nature.
The Danish poet Grundtvig expressed a similar idea more than sixty years ago, when he said that the Asa-Faith unfolds in five acts the most glorious drama of victory that ever has been composed, or ever could be composed, by any mortal poet. And Hauch defines these five acts as follows:
Act I. The Creation.
Act II. The time preceding the death of Balder.
Act III. The death of Balder.
Act IV. The time immediately succeeding the death of Balder.
Act V. Ragnarok, the Twilight of the gods, that is, the decline and fall immediately followed by the regeneration of the world.
It is an inestimable peculiarity of the Norse mythology,
that it, in addition to beginning with a theogony
(birth of the gods), also ends with a theoktony (death
of the gods). In the Greek mythology, the drama
lacks the fifth or final act, and we have only a prosaic
account of how the people at length grew tired of their
gods, and left them when they became old and feeble.
But the Eddas have a theoktonic myth, in which the
heroic death of the gods is sung with the same poetic
spirit as their youthful exploits and victories. As the
shades of night flee before the morning dawn, thus
Valhal's gods had to sink into the earth, when the
idea, that an idol is of no consequence in this world,
first burst upon the minds of the idol-worshipers. This
idea spontaneously created the myth of Ragnarok. All
the elements of its mythical form were foreshadowed in
the older group of Norse conceptions. The idea of
Ragnarok was suggested already in the Creation; for
the gods are there represented as proceeding from giants,
that is, from an evil, chaotic source, and, moreover, that
