of the works under consideration begins with a rationalization of the Odinic myths, and reveals an identity of attitude toward the ancient faith, Furthermore, the careful reader will be charmed with the sinewy style of both the Heimskringla and the Edda, and will be obliged to admit the close similarity between them in structure and in expression. Finally, Vigfússon has shown that they exhibit occasionally a remarkable identity of phrase.[1]
The Prose Edda is undoubtedly by Snorri. It is preserved in three primary manuscripts: Codex Regius, early fourteenth century; Codex Wormianus, fourteenth century, named from Ole Worm, from whose hands it passed, in 1706, into the hands of Arni Magnússon; and Codex Upsaliensis, about 1300, perhaps a direct copy of Snorri's own text. This last manuscript, and also the Arnamagnæan vellum No. 748, which preserves a portion of the text, testify unmistakably to Snorri's authorship; the Codex even gives, in detail, the subjects of the three divisions of the book.
These three divisions, but for the evidence of the manuscripts, might seem to afford ground for assuming plural authorship. The first part, the Gylfaginning, or Beguiling of Gylfi, is an epitome of Odinic mythology, cast in the form of a dialogue between Gylfi, a legendary Swedish king, and the triune Odin. Snorri, though a Christian, tells the old pagan tales with obvious relish, and often, in the enthusiasm of the true antiquary, rises to magnificent heights. Ever and again he fortifies his narrative with citations from the Poetic Edda, the great treasure-house of Scandinavian mythological and heroic poetry.
One passes from Gylfaginning to Skáldskaparmál with
- ↑ See Sturfunga Saga, vol. i, Proleg. pp. lxxvit, and note.
