This paper seeks to study Codex Regius’s mythological poetry from a literary point of view, thus analyzing the poems as poetic language, as written texts, and as art as they are presented in the manuscript. Poetry creates an autonomous poetic universe. …
From the stony salr in the beginning, the story moves to Frigg’s (33), then later to the three salr which is filled with anguish and pain Nástrƒndo (37,38) and ultimately to the bright salr in the new world. It is, therefore, evident that salr is not only a kenning for the earth, but should also be understood as a reference to “places” or “rooms” that outlines a way from the stony and hard beginning. The hard beginning was characterized by sorrowfulness and sadness, for instance, sorrowful Fensalr that is was moistened with Frigg’s tear, and then later the reader comes across salr of anguish or pain and in the end, the poem ends with a glimpse of the bright salr at Gimlé. This text line creates a movement through different “rooms” that can be taken to be figurative expressions of mental “rooms” or rather emotional conditions.
As seen in the text, the sun in the vision of ragnarƒk goes dark and later disappears in the ocean before the new world or earth emerges. Towards the last part of the poem, a picture of this world where salr at Gimlé is solo fegra is portrayed as more beautiful than the sun. This aspect can be taken to stand for a vision of ideality of eternity or even “heaven.” The reader can thus interpret the sun stretching its right arm around the “edge of heaven” as an allusion this final vision of “eternity” and “ideality.” The beginning of the poem both suggests as well as conceals what will follow. Accordingly, a complete understanding of the beginning is never available in the text until the reader has reached the end of the poem. ...
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