The Influence of Old Norse Literature on English Literature | Page 8

affinities of the nations commonly referred to as the barbarians that overturned the Roman empire and culture. Percy, who had failed to edit the ballad MSS. so as to please Ritson, was wise enough to see Mallet's error, and to insist that Celtic and Gothic antiquities must not be confounded. Mallet's translation of the Edda was imperfect, too, because he had followed the Latin version of Resenius, which was notoriously poor. Percy's Edda was no better, because it was only an English version of Mallet. But we are not concerned with these critical considerations here; and so it will be enough to record the fact that with the publication of Percy's _Northern Antiquities_--the English name of Mallet's work--in 1770, knowledge of Icelandic literature passed from the exclusive control of learned antiquarians. More and more, as time went on, men went to the Icelandic originals, and translations of poems and sagas came from the press in increasing numbers. In the course of time came original works that were inspired by Old Norse stories and Old Norse conceptions.
We have already noted that Gray's poems on Icelandic themes, though written in 1761, were not published until 1768. Another delayed work on similar themes was Percy's _Five Pieces of Runic Poetry_, which, the author tells us, was prepared for the press in 1761, but, through an accident, was not published until 1763. The preface has this interesting sentence: "It would be as vain to deny, as it is perhaps impolitic to mention, that this attempt is owing to the success of the Erse fragments." The book has an appendix containing the Icelandic originals of the poems translated, and that portion of the book shows that a scholar's hand and interest made the volume. So, too, does the close of the preface: "That the study of ancient northern literature hath its important uses has been often evinced by able writers: and that it is not dry or unamusive this little work it is hoped will demonstrate. Its aim at least is to shew, that if those kind of studies are not always employed on works of taste or classic elegance, they serve at least to unlock the treasures of native genius; they present us with frequent sallies of bold imagination, and constantly afford matter for philosophical reflection by showing the workings of the human mind in its almost original state of nature."
That original state was certainly one of original sin, if these poems are to be believed. Every page in this volume is drenched with blood, and from this book, as from Gray's poems and the other Old Norse imitations of the time, a picture of fierceness and fearfulness was the only one possible. Percy intimates in his preface that Icelandic poetry has other tales to tell besides the "Incantation of Hervor," the "Dying Ode of Regner Lodbrog," the "Ransome of Egill the Scald," and the "Funeral Song of Hacon," which are here set down; he offers the "Complaint of Harold" as a slight indication that the old poets left "behind them many pieces on the gentler subjects of love or friendship." But the time had not come for the presentation of those pieces.
All of these translations were from the Latin versions extant in Percy's time. This volume copied Hickes's translation of "Hervor's Incantation" modified in a few particulars, and like that one, the other translations in this volume were in prose. The work is done as well as possible, and it remained for later scholars to point out errors in translation. The negative contractions in Icelandic were as yet unfamiliar, and so, as Walter Scott pointed out (in _Edin. Rev._, Oct., 1806), Percy made Regner Lodbrog say, "The pleasure of that day (of battle, p. 34 in this _Five Pieces_) was like having a fair virgin placed beside one in the bed," and "The pleasure of that day was like kissing a young widow at the highest seat of the table," when the poet really made the contrary statement.
Of course, the value of this book depends upon the view that is taken of it. Intrinsically, as literature, it is well-nigh valueless. It indicates to us, however, a constantly growing interest in the literature it reveals, and it undoubtedly directed the attention of the poets of the succeeding generation to a field rich in romantic possibilities. That no great work was then created out of this material was not due to neglect. As we shall see, many puny poets strove to breathe life into these bones, but the divine power was not in the poets. Some who were not poets had yet the insight to feel the value of this ancient literature, and they made known the facts concerning it. It seems a mechanical and unpromising way to have great poetry written, this calling out,