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The Poetic Edda: Hovamol · 7 of 16 · tr. Henry Adams Bellows

Section 1g

The stanza-form is so irregular as to show either that something has been lost or that there have been interpolations. The manuscript indicates no lacuna; Gering fills out the assumed gap as follows: "Certain is that which is sought from runes, The runes--," etc. ] p. 45 His pride will wax, but his wisdom never, Straight forward he fares in conceit. * * * 81. Give praise to the day at evening, | to a woman on her pyre, To a weapon which is tried, | to a maid at wed lock, To ice when it is crossed, | to ale that is drunk. 82. When the gale blows hew wood, | in fair winds seek the water; Sport with maidens at dusk, | for day's eyes are many; From the ship seek swiftness, | from the shield protection, Cuts from the sword, | from the maiden kisses. 83. By the fire drink ale, | over ice go on skates; Buy a steed that is lean, | and a sword when tarnished, [81. With this stanza the verse-form, as indicated in the translation, abruptly changes to Malahattr. What has happened seems to have been something like this. Stanza 80 introduces the idea of man's love for woman. Consequently some reciter or compiler (or possibly even a copyist) took occasion to insert at this point certain stanzas concerning the ways of women. Thus stanza 80 would account for the introduction of stanzas 81 and 82, which, in turn, apparently drew stanza 83 in with them. Stanza 84 suggests the fickleness of women, and is immediately followed--again with a change of verse-form--by a list of things equally untrustworthy (stanzas 85-90). Then, after a few more stanzas on love in the regular measure of the Hovamol (stanza 91-9s), is introduced, by way of illustration, Othin's story of his [fp. 46] adventure with Billing's daughter (stanzas 96-102). Some such process of growth, whatever its specific stages may have been, must be assumed to account for the curious chaos of the whole passage from stanza 81 to stanza 102.] p. 46 The horse at home fatten, | the hound in thy dwelling. * * * 84. A man shall trust not | the oath of a maid, Nor the word a woman speaks; For their hearts on a whirling | wheel were fashioned, And fickle their breasts were formed. 85. In a breaking bow | or a burning flame, A ravening wolf | or a croaking raven, In a grunting boar, | a tree with roots broken, In billowy seas | or a bubbling kettle, 86. In a flying arrow | or falling waters, In ice new formed | or the serpent's folds, In a bride's bed-speech | or a broken sword, In the sport of bears | or in sons of kings, 87. In a calf that is sick | or a stubborn thrall, A flattering witch | or a foe new slain. [84. Lines 3 and 4 are quoted in the Fostbræthrasaga . 85. Stanzas 85-88 and go are in Fornyrthislag, and clearly come from a different source from the rest of the Hovamol . 87. The stanza is doubtless incomplete. Some editors add from a late paper manuscript two lines running: "In a light, clear sky | or a laughing throng, In the bowl of a dog | or a harlot's grief!" ] p. 47 88.
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Themes
Animismcosmology

The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.

Stanzas 85-87 attribute agency and untrustworthiness to natural phenomena like wolves, ravens, and ice, reflecting a worldview where nature possesses inherent spirit.

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Word Power Incantationpraxis

The doctrine and practice that spoken or sung word carries causal-magical force — that uttering names, formulas, songs, or incantations alters reality directly rather than merely communicating about it. Vainamoinen's runo-songs that move mountains and command iron, Norse galdr, Vedic mantra, Shinto kotodama, the magician's barbarous names in the Greek Magical Papyri, Iamblichean arcane signatures and inexplicable symbols, biblical creation-by-word. Distinct from sacred_names (the ontological power of names themselves) and prayer (address to the divine); word_power_incantation is the magical-causal efficacy of the spoken word as such.

The commentary notes mention runes as objects of seeking, aligning with the Norse galdr tradition of magical word power defined in the concept.

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