Page:Encyclopædia Britannica, Ninth Edition, v. 7.djvu/673

Rh whom he gave the power of child-bearing, and thence sprung the whole of s; then he went on and met with  and, and made them the parents of the  of s; then he proceeded until he came to  and , to whom he gave , the first of  , whom he himself ,  him to  and , and to use the  and. It is much to be lamented that of this most characteristic and picturesque we possess only a fragment. In Hyndluljóð, the of, the   rides to question the völva  with regard to the ancestry of her young  ; a very fine quarrel ensues between the ess and her visitor. With this, the first or wholly portion of the collection closes. What follows is ic and. The Völundarkviða, or of, is engaged with the sufferings and adventures of , the -, during his stay with ,  of. , identical with the  and the , is sometimes confounded with , the master-. This contains the beautiful figure of, the -maiden, who stays seven s with , and then, yearning for her fatherland,  away home through the dark. Helgakviða Hiörvarðs Sonar, the of, the Son of , which is largely in , celebrates the  by  of , who, like , ends by loving the  with whom she has fought in. Two s of the 's Bane, Helgakviða Hundingsbana, open the long and very important series of s relating to the two ic families of the  and the. Including the just mentioned, there are about twenty distinct pieces in the poetic Edda which deal more or less directly with this chain of stories. It is hardly necessary to give the titles of these here in detail, especially as they are, in their present form, manifestly only fragments of a great , possibly the earliest coherent form of the story so universal among the. We happily possess a somewhat later version of this lost  in the Völsungasaga, where the story is completely worked out. In many places the of the Völsungasaga follows the verse of the Eddaic fragments with the greatest precision, often making use of the very same expressions. At the same there are  in the Edda which the author of the  does not seem to have seen. But if we compare the central portions of the, namely 's conversation with , the death of , the of the  and the meeting with the , we are struck with the extreme fidelity of the  r to his  precursors in the Sigurðarkviða Fafnisbana; in passing on to the death of , we perceive that the version in the Völsungasaga must be based upon a  now entirely lost. Of the further extension of the and its corruption into the   of Der Nibelunge Nôt, this is not the place for discussion. Suffice to say that in no modernized or form does the  attain such an exquisite ing of ic  as in these earliest fragments of. A very curious, in some MSS. attributed directly to, is the of the , Sólarlióð, which forms a kind of  to the poetic Edda. In this the spirit of a dead father addresses his living son, and exhorts him, with maxims that resemble those of Hávamál, to of life. The tone of the is strangely confused between  and, and it has been assumed to be the composition of a  in the act of transition between the  and. It may, however, not impossibly, be altogether spurious as a of great antiquity, and may merely be the production of some ic, anxious to imitate the Eddaic form and spirit. Finally Forspjallsljóð, or the Preamble, formerly known as the of 's, is an extremely obscure fragment, of which little is understood, although infinite scholarship has been expended on it. With this the poetic Edda closes.

1em (Author:Edmund Gosse)  EDELINCK, (–), one of the greatest -, was born at in. The rudiments of, which he was to carry to a higher pitch of excellence than it had previously reached, he acquired in under the. But he was not long in reaching the limits of his master's attainments; and then he went to to improve himself under the teaching of De. This master likewise had soon done all he could to help him onwards, and Edelinck ultimately took the first rank among line. His excellence was generally acknowledged; and having become known to he was appointed, on the recommendation of,  at the  established at the  for the training of workers in. He was also entrusted with the execution of several important. In he was admitted member of the. The of this great  constitutes an epoch in. His number more than four hundred, and it is asserted that amongst them there is no work of poor or middling quality, although many of his subjects were poor and unworthy of the high  which he lavished upon them. Edelinck stands above and apart from his predecessors and contemporaries especially in this that he excelled, not in some one respect, but in all respects,—that while one attained excellence in correct form, and another in rendering  and, and others in giving  to their  and the texture of s, he, as supreme master of the , possessed and displayed all these separate qualities, and that in so complete a harmony that the  is not attracted by any one of them in particular, but rests in the satisfying whole. Edelinck was the first to break through the custom of making square, and to execute them in the  shape. Among his most famous are a Holy Family, after ; a Penitent Magdalene, after ; Alexander at the Tent of Darius, after ; a Combat of Four Knights, after ; Christ surrounded with Angels; StLouis praying; and StCharles Borromeo before a crucifix,—the last three after. Edelinck was especially good as an of s, and executed  of many of the most eminent persons of. Among these are those of Le Brun, Rigaud, Philippe de Champagne (which the thought his best), Santeuil, La Fontaine, Colbert, John Dryden, Descartes, &c. He died at in. His younger brother John, and his son Nicholas, were also, but did not attain to his excellence.  EDEN, (עדן, denoting pleasure or delight), was the first residence of  and  according to the. The passage in which its position seems to be indicated (Gen.ii. 8–14) has been from the earliest s the subject of a discussion as ingenious and elaborate as it has been fruitless. Its 