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 promise to Norway, but I think it by no means certain that repentance stayed his hand. Indeed, familiar as he was with the hopelessly anarchical conditions of his native land, its devastating feuds, its plethora of lawless, unscrupulous chiefs, all striving for wealth and influence, none inspired with a genuine affection for the commonwealth, nor understanding the fundamental principles of democracy, Snorri may well have felt that it were far better to endure a foreign ruler who could compel union and peace. If this was the motive underlying his self-abasement at the Norwegian court and his promises to Hákon, then weakness alone is sufficient to account for his failure; if he had no such purpose, he must be regarded as both weak and treacherous.

It is with relief that we turn to Snorri's works, to find in them, at least, traces of genuine nobility of spirit. The unscrupulous politician kept sound and pure some corner of his heart in which to enshrine his love for his people's glorious past, for the myths of their ancient gods, half grotesque and half sublime: for the Christ-like Baldr; for Promethean Odin and Týr, sacrificing eye and hand to save the race; for the tears of Freyja, the tragic sorrows of Gudrún, the pitiful end of Svanhildr, the magnificent, all-devastating fire of Ragnarök.

His interest in these wondrous things, like Scott's love for the heroes, beliefs, and customs of the Scottish folk, was, I think, primarily antiquarian. Indefatigable in research, with an artist's eye for the picturesque, a poet's feeling for the dramatic and the human, he created the most vivid, vital histories that have yet been penned. Accurate beyond the manner of his age, gifted with genius for expression, divining the human personalities, the comic