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heroic age of “den Hoie Nord,”—the
high north,—the Eddaic and Scandanavian
mythological systems, the classic
saga epics of Iceland, the institutions
and forms of popular government,
on whose earlier principles so
many of our own forms of representative
government are founded.
Particularly did his “Norse Mythology”
call attention to him and to the
university he represented. It led to
an immense correspondence between
Professor Anderson and scholars and
students, not only in America but
throughout the civilized world, all
eager to learn more of the wealth of
northern culture. Never before or
since perhaps has this northen
culture and tradition received such
distinguished attention, in America at
least, as in the ‘60s and ‘70s, when the
great galaxy of New England poets,
historians, essayists and artists that
have given America its most classic
page, found inspiration for their
productive minds in the storehouse of the
north. Longfellow, Whittier, Lowell,
Prescott and Emerson, the Appletons,
Peabodys and Horsfords were among
those who found themes in Scandinavian
tradition. To an extent these
students and writers had been introduced
to this field through the universal
medium of Ole Bull’s rapturous
violin, which was followed by Anderson’s
more expository studies and his
own translations of northern folklore
and Edda.
This being a function related primarily
to Dr. Anderson’s association with
the university, I hall not venture beyond
that field in appraisal of or tribute
to our subject. In this, as in
other lines, Prof. Anderson was a
furrowbreaker. And if later scholarship
and critical and technical development
have gone far beyond his contributions,
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