Arnold has exalted the Revelator of the Northern mythology, and in magnificent poetry sets forth his apocalyptic vision: 

    Unarm’d, inglorious; I attend the course
    Of ages, and my late return to light,
    In times less alien to a spirit mild,
    In new-recover’d seats, the happier day.

. . . . . . . . .

    Far to the south, beyond the blue, there spreads
    Another Heaven, the boundless—­no one yet
    Hath reach’d it; there hereafter shall arise
    The second Asgard, with another name.

. . . . . . . . .

    There re-assembling we shall see emerge
    From the bright Ocean at our feet an earth
    More fresh, more verdant than the last, with fruits
    Self-springing, and a seed of man preserved,
    Who then shall live in peace, as now in war.

Here is the grandest message that the Old Norse religion had to give, and Matthew Arnold concerned himself with that alone.  It is a far cry from Regner Lodbrog to this.  There is a fine touch in the introduction of Regner into the lamentation of Balder.  Arnold makes the old warrior say of the ruder skalds: 

    But they harp ever on one string, and wake
    Remembrance in our souls of war alone,
    Such as on earth we valiantly have waged,
    And blood, and ringing blows, and violent death. 
    But when thou sangest, Balder, thou didst strike
    Another note, and, like a bird in spring,
    Thy voice of joyance minded us, and youth,
    And wife, and children, and our ancient home.

Here is a human Norseman, a figure not often presented in the versions of the old stories that English poets and romancers have given us.  Arnold did a good service to Icelandic literature when he put into Regner’s mouth mild sentiments and a love for home and family.  The note is not lacking in the ancient literature, but it took Englishmen three centuries to find it.  It was the scholar, Matthew Arnold, who first repeated the gentler strain in the rude music of the North, as it was the scholar, Thomas Gray, who first echoed the “dreadful songs” of that old psalmody.  Gray has all the culture of his age, when it was still possible to compass all knowledge in one lifetime; Arnold had all the literary culture of his fuller century when multiplied sciences force a scholar to be content with one segment of human knowledge.  The former had music and architecture and other sciences among his accomplishments; the latter spread out in literature, as “Sohrab and Rustum,” “Empedocles on Etna,” “Tristram and Iseult,” as well as “Balder Dead” attest.  The quatrain prefixed to the volume containing the narrative and elegiac poems be-tokens what joy Arnold had in his literary work, and indicates why these poems cannot fail to live: 

    What poets feel not, when they make,
      A pleasure in creating,
    The world in its turn will not take
      Pleasure in contemplating.