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The Grimnismol follows the Vafthruthnismol in the Codex Regius and is also found complete in the Arnamagnæan Codex, where also it follows the Vafthruthnismol. Snorri quotes over twenty of its stanzas.

Like the preceding poem, the Grimnismol is largely encyclopedic in nature, and consists chiefly of proper names, the last forty-seven stanzas containing no less than two hundred and twenty-five of these. It is not, however, in dialogue form. As Müllenhoff pointed out, there is underneath the catalogue of mythological names a consecutive and thoroughly dramatic story. Othin, concealed under the name of Grimnir, is through an error tortured by King Geirröth. Bound between two blazing fires, he begins to display his wisdom for the benefit of the king's little son, Agnar, who has been kind to him. Gradually he works up to the great final moment, when he declares his true name, or rather, names, to the terrified Geirröth, and the latter falls on his sword and is killed.

For much of this story we do not have to depend on guesswork, for in both manuscripts the poem itself is preceded by a prose narrative of considerable length, and concluded by a brief prose statement of the manner of Geirröth's death. These prose notes, of which there are many in the Eddic manuscripts, are of considerable interest to the student of early literary forms. Presumably they were written by the compiler to whom we owe the Eddic collection, who felt that the poems needed such annotation in order to be clear. Linguistic evidence shows that they were written in the twelfth or thirteenth century, for they preserve none of the older word-forms which help us to date many of the poems two or three hundred years earlier.

Without discussing in detail the problems suggested by these prose passages, it is worth noting, first, that the Eddic poems contain relatively few stanzas of truly narrative verse; and second, that all of them are based on narratives which must have been more or less familiar to the hearers of the poems. In other words, the poems seldom aimed to tell stories, although most of them followed a narrative sequence of ideas. The stories