[1-2]: Cf. Hávm 76-7. De Vries (1964-7, I, 145 n. 83) asserts that this borrowing from Hávm is too direct, and the final stanza must therefore be a later poet’s addition. Holm-Olsen (1953, 159) and Marold (1972, 24) argue that Eyvindr’s audience would have known what follows in Hávm: the assertion that fame never dies. Eyvindr thus manages both to praise Hákon and to conclude on a note of desolation with an artful contrast. Marold (1972) and Clunies Ross (2005a, 51) detect an ambivalent attitude towards heathenism in the unremitting gloom produced by the contrast of the remainder of the stanza with the corresponding lines in Hávm.