This is a modern-English version of The poetic Edda : Translated from the Icelandic with an introduction and notes, originally written by unknown author(s). It has been thoroughly updated, including changes to sentence structure, words, spelling, and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.

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Newly Designed Front Cover.

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A PAGE FROM THE CODEX REGIUS COMPRISING VERSES 31 TO 45 OF THE VOLUSPO

A PAGE FROM THE CODEX REGIUS COMPRISING VERSES 31 TO 45 OF THE VOLUSPO

A PAGE FROM THE CODEX REGIUS CONTAINING VERSES 31 TO 45 OF THE VOLUSPO

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THE POETIC EDDA

TRANSLATED FROM THE ICELANDIC WITH AN INTRODUCTION AND NOTES
BY
HENRY ADAMS BELLOWS
TWO VOLUMES IN ONE
Logo of two deer under a tree.

NEW YORK
THE AMERICAN-SCANDINAVIAN FOUNDATION
LONDON: HUMPHREY MILFORD
OXFORD UNIVERSITY PRESS
1923

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Copyright, 1923, by The American-Scandinavian Foundation

Copyright, 1923, by The American-Scandinavian Foundation

C. S. Peterson, The Regan Press, Chicago, U. S. A.

C. S. Peterson, The Regan Press, Chicago, U.S.A.

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This series of Scandinavian Classics is published by The American-Scandinavian Foundation in the belief that greater familiarity with the chief literary monuments of the North will help Americans to a better understanding of Scandinavians, and thus serve to stimulate their sympathetic coöperation to good ends.

This series of Scandinavian Classics is published by The American-Scandinavian Foundation with the hope that getting to know the key literary works of the North will help Americans better understand Scandinavians, ultimately encouraging their collaborative efforts toward positive goals.

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To George Lyman Kittredge

To George Lyman Kittredge

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SCANDINAVIAN CLASSICS
VOLUMES XXI AND XXII

SCANDINAVIAN CLASSICS
VOLUMES 21 AND 22

THE POETIC EDDA

The Poetic Edda

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AMERICAN·SCANDINAVIAN·FOUNDATION

ESTABLISHED BY NIELS POULSON

Founded by Niels Poulsen

THIS VOLUME IS ENDOWED IN PART BY CHARLES S. PETERSON OF CHICAGO [vii]

THIS VOLUME IS PARTIALLY FUNDED BY CHARLES S. PETERSON OF CHICAGO [__A_TAG_PLACEHOLDER_0__]

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ACKNOWLEDGEMENT

The General Introduction mentions many of the scholars to whose work this translation owes a special debt. Particular reference, however, should here be made to the late William Henry Schofield, Professor of Comparative Literature in Harvard University and President of The American-Scandinavian Foundation, under whose guidance this translation was begun; to Henry Goddard Leach, for many years Secretary of The American-Scandinavian Foundation, and to William Witherle Lawrence, Professor of English in Columbia University and Chairman of the Foundation’s Committee on Publications, for their assistance with the manuscript and the proofs; and to Hanna Astrup Larsen, the Foundation’s literary secretary, for her efficient management of the complex details of publication. [xi]

The General Introduction mentions many of the scholars whose work this translation is particularly indebted to. However, it’s important to highlight the late William Henry Schofield, who was a Professor of Comparative Literature at Harvard University and President of The American-Scandinavian Foundation, under whose guidance this translation began; Henry Goddard Leach, who served for many years as Secretary of The American-Scandinavian Foundation; and William Witherle Lawrence, a Professor of English at Columbia University and Chairman of the Foundation’s Committee on Publications, for their help with the manuscript and proofs; as well as Hanna Astrup Larsen, the Foundation’s literary secretary, for her effective management of the complicated details of publication. [__A_TAG_PLACEHOLDER_0__]

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GENERAL INTRODUCTION

There is scarcely any literary work of great importance which has been less readily available for the general reader, or even for the serious student of literature, than the Poetic Edda. Translations have been far from numerous, and only in Germany has the complete work of translation been done in the full light of recent scholarship. In English the only versions were long the conspicuously inadequate one made by Thorpe, and published about half a century ago, and the unsatisfactory prose translations in Vigfusson and Powell’s Corpus Poeticum Boreale, reprinted in the Norrœna collection. An excellent translation of the poems dealing with the gods, in verse and with critical and explanatory notes, made by Olive Bray, was, however, published by the Viking Club of London in 1908. In French there exist only partial translations, chief among them being those made by Bergmann many years ago. Among the seven or eight German versions, those by the Brothers Grimm and by Karl Simrock, which had considerable historical importance because of their influence on nineteenth century German literature and art, and particularly on the work of Richard Wagner, have been largely superseded by Hugo Gering’s admirable translation, published in 1892, and by the recent two-volume rendering by Genzmer, with excellent notes by Andreas Heusler, 1914–1920. There are competent translations in both Norwegian and Swedish. The lack of any complete and adequately annotated English rendering in metrical form, based on a critical text, and profiting by the cumulative labors of such scholars as Mogk, Vigfusson, [xii]Finnur Jonsson, Grundtvig, Bugge, Gislason, Hildebrand, Lüning, Sweet, Niedner, Ettmüller, Müllenhoff, Edzardi, B. M. Olsen, Sievers, Sijmons, Detter, Heinzel, Falk, Neckel, Heusler, and Gering, has kept this extraordinary work practically out of the reach of those who have had neither time nor inclination to master the intricacies of the original Old Norse.

There is hardly any important literary work that has been less accessible to the general reader or even to serious literature students than the Poetic Edda. Translations have been scarce, and only in Germany has a complete translation been done with the benefit of recent scholarship. In English, the only versions for a long time were the notably inadequate one created by Thorpe, published about fifty years ago, and the unsatisfactory prose translations in Vigfusson and Powell’s Corpus Poeticum Boreale, which were reprinted in the Norrœna collection. An excellent translation of the poems about the gods, presented in verse and accompanied by critical and explanatory notes, was published by Olive Bray through the Viking Club of London in 1908. In French, there are only partial translations, the most notable being those by Bergmann from many years ago. Among the seven or eight German versions, those by the Brothers Grimm and Karl Simrock had significant historical importance due to their influence on nineteenth-century German literature and art, especially on Richard Wagner's work; however, they have mostly been replaced by Hugo Gering’s outstanding translation published in 1892 and the recent two-volume version by Genzmer, with excellent notes by Andreas Heusler from 1914 to 1920. There are competent translations available in both Norwegian and Swedish. The absence of any complete and properly annotated English translation in metrical form, based on a critical text, and benefiting from the combined efforts of scholars like Mogk, Vigfusson, [__A_TAG_PLACEHOLDER_0__] Finnur Jonsson, Grundtvig, Bugge, Gislason, Hildebrand, Lüning, Sweet, Niedner, Ettmüller, Müllenhoff, Edzardi, B. M. Olsen, Sievers, Sijmons, Detter, Heinzel, Falk, Neckel, Heusler, and Gering, has kept this extraordinary work practically unreachable for those who do not have the time or desire to master the complexities of the original Old Norse.

On the importance of the material contained in the Poetic Edda it is here needless to dwell at any length. We have inherited the Germanic traditions in our very speech, and the Poetic Edda is the original storehouse of Germanic mythology. It is, indeed, in many ways the greatest literary monument preserved to us out of the antiquity of the kindred races which we call Germanic. Moreover, it has a literary value altogether apart from its historical significance. The mythological poems include, in the Voluspo, one of the vastest conceptions of the creation and ultimate destruction of the world ever crystallized in literary form; in parts of the Hovamol, a collection of wise counsels that can bear comparison with most of the Biblical Book of Proverbs; in the Lokasenna, a comedy none the less full of vivid characterization because its humor is often broad; and in the Thrymskvitha, one of the finest ballads in the world. The hero poems give us, in its oldest and most vivid extant form, the story of Sigurth, Brynhild, and Atli, the Norse parallel to the German Nibelungenlied. The Poetic Edda is not only of great interest to the student of antiquity; it is a collection including some of the most remarkable poems which have been preserved to us from the period before the pen and the printing-press replaced the poet-singer and oral tradition. It is above all else the desire [xiii]to make better known the dramatic force, the vivid and often tremendous imagery, and the superb conceptions embodied in these poems which has called forth the present translation.

On the importance of the material in the Poetic Edda, it’s unnecessary to elaborate too much. We’ve inherited Germanic traditions in our very language, and the Poetic Edda is the primary source of Germanic mythology. In many ways, it stands as the greatest literary monument left to us from the ancient related races we refer to as Germanic. Additionally, its literary value is significant on its own, separate from its historical importance. The mythological poems include, in the Voluspo, one of the most expansive views of the creation and ultimate destruction of the world ever captured in literature; in parts of the Hovamol, a collection of wise advice that can be compared to much of the Biblical Book of Proverbs; in the Lokasenna, a comedy rich in characterization, even if its humor is often bold; and in the Thrymskvitha, one of the finest ballads in existence. The hero poems provide us, in its oldest and most vivid existing form, the story of Sigurth, Brynhild, and Atli, the Norse equivalent of the German Nibelungenlied. The Poetic Edda is not only fascinating for students of history; it includes some of the most remarkable poems that have survived from the time before the pen and printing press took over from the poet-singer and oral traditions. Above all, it is the aim [__A_TAG_PLACEHOLDER_0__]to better showcase the dramatic intensity, the vivid and often powerful imagery, and the exceptional ideas represented in these poems that has inspired this translation.

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WHAT IS THE POETIC EDDA?

Even if the poems of the so-called Edda were not so significant and intrinsically so valuable, the long series of scholarly struggles which have been going on over them for the better part of three centuries would in itself give them a peculiar interest. Their history is strangely mysterious. We do not know who composed them, or when or where they were composed; we are by no means sure who collected them or when he did so; finally, we are not absolutely certain as to what an “Edda” is, and the best guess at the meaning of the word renders its application to this collection of poems more or less misleading.

Even if the poems of the so-called Edda weren’t so significant and inherently valuable, the long history of academic debates about them over the past three centuries would still make them particularly interesting. Their history is quite mysterious. We don’t know who wrote them, when or where they were created; we aren’t sure who gathered them together or when that happened; and finally, we're not entirely certain what an “Edda” is, and the most informed guess about the meaning of the word makes its connection to this collection of poems somewhat misleading.

A brief review of the chief facts in the history of the Poetic Edda will explain why this uncertainty has persisted. Preserved in various manuscripts of the thirteenth and early fourteenth centuries is a prose work consisting of a very extensive collection of mythological stories, an explanation of the important figures and tropes of Norse poetic diction,—the poetry of the Icelandic and Norwegian skalds was appallingly complex in this respect,—and a treatise on metrics. This work, clearly a handbook for poets, was commonly known as the “Edda” of Snorri Sturluson, for at the head of the copy of it in the Uppsalabok, a manuscript written presumably some fifty or sixty years after Snorri’s death, which was in 1241, we find: “This book is called Edda, which Snorri Sturluson composed.” This work, well known as the Prose Edda, Snorri’s Edda or the [xiv]Younger Edda, has recently been made available to readers of English in the admirable translation by Arthur G. Brodeur, published by the American-Scandinavian Foundation in 1916.

A quick look at the key facts in the history of the Poetic Edda will help explain why this uncertainty has lasted. Various manuscripts from the thirteenth and early fourteenth centuries preserve a prose work that includes a vast collection of mythological stories, explanations of important figures and themes in Norse poetic language—the poetry of the Icelandic and Norwegian skalds was incredibly complex in this regard—and a guide to metrics. This work, clearly a manual for poets, was commonly referred to as the “Edda” of Snorri Sturluson. At the beginning of the version in the Uppsalabok, a manuscript likely written about fifty or sixty years after Snorri’s death in 1241, we find the note: “This book is called Edda, which Snorri Sturluson composed.” This well-known work, referred to as the Prose Edda, Snorri’s Edda, or the [__A_TAG_PLACEHOLDER_0__]Younger Edda, has recently been made accessible to English readers through an excellent translation by Arthur G. Brodeur, published by the American-Scandinavian Foundation in 1916.

Icelandic tradition, however, persisted in ascribing either this Edda or one resembling it to Snorri’s much earlier compatriot, Sæmund the Wise (1056–1133). When, early in the seventeenth century, the learned Arngrimur Jonsson proved to everyone’s satisfaction that Snorri and nobody else must have been responsible for the work in question, the next thing to determine was what, if anything, Sæmund had done of the same kind. The nature of Snorri’s book gave a clue. In the mythological stories related a number of poems were quoted, and as these and other poems were to all appearances Snorri’s chief sources of information, it was assumed that Sæmund must have written or compiled a verse Edda—whatever an “Edda” might be—on which Snorri’s work was largely based.

Icelandic tradition, however, continued to attribute either this Edda or a similar one to Snorri’s earlier counterpart, Sæmund the Wise (1056–1133). When, in the early seventeenth century, the knowledgeable Arngrimur Jonsson demonstrated to everyone’s satisfaction that Snorri, and no one else, must have been the author of the work in question, the next step was to find out what, if anything, Sæmund had contributed of a similar nature. The content of Snorri’s book provided a clue. In the mythological stories shared, several poems were quoted, and since these and other poems seemed to be Snorri’s primary sources of information, it was assumed that Sæmund must have written or compiled a verse Edda—whatever an “Edda” might be—on which Snorri’s work was largely based.

So matters stood when, in 1643, Brynjolfur Sveinsson, Bishop of Skalholt, discovered a manuscript, clearly written as early as 1300, containing twenty-nine poems, complete or fragmentary, and some of them with the very lines and stanzas used by Snorri. Great was the joy of the scholars, for here, of course, must be at least a part of the long-sought Edda of Sæmund the Wise. Thus the good bishop promptly labeled his find, and as Sæmund’s Edda, the Elder Edda or the Poetic Edda it has been known to this day.

So things stood when, in 1643, Brynjolfur Sveinsson, Bishop of Skalholt, came across a manuscript, clearly written as early as 1300, containing twenty-nine poems, either complete or partial, with some of them featuring the exact lines and stanzas used by Snorri. The scholars were overjoyed because this was surely at least a part of the long-sought Edda of Sæmund the Wise. So the bishop promptly labeled his discovery, and it has been known ever since as Sæmund’s Edda, the Elder Edda, or the Poetic Edda.

This precious manuscript, now in the Royal Library in Copenhagen, and known as the Codex Regius (R2365), has been the basis for all published editions of the Eddic poems. A few poems of similar character found elsewhere [xv]have subsequently been added to the collection, until now most editions include, as in this translation, a total of thirty-four. A shorter manuscript now in the Arnamagnæan collection in Copenhagen (AM748), contains fragmentary or complete versions of six of the poems in the Codex Regius, and one other, Baldrs Draumar, not found in that collection. Four other poems (Rigsthula, Hyndluljoth, Grougaldr and Fjolsvinnsmol, the last two here combined under the title of Svipdagsmol), from various manuscripts, so closely resemble in subject-matter and style the poems in the Codex Regius that they have been included by most editors in the collection. Finally, Snorri’s Edda contains one complete poem, the Grottasongr, which many editors have added to the poetic collection; it is, however, not included in this translation, as an admirable English version of it is available in Mr. Brodeur’s rendering of Snorri’s work.

This valuable manuscript, now housed in the Royal Library in Copenhagen and known as the Codex Regius (R2365), has served as the foundation for all published editions of the Eddic poems. A few poems with similar themes found elsewhere [__A_TAG_PLACEHOLDER_0__] have since been added to the collection, bringing the total in most editions, including this translation, to thirty-four. A shorter manuscript now in the Arnamagnæan collection in Copenhagen (AM748) contains fragmentary or complete versions of six of the poems in the Codex Regius, as well as one other, Baldrs Draumar, which isn't found in that collection. Four additional poems (Rigsthula, Hyndluljoth, Grougaldr, and Fjolsvinnsmol, the last two combined here under the title of Svipdagsmol), from various manuscripts, are closely related in subject and style to the poems in the Codex Regius, and have been included by most editors in the collection. Lastly, Snorri’s Edda features one complete poem, the Grottasongr, which many editors have added to the poetic collection; however, it is not included in this translation, since a well-crafted English version is available in Mr. Brodeur’s rendering of Snorri’s work.

From all this it is evident that the Poetic Edda, as we now know it, is no definite and plainly limited work, but rather a more or less haphazard collection of separate poems, dealing either with Norse mythology or with hero-cycles unrelated to the traditional history of greater Scandinavia or Iceland. How many other similar poems, now lost, may have existed in such collections as were current in Iceland in the later twelfth and thirteenth centuries we cannot know, though it is evident that some poems of this type are missing. We can say only that thirty-four poems have been preserved, twenty-nine of them in a single manuscript collection, which differ considerably in subject-matter and style from all the rest of extant Old Norse poetry, and these we group together as the Poetic Edda. [xvi]

From all this, it's clear that the Poetic Edda, as we understand it today, isn't a specific and clearly defined work, but instead a somewhat random collection of individual poems that focus either on Norse mythology or on hero tales that aren't tied to the traditional history of greater Scandinavia or Iceland. We can't know how many other similar poems might have existed in collections that were popular in Iceland during the late twelfth and thirteenth centuries, although it’s obvious that some poems of this kind are missing. We can only say that thirty-four poems have been preserved, with twenty-nine of them found in a single manuscript collection. These poems vary significantly in topics and style from all the other remaining Old Norse poetry, and we categorize these as the Poetic Edda. [__A_TAG_PLACEHOLDER_0__]

But what does the word “Edda” mean? Various guesses have been made. An early assumption was that the word somehow meant “Poetics,” which fitted Snorri’s treatise to a nicety, but which, in addition to the lack of philological evidence to support this interpretation, could by no stretch of scholarly subtlety be made appropriate to the collection of poems. Jacob Grimm ingeniously identified the word with the word “edda” used in one of the poems, the Rigsthula, where, rather conjecturally, it means “great-grandmother.” The word exists in this sense nowhere else in Norse literature, and Grimm’s suggestion of “Tales of a Grandmother,” though at one time it found wide acceptance, was grotesquely inappropriate to either the prose or the verse work.

But what does the word “Edda” mean? There have been various guesses. An early theory was that the word somehow meant “Poetics,” which fit Snorri’s treatise perfectly, but there’s no linguistic evidence to back this interpretation, and it couldn’t possibly apply to the collection of poems. Jacob Grimm cleverly linked the word to “edda” as used in one of the poems, the Rigsthula, where it possibly means “great-grandmother.” The word doesn’t appear in this sense anywhere else in Norse literature, and Grimm’s suggestion of “Tales of a Grandmother,” although it was once widely accepted, was completely inappropriate for both the prose and the poetry.

At last Eirikr Magnusson hit on what appears the likeliest solution of the puzzle: that “Edda” is simply the genitive form of the proper name “Oddi.” Oddi was a settlement in the southwest of Iceland, certainly the home of Snorri Sturluson for many years, and, traditionally at least, also the home of Sæmund the Wise. That Snorri’s work should have been called “The Book of Oddi” is altogether reasonable, for such a method of naming books was common—witness the “Book of the Flat Island” and other early manuscripts. That Sæmund may also have written or compiled another “Oddi-Book” is perfectly possible, and that tradition should have said he did so is entirely natural.

Finally, Eirikr Magnusson figured out what seems to be the most likely solution to the puzzle: that “Edda” is just the genitive form of the name “Oddi.” Oddi was a settlement in the southwest of Iceland, definitely the home of Snorri Sturluson for many years, and, at least traditionally, also the home of Sæmund the Wise. It makes perfect sense that Snorri’s work would be called “The Book of Oddi,” as that way of naming books was common—just look at the “Book of the Flat Island” and other early manuscripts. It’s entirely possible that Sæmund may have also written or compiled another “Oddi-Book,” and it’s totally natural that tradition would claim he did.

It is, however, an open question whether or not Sæmund had anything to do with making the collection, or any part of it, now known as the Poetic Edda, for of course the seventeenth-century assignment of the work to him is negligible. [xvii]We can say only that he may have made some such compilation, for he was a diligent student of Icelandic tradition and history, and was famed throughout the North for his learning. But otherwise no trace of his works survives, and as he was educated in Paris, it is probable that he wrote rather in Latin than in the vernacular.

It’s still unclear whether Sæmund had any role in creating the collection we now call the Poetic Edda, especially since the 17th-century attribution of the work to him isn’t reliable. [__A_TAG_PLACEHOLDER_0__] All we can say is that he might have compiled something like it because he was a dedicated student of Icelandic tradition and history, and he was well-known throughout the North for his knowledge. However, no record of his works remains, and since he was educated in Paris, it’s likely that he wrote more in Latin than in the local language.

All that is reasonably certain is that by the middle or last of the twelfth century there existed in Iceland one or more written collections of Old Norse mythological and heroic poems, that the Codex Regius, a copy made a hundred years or so later, represents at least a considerable part of one of these, and that the collection of thirty-four poems which we now know as the Poetic or Elder Edda is practically all that has come down to us of Old Norse poetry of this type. Anything more is largely guesswork, and both the name of the compiler and the meaning of the title “Edda” are conjectural.

All that we can be pretty sure of is that by the middle or end of the twelfth century, there were written collections of Old Norse mythological and heroic poems in Iceland. The Codex Regius, a copy made about a hundred years later, represents at least a significant portion of one of these collections. The group of thirty-four poems we now refer to as the Poetic or Elder Edda is basically all that remains of this type of Old Norse poetry. Any additional information is mostly speculation, and both the name of the compiler and the meaning of the title “Edda” are uncertain.

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THE ORIGIN OF THE EDDIC POEMS

There is even less agreement about the birthplace, authorship and date of the Eddic poems themselves than about the nature of the existing collection. Clearly the poems were the work of many different men, living in different periods; clearly, too, most of them existed in oral tradition for generations before they were first committed to writing. In general the mythological poems are strongly heathen in character, and as Christianity became generally accepted throughout Norway and Iceland early in the eleventh century, it is altogether likely that most of the poems dealing with the Norse gods antedate the year 1000. On the other hand, Hoffory, Finnur Jonsson and others have shown pretty conclusively from linguistic evidence that [xviii]these poems cannot have assumed anything like their present form before the ninth century. As for the poems belonging to the hero cycles, one or two of them appear to be as late as 1100, but most of them clearly belong to the hundred years following 950. It is a fairly safe guess that the years between 900 and 1050 saw the majority of the Eddic poems put into shape, but it must be remembered that many changes took place during the long subsequent period of oral transmission, and also that many of the legends, both mythological and heroic, on which the poems were based, certainly existed in Norway, and quite possibly in verse form, long before the year 900. In considering such poems it is essential to forget the present mode of composition, whereby a poet at once fixes his thought and his style by means of writing, and to remember that for at least two centuries, and possibly much longer, the correct transmission of many of the Eddic poems depended solely on accurate hearing and retentive memory.

There’s even less agreement about the birthplace, authorship, and date of the Eddic poems themselves than about the nature of the existing collection. It's clear that the poems were created by many different people over different periods; it’s also clear that most of them existed in oral tradition for generations before they were first written down. Generally, the mythological poems are very pagan in nature, and as Christianity became widely accepted across Norway and Iceland in the early eleventh century, it’s likely that most of the poems about the Norse gods were composed before the year 1000. However, Hoffory, Finnur Jonsson, and others have conclusively shown through linguistic evidence that [__A_TAG_PLACEHOLDER_0__] these poems couldn't have taken on their current form until after the ninth century. As for the poems that belong to the hero cycles, one or two seem to be as late as 1100, but most clearly belong to the hundred years following 950. It’s a fairly safe guess that the years between 900 and 1050 saw the majority of the Eddic poems shaped into their current forms, but it’s important to remember that many changes occurred during the long period of oral transmission, and many of the legends, both mythological and heroic, that the poems were based on certainly existed in Norway, and probably in verse form, long before the year 900. When considering such poems, it’s essential to forget the current mode of composition, where a poet immediately fixes their thoughts and style through writing, and to remember that for at least two centuries, and possibly much longer, the accurate transmission of many Eddic poems relied solely on good listening and strong memory.

As to the origin of the legends on which the poems are based, the whole question, at least so far as the stories of the gods are concerned, is much too complex for discussion here. How much of the actual narrative material of the mythological lays is properly to be called Scandinavian is a matter for students of comparative mythology to guess at. The tales underlying the heroic lays are clearly of foreign origin: the Helgi story comes from Denmark, and that of Völund from Germany, as also the great mass of traditions centering around Sigurth (Siegfried), Brynhild, the sons of Gjuki, Atli (Attila), and Jormunrek (Ermanarich). The introductory notes to the various poems deal with the more important of these questions of origin. [xix]

As for where the legends that inspired the poems come from, the whole topic, especially regarding the stories of the gods, is way too complicated to discuss here. How much of the actual material in the mythological tales can truly be considered Scandinavian is something that scholars in comparative mythology can only speculate about. The stories behind the heroic poems clearly have foreign roots: the Helgi tale originates from Denmark, and Völund’s story comes from Germany, as do many traditions surrounding Sigurth (Siegfried), Brynhild, the sons of Gjuki, Atli (Attila), and Jormunrek (Ermanarich). The introductory notes for the different poems address the more significant questions of their origins. [__A_TAG_PLACEHOLDER_0__]

Of the men who composed these poems,—“wrote” is obviously the wrong word,—we know absolutely nothing, save that some of them must have been literary artists with a high degree of conscious skill. The Eddic poems are “folk-poetry,”—whatever that may be,—only in the sense that some of them strongly reflect racial feelings and beliefs; they are anything but crude or primitive in workmanship, and they show that not only the poets themselves, but also many of their hearers, must have made a careful study of the art of poetry.

Of the men who created these poems—“wrote” isn’t quite the right term—we know absolutely nothing, except that some of them must have been skilled literary artists with a high level of expertise. The Eddic poems are considered “folk poetry”—whatever that really means—only in the sense that some of them vividly reflect the feelings and beliefs of their culture; they are far from crude or primitive in craftsmanship, and they indicate that not only the poets themselves but also many of their audience must have studied the art of poetry carefully.

Where the poems were composed is almost equally uncertain. The claims of Norway have been extensively advanced, but the great literary activity of Iceland after the settlement of the island by Norwegian emigrants late in the ninth century makes the theory of an Icelandic source for most of the poems plausible. The two Atli lays, with what authority we do not know, bear in the Codex Regius the superscription “the Greenland poem,” and internal evidence indicates that this statement is correct. Certainly in one poem, the Rigsthula, and probably in several others, there are marks of Celtic influence. During a considerable part of the ninth and tenth centuries, Scandinavians were active in Ireland and in most of the western islands inhabited by branches of the Celtic race. Some scholars claim nearly all the Eddic poems for these “Western Isles,” in sharp distinction from Iceland; their arguments are commented on in the introductory note to the Rigsthula. However, as Iceland early came to be the true center of this Scandinavian island world, it may be said that most of the evidence concerning the birthplace of the Eddic poems in anything like their present form points in that direction, [xx]and certainly it was in Iceland that they were chiefly preserved.

Where the poems were written is almost just as uncertain. There are strong claims for Norway, but the significant literary activity in Iceland after Norwegian settlers arrived in the late ninth century makes the idea of Iceland as the source for most of the poems reasonable. The two Atli lays, which we can't confirm the authority of, are labeled "the Greenland poem" in the Codex Regius, and evidence within suggests this is accurate. Definitely in one poem, the Rigsthula, and likely in several others, there are signs of Celtic influence. Throughout much of the ninth and tenth centuries, Scandinavians were active in Ireland and across many of the western islands populated by Celtic groups. Some scholars attribute nearly all the Eddic poems to these "Western Isles," distinctly apart from Iceland; their arguments are discussed in the introductory note to the Rigsthula. However, since Iceland became the real center of this Scandinavian island world early on, it can be said that most evidence regarding where the Eddic poems originated in something like their current form points in that direction, [__A_TAG_PLACEHOLDER_0__]and it was undoubtedly in Iceland that they were mainly preserved.

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THE EDDA AND OLD NORSE LITERATURE

Within the proper limits of an introduction it would be impossible to give any adequate summary of the history and literature with which the Eddic poems are indissolubly connected, but a mere mention of a few of the salient facts may be of some service to those who are unfamiliar with the subject. Old Norse literature covers approximately the period between 850 and 1300. During the first part of that period occurred the great wanderings of the Scandinavian peoples, and particularly the Norwegians. A convenient date to remember is that of the sea-fight of Hafrsfjord, 872, when Harald the Fair-Haired broke the power of the independent Norwegian nobles, and made himself overlord of nearly all the country. Many of the defeated nobles fled overseas, where inviting refuges had been found for them by earlier wanderers and plunder-seeking raiders. This was the time of the inroads of the dreaded Northmen in France, and in 885 Hrolf Gangr (Rollo) laid siege to Paris itself. Many Norwegians went to Ireland, where their compatriots had already built Dublin, and where they remained in control of most of the island till Brian Boru shattered their power at the battle of Clontarf in 1014.

Within the limits of an introduction, it's hard to provide a thorough summary of the history and literature that are closely tied to the Eddic poems, but mentioning a few key points might help those who aren't familiar with the topic. Old Norse literature spans roughly from 850 to 1300. During the early part of that time, the Scandinavian peoples, especially the Norwegians, were on the move. A key date to remember is 872, when the sea battle of Hafrsfjord took place, during which Harald Fair-Haired defeated the independent Norwegian nobles and became the ruler of almost the entire country. Many of the defeated nobles escaped to other lands, where earlier explorers and raiders had already provided safe havens for them. This was also the period of the feared Northmen's invasions in France, and in 885, Hrolf Gangr (Rollo) laid siege to Paris. Many Norwegians traveled to Ireland, where their fellow countrymen had already established Dublin, maintaining control over most of the island until Brian Boru broke their power at the battle of Clontarf in 1014.

Of all the migrations, however, the most important were those to Iceland. Here grew up an active civilization, fostered by absolute independence and by remoteness from the wars which wracked Norway, yet kept from degenerating into provincialism by the roving life of the people, which brought them constantly in contact with the culture [xxi]of the South. Christianity, introduced throughout the Norse world about the year 1000, brought with it the stability of learning, and the Icelanders became not only the makers but also the students and recorders of history.

Of all the migrations, the most significant were those to Iceland. Here, an active civilization developed, supported by complete independence and isolation from the wars that plagued Norway. Yet, it avoided becoming overly provincial thanks to the nomadic lifestyle of the people, which kept them connected to the culture [__A_TAG_PLACEHOLDER_0__] of the South. Christianity, introduced across the Norse world around the year 1000, brought stability in learning, and the Icelanders became not only the creators but also the students and recorders of history.

The years between 875 and 1100 were the great spontaneous period of oral literature. Most of the military and political leaders were also poets, and they composed a mass of lyric poetry concerning the authorship of which we know a good deal, and much of which has been preserved. Narrative prose also flourished, for the Icelander had a passion for story-telling and story-hearing. After 1100 came the day of the writers. These sagamen collected the material that for generations had passed from mouth to mouth, and gave it permanent form in writing. The greatest bulk of what we now have of Old Norse literature,—and the published part of it makes a formidable library,—originated thus in the earlier period before the introduction of writing, and was put into final shape by the scholars, most of them Icelanders, of the hundred years following 1150.

The years between 875 and 1100 were a golden age for oral literature. Many military and political leaders were also poets, creating a lot of lyric poetry, and we know quite a bit about the authorship of this work, much of which has been preserved. Narrative prose also thrived, as Icelanders had a deep love for storytelling and listening to stories. After 1100, it was the era of writers. These sagamen collected the material that had been passed down orally for generations and gave it a permanent written form. The majority of what we currently have of Old Norse literature—and the published portion constitutes a substantial library—originated from this earlier period before writing was introduced, and was finalized by scholars, most of whom were Icelanders, in the hundred years following 1150.

After 1250 came a rapid and tragic decline. Iceland lost its independence, becoming a Norwegian province. Later Norway too fell under alien rule, a Swede ascending the Norwegian throne in 1320. Pestilence and famine laid waste the whole North; volcanic disturbances worked havoc in Iceland. Literature did not quite die, but it fell upon evil days; for the vigorous native narratives and heroic poems of the older period were substituted translations of French romances. The poets wrote mostly doggerel; the prose writers were devoid of national or racial inspiration.

After 1250, there was a quick and tragic decline. Iceland lost its independence and became a part of Norway. Later, Norway also came under foreign control, with a Swede taking the Norwegian throne in 1320. Disease and famine devastated the entire North, and volcanic eruptions wreaked havoc in Iceland. Literature didn't completely die, but it faced tough times; the strong native stories and heroic poems from earlier times were replaced by translations of French romances. The poets mostly wrote poorly; the prose writers lacked any national or cultural inspiration.

The mass of literature thus collected and written down [xxii]largely between 1150 and 1250 may be roughly divided into four groups. The greatest in volume is made up of the sagas: narratives mainly in prose, ranging all the way from authentic history of the Norwegian kings and the early Icelandic settlements to fairy-tales. Embodied in the sagas is found the material composing the second group: the skaldic poetry, a vast collection of songs of praise, triumph, love, lamentation, and so on, almost uniformly characterized by an appalling complexity of figurative language. There is no absolute line to be drawn between the poetry of the skalds and the poems of the Edda, which we may call the third group; but in addition to the remarkable artificiality of style which marks the skaldic poetry, and which is seldom found in the poems of the Edda, the skalds dealt almost exclusively with their own emotions, whereas the Eddic poems are quite impersonal. Finally, there is the fourth group, made up of didactic works, religious and legal treatises, and so on, studies which originated chiefly in the later period of learned activity.

The collection of literature written down [__A_TAG_PLACEHOLDER_0__] mainly between 1150 and 1250 can be roughly divided into four groups. The largest group consists of sagas: stories primarily written in prose that range from real histories of the Norwegian kings and the early Icelandic settlements to fairy tales. Within the sagas is the material for the second group: skaldic poetry, a large collection of songs celebrating praise, triumph, love, lamentation, and more, which are typically marked by a striking complexity of figurative language. There isn’t a clear distinction between the poetry of the skalds and the poems of the Edda, which we’ll refer to as the third group; however, skaldic poetry is notably artificial in style, a quality rarely seen in the poems of the Edda. The skalds focused almost entirely on their personal feelings, while the Eddic poems maintain a more impersonal tone. Lastly, the fourth group includes didactic works, religious texts, legal treatises, and similar studies, which mainly emerged during the later phase of scholarly activity.

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PRESERVATION OF THE EDDIC POEMS

Most of the poems of the Poetic Edda have unquestionably reached us in rather bad shape. During the long period of oral transmission they suffered all sorts of interpolations, omissions and changes, and some of them, as they now stand, are a bewildering hodge-podge of little-related fragments. To some extent the diligent twelfth century compiler to whom we owe the Codex Regius—Sæmund or another—was himself doubtless responsible for the patchwork process, often supplemented by narrative prose notes of his own; but in the days before written records existed, it was easy to lose stanzas and longer passages [xxiii]from their context, and equally easy to interpolate them where they did not by any means belong. Some few of the poems, however, appear to be virtually complete and unified as we now have them.

Most of the poems in the Poetic Edda have definitely come down to us in pretty rough shape. During the long time they were passed down orally, they experienced all kinds of additions, omissions, and changes. As they stand now, some of them are a confusing mix of barely related fragments. To some extent, the hardworking twelfth-century compiler, whether it was Sæmund or someone else, was likely responsible for this patchwork process, often adding his own narrative prose notes. But back in the days before written records, it was easy to lose stanzas and longer passages [__A_TAG_PLACEHOLDER_0__] from their original context, and just as easy to insert them where they didn’t really fit. However, a few of the poems seem to be almost complete and cohesive as we have them now.

Under such circumstances it is clear that the establishment of a satisfactory text is a matter of the utmost difficulty. As the basis for this translation I have used the text prepared by Karl Hildebrand (1876) and revised by Hugo Gering (1904). Textual emendation has, however, been so extensive in every edition of the Edda, and has depended so much on the theories of the editor, that I have also made extensive use of many other editions, notably those by Finnur Jonsson, Neckel, Sijmons, and Detter and Heinzel, together with numerous commentaries. The condition of the text in both the principal codices is such that no great reliance can be placed on the accuracy of the copyists, and frequently two editions will differ fundamentally as to their readings of a given passage or even of an entire poem. For this reason, and because guesswork necessarily plays so large a part in any edition or translation of the Eddic poems, I have risked overloading the pages with textual notes in order to show, as nearly as possible, the exact state of the original together with all the more significant emendations. I have done this particularly in the case of transpositions, many of which appear absolutely necessary, and in the indication of passages which appear to be interpolations.

Under these circumstances, it's clear that creating a reliable text is extremely challenging. For this translation, I've used the text prepared by Karl Hildebrand (1876) and revised by Hugo Gering (1904). However, textual changes have been so extensive in every edition of the Edda, and have relied so much on the editor’s theories, that I've also drawn heavily from many other editions, especially those by Finnur Jonsson, Neckel, Sijmons, and Detter and Heinzel, along with numerous commentaries. The condition of the text in both main codices is such that we can't place much trust in the accuracy of the copyists, and often two editions will differ significantly in their readings of a specific passage or even an entire poem. For this reason, and because guesswork plays such a big role in any edition or translation of the Eddic poems, I've taken the risk of adding lots of textual notes to show the original state as accurately as possible, along with all the more significant changes. I've focused on transpositions, many of which seem absolutely necessary, and on passages that appear to be interpolations.

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THE VERSE-FORMS OF THE EDDIC POEMS

The many problems connected with the verse-forms found in the Eddic poems have been analyzed in great detail by Sievers, Neckel, and others. The three verse-forms [xxiv]exemplified in the poems need only a brief comment here, however, in order to make clear the method used in this translation. All of these forms group the lines normally in four-line stanzas. In the so-called Fornyrthislag (“Old Verse”), for convenience sometimes referred to in the notes as four-four measure, these lines have all the same structure, each line being sharply divided by a cæsural pause into two half-lines, and each half-line having two accented syllables and two (sometimes three) unaccented ones. The two half-lines forming a complete line are bound together by the alliteration, or more properly initial-rhyme, of three (or two) of the accented syllables. The following is an example of the Fornyrthislag stanza, the accented syllables being in italics:

The various issues related to the verse forms found in the Eddic poems have been thoroughly examined by Sievers, Neckel, and others. The three verse forms [__A_TAG_PLACEHOLDER_0__] seen in the poems just need a brief explanation here to clarify the method used in this translation. All of these forms typically arrange the lines into four-line stanzas. In the so-called Fornyrthislag (“Old Verse”), which is sometimes conveniently referred to as four-four measure in the notes, these lines all share the same structure, with each line distinctly divided by a caesural pause into two half-lines. Each half-line consists of two accented syllables and two (sometimes three) unaccented ones. The two half-lines that make up a complete line are connected through alliteration, or more accurately, initial-rhyme, of three (or two) of the accented syllables. Here’s an example of the Fornyrthislag stanza, with the accented syllables in italics:

Vreiþr vas Vingþórr,   |   es vaknaþi

Vreiþr is Vingþórr,   |   as wakenaþi

ok síns hamars   |   of saknaþi;

ok síns hamars | of saknaþi;

skegg nam hrista,   |   skǫr nam dýja,

skegg nam hrista,   |   skǫr nam dýja,

réþ Jarþar burr   |   umb at þreifask.

réþ Jarþar burr   |   umb at þreifask.

In the second form, the Ljothahattr (“Song Measure”), the first and third line of each stanza are as just described, but the second and fourth are shorter, have no cæsural pause, have three accented syllables, and regularly two initial-rhymed accented syllables, for which reason I have occasionally referred to Ljothahattr as four-three measure. The following is an example:

In the second form, the Ljothahattr (“Song Measure”), the first and third lines of each stanza are as previously mentioned, but the second and fourth lines are shorter, don’t have a pause, have three stressed syllables, and typically two initial rhymed stressed syllables. For this reason, I've sometimes called Ljothahattr the four-three measure. Here’s an example:

Ar skal rísa   |   sás annars vill

Ar skal rísa | sás annars vill

fé eþa fjǫr hafa;

fé and fjǫr have;

liggjandi ulfr   |   sjaldan láer of getr

ligg jandi ulfr | sjaldan láer of getr

né sofandi maþr sigr.

né sofandi maþr sigr.

In the third and least commonly used form, the Malahattr (“Speech Measure”), a younger verse-form than [xxv]either of the other two, each line of the four-line stanza is divided into two half-lines by a cæsural pause, each half-line having two accented syllables and three (sometimes four) unaccented ones; the initial rhyme is as in the Fornyrthislag. The following is an example:

In the third and least used form, the Malahattr (“Speech Measure”), which is a newer verse form compared to [__A_TAG_PLACEHOLDER_0__] the other two, each line of the four-line stanza is split into two half-lines by a pause, with each half-line containing two stressed syllables and three (sometimes four) unstressed ones; the initial rhyme is the same as in the Fornyrthislag. Here’s an example:

Horsk vas húsfreyja,   |   hugþi at mannviti,

Horsk the housewife, | think of humanity,

lag heyrþi orþa,   |   hvat á laun máeltu;

lag heyrði orða,   |   hvat á laun máltu;

þá vas vant vitri,   |   vildi þeim hjalpa:

then it was want weri,   |   would they help us:

skyldu of sáe sigla,   |   en sjǫlf né kvamskat.

skyldu of sáe sigla,   |   en sjǫlf né kvamskat.

A poem in Fornyrthislag is normally entitled -kvitha (Thrymskvitha, Guthrunarkvitha, etc.), which for convenience I have rendered as “lay,” while a poem in Ljothahattr is entitled -mol (Grimnismol, Skirnismol, etc.), which I have rendered as “ballad.” It is difficult to find any distinction other than metrical between the two terms, although it is clear that one originally existed.

A poem in Fornyrthislag is usually titled -kvitha (Thrymskvitha, Guthrunarkvitha, etc.), which I've translated as “lay,” while a poem in Ljothahattr is titled -mol (Grimnismol, Skirnismol, etc.), which I've translated as “ballad.” It's hard to find any difference besides the meter between the two terms, although it's clear that one did exist originally.

Variations frequently appear in all three kinds of verse, and these I have attempted to indicate through the rhythm of the translation. In order to preserve so far as possible the effect of the Eddic verse, I have adhered, in making the English version, to certain of the fundamental rules governing the Norse line and stanza formations. The number of lines to each stanza conforms to what seems the best guess as to the original, and I have consistently retained the number of accented syllables. In translating from a highly inflected language into one depending largely on the use of subsidiary words, it has, however, been necessary to employ considerable freedom as to the number of unaccented syllables in a line. The initial-rhyme is generally confined to two accented syllables in each line. As in the original, all initial vowels are allowed to rhyme interchangeably, [xxvi]but I have disregarded the rule which lets certain groups of consonants rhyme only with themselves (e.g., I have allowed initial s or st to rhyme with sk or sl). In general, I have sought to preserve the effect of the original form whenever possible without an undue sacrifice of accuracy. For purposes of comparison, the translations of the three stanzas just given are here included:

Variations often show up in all three types of verse, and I’ve tried to reflect these through the rhythm of the translation. To maintain the effect of the Eddic verse as much as possible, I’ve followed some of the basic rules for Norse line and stanza formations in my English version. The number of lines in each stanza matches what seems like the best guess for the original, and I’ve kept the number of accented syllables consistent. However, when translating from a highly inflected language to one that relies more on auxiliary words, I had to be quite flexible with the number of unaccented syllables in a line. The initial rhyme usually consists of two accented syllables in each line. As in the original, all initial vowels are allowed to rhyme with each other, [__A_TAG_PLACEHOLDER_0__]but I’ve ignored the rule that certain groups of consonants can only rhyme among themselves (for example, I’ve allowed initial s or st to rhyme with sk or sl). Overall, I’ve aimed to preserve the original form's effect whenever possible without sacrificing too much accuracy. For comparison, the translations of the three stanzas provided are included here:

Fornyrthislag:

Fornyrthislag:

Wild was Vingthor   |   when he awoke,

Wild was Vingthor  |   when he woke,

And when his mighty   |   hammer he missed;

And when he missed his hammer;

He shook his beard,   |   his hair was bristling,

He shook his beard, | his hair was bristling,

To groping set   |   the son of Jorth.

To groping set | the son of Jorth.

Ljothahattr:

Ljothahattr:

He must early go forth   |   who fain the blood

He must go early who wants the blood

Or the goods of another would get;

Or the goods of another would get;

The wolf that lies idle   |   shall win little meat,

The wolf that lies idle shall win little meat,

Or the sleeping man success.

Or the sleeping man success.

Malahattr:

Mala Hattr

Wise was the woman,   |   she fain would use wisdom,

Wise was the woman,   |   she would use wisdom,

She saw well what meant   |   all they said in secret;

She understood well what meant | all they said in secret;

From her heart it was hid   |   how help she might render,

From her heart it was hidden | how help she might render,

The sea they should sail,   |   while herself she should go not.

The sea they should sail, | while she herself should not go.

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PROPER NAMES

The forms in which the proper names appear in this translation will undoubtedly perplex and annoy those who have become accustomed to one or another of the current methods of anglicising old Norse names. The nominative ending -r it has seemed best to omit after consonants, although it has been retained after vowels; in Baldr the [xxvii]final -r is a part of the stem and is of course retained. I have rendered the Norse þ by “th” throughout, instead of spasmodically by “d,” as in many texts: e.g., Othin instead of Odin. For the Norse ø I have used its equivalent, “ö,” e.g., Völund; for the ǫ I have used “o” and not “a,” e.g., Voluspo, not Valuspa or Voluspa. To avoid confusion with accents the long vowel marks of the Icelandic are consistently omitted, as likewise in modern Icelandic proper names. The index at the end of the book indicates the pronunciation in each case.

The way proper names are presented in this translation might confuse and frustrate those who are used to various modern methods of adapting old Norse names. I decided to leave out the nominative ending -r after consonants, but kept it after vowels; for instance, in Baldr, the final -r is part of the root and is therefore included. I’ve consistently used “th” for the Norse þ instead of switching to “d,” as is done in many texts: e.g., Othin instead of Odin. For the Norse ø, I’ve used “ö,” e.g., Völund; for ǫ, I’ve used “o” instead of “a,” e.g., Voluspo, not Valuspa or Voluspa. To avoid confusion with accents, the long vowel marks from Icelandic are consistently omitted, just like in modern Icelandic names. The index at the end of the book shows the pronunciation for each name.

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CONCLUSION

That this translation may be of some value to those who can read the poems of the Edda in the original language I earnestly hope. Still more do I wish that it may lead a few who hitherto have given little thought to the Old Norse language and literature to master the tongue for themselves. But far above either of these I place the hope that this English version may give to some, who have known little of the ancient traditions of what is after all their own race, a clearer insight into the glories of that extraordinary past, and that I may through this medium be able to bring to others a small part of the delight which I myself have found in the poems of the Poetic Edda. [xxix]

I truly hope this translation is valuable to those who can read the poems of the Edda in the original language. Even more, I hope it inspires some who have paid little attention to Old Norse language and literature to learn it for themselves. Above all, I hope this English version helps others, who may know little about the ancient traditions of their own heritage, gain a better understanding of the remarkable glories of that extraordinary past. I also wish to share a bit of the joy I've experienced in the poems of the Poetic Edda with others through this medium. [__A_TAG_PLACEHOLDER_0__]

THE POETIC EDDA

VOLUME I

LAYS OF THE GODS

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VOLUSPO

The Wise-Woman’s Prophecy

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Intro Note

At the beginning of the collection in the Codex Regius stands the Voluspo, the most famous and important, as it is likewise the most debated, of all the Eddic poems. Another version of it is found in a huge miscellaneous compilation of about the year 1300, the Hauksbok, and many stanzas are included in the Prose Edda of Snorri Sturluson. The order of the stanzas in the Hauksbok version differs materially from that in the Codex Regius, and in the published editions many experiments have been attempted in further rearrangements. On the whole, however, and allowing for certain interpolations, the order of the stanzas in the Codex Regius seems more logical than any of the wholesale “improvements” which have been undertaken.

At the start of the collection in the Codex Regius is the Voluspo, the most well-known and significant, as well as the most controversial, of all the Eddic poems. Another version appears in a large miscellaneous compilation from around the year 1300, the Hauksbok, and many stanzas can also be found in Snorri Sturluson's Prose Edda. The order of the stanzas in the Hauksbok version is quite different from that in the Codex Regius, and various attempts have been made to rearrange them in the published editions. Overall, though, and considering some interpolations, the order of the stanzas in the Codex Regius appears to be more logical than any of the broad "improvements" that have been made.

The general plan of the Voluspo is fairly clear. Othin, chief of the gods, always conscious of impending disaster and eager for knowledge, calls on a certain “Volva,” or wise-woman, presumably bidding her rise from the grave. She first tells him of the past, of the creation of the world, the beginning of years, the origin of the dwarfs (at this point there is a clearly interpolated catalogue of dwarfs’ names, stanzas 10–16), of the first man and woman, of the world-ash Yggdrasil, and of the first war, between the gods and the Vanir, or, in Anglicized form, the Wanes. Then, in stanzas 27–29, as a further proof of her wisdom, she discloses some of Othin’s own secrets and the details of his search for knowledge. Rewarded by Othin for what she has thus far told (stanza 30), she then turns to the real prophesy, the disclosure of the final destruction of the gods. This final battle, in which fire and flood overwhelm heaven and earth as the gods fight with their enemies, is the great fact in Norse mythology; the phrase describing it, ragna rök, “the fate of the gods,” has become familiar, by confusion with the word rökkr, “twilight,” in the German Götterdämmerung. The wise-woman tells of the Valkyries who bring the slain warriors to support Othin and the other gods in the battle, of the slaying of Baldr, best and fairest of the gods, through the wiles of Loki, of the enemies of the gods, of the summons to battle on both sides, and of the mighty struggle, till Othin is slain, and “fire leaps high [2]about heaven itself” (stanzas 31–58). But this is not all. A new and beautiful world is to rise on the ruins of the old; Baldr comes back, and “fields unsowed bear ripened fruit” (stanzas 59–66).

The overall structure of the Voluspo is pretty straightforward. Othin, the head of the gods, always aware of looming disaster and eager for knowledge, calls on a specific “Volva,” or wise-woman, presumably asking her to rise from the grave. She first tells him about the past: the creation of the world, the beginning of time, the origins of the dwarfs (at this point, there’s a clearly added list of the dwarfs’ names, stanzas 10–16), the first man and woman, the world-tree Yggdrasil, and the first war between the gods and the Vanir, or, in English form, the Wanes. Then, in stanzas 27–29, as further proof of her wisdom, she reveals some of Othin’s own secrets and the details of his quest for knowledge. Rewarded by Othin for what she has shared so far (stanza 30), she then moves on to the real prophecy, revealing the ultimate destruction of the gods. This final battle, where fire and flood swallow heaven and earth as the gods fight their enemies, is the central event in Norse mythology; the phrase that describes it, ragna rök, “the fate of the gods,” has become well-known, often confused with the word rökkr, “twilight,” in the German Götterdämmerung. The wise-woman speaks of the Valkyries who bring the fallen warriors to aid Othin and the other gods in battle, the death of Baldr, the best and most beautiful of the gods, through Loki’s treachery, the gods’ enemies, the call to battle from both sides, and the intense struggle until Othin is slain, and “fire leaps high [__A_TAG_PLACEHOLDER_0__]about heaven itself” (stanzas 31–58). But that’s not all. A new and beautiful world will rise from the ruins of the old; Baldr will return, and “fields unsown bear ripened fruit” (stanzas 59–66).

This final passage, in particular, has caused wide differences of opinion as to the date and character of the poem. That the poet was heathen and not Christian seems almost beyond dispute; there is an intensity and vividness in almost every stanza which no archaizing Christian could possibly have achieved. On the other hand, the evidences of Christian influence are sufficiently striking to outweigh the arguments of Finnur Jonsson, Müllenhoff and others who maintain that the Voluspo is purely a product of heathendom. The roving Norsemen of the tenth century, very few of whom had as yet accepted Christianity, were nevertheless in close contact with Celtic races which had already been converted, and in many ways the Celtic influence was strongly felt. It seems likely, then, that the Voluspo was the work of a poet living chiefly in Iceland, though possibly in the “Western Isles,” in the middle of the tenth century, a vigorous believer in the old gods, and yet with an imagination active enough to be touched by the vague tales of a different religion emanating from his neighbor Celts.

This final passage particularly has sparked a lot of debate about the date and nature of the poem. It's almost unquestionable that the poet was pagan and not Christian; there's an energy and vividness in nearly every stanza that no traditional Christian could have achieved. On the flip side, the signs of Christian influence are notable enough to counter the arguments of Finnur Jonsson, Müllenhoff, and others who claim that the Voluspo is purely a product of paganism. The wandering Norsemen of the tenth century, very few of whom had accepted Christianity at that point, were still in close contact with Celtic groups that had already converted, and in many ways, the Celtic influence was strongly felt. It seems likely, then, that the Voluspo was created by a poet living mainly in Iceland, though possibly in the “Western Isles,” in the mid-tenth century, a passionate believer in the old gods but with enough imagination to be inspired by the vague stories of a different religion coming from his Celtic neighbors.

How much the poem was altered during the two hundred years between its composition and its first being committed to writing is largely a matter of guesswork, but, allowing for such an obvious interpolation as the catalogue of dwarfs, and for occasional lesser errors, it seems quite needless to assume such great changes as many editors do. The poem was certainly not composed to tell a story with which its early hearers were quite familiar; the lack of continuity which baffles modern readers presumably did not trouble them in the least. It is, in effect, a series of gigantic pictures, put into words with a directness and sureness which bespeak the poet of genius. It is only after the reader, with the help of the many notes, has familiarized himself with the names and incidents involved that he can begin to understand the effect which this magnificent poem must have produced on those who not only understood but believed it.

How much the poem changed during the two hundred years between when it was written and when it was first recorded is mostly guesswork. However, considering obvious additions like the list of dwarfs and occasional minor mistakes, it seems unnecessary to assume the significant changes that many editors suggest. The poem wasn't written to narrate a story that its early listeners were completely familiar with; the lack of continuity that confuses modern readers likely didn’t bother them at all. It is essentially a collection of vivid images expressed in a straightforward and confident way, showing the presence of a talented poet. Only after the reader, aided by numerous notes, has become familiar with the names and events can they start to grasp the impact this incredible poem must have had on those who not only understood but also believed in it.

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1. Hearing I ask   |   from the holy races,

__A_TAG_PLACEHOLDER_0__. Hearing, I ask | from the holy lineages,

From Heimdall’s sons,   |   both high and low;

From Heimdall’s sons,   |   both high and low;

Thou wilt, Valfather,   |   that well I relate

Thou wilt, Valfather,   |   that well I relate

Old tales I remember   |   of men long ago.

Old stories I remember   |   of men from long ago.

2. I remember yet   |   the giants of yore,

__A_TAG_PLACEHOLDER_0__. I still remember  |   the giants from the past,

Who gave me bread   |   in the days gone by;

Who gave me bread in the days gone by;

Nine worlds I knew,   |   the nine in the tree

Nine worlds I knew,   |   the nine in the tree

With mighty roots   |   beneath the mold.

With strong roots beneath the soil.

[4]

[__A_TAG_PLACEHOLDER_0__]

3. Of old was the age   |   when Ymir lived;

__A_TAG_PLACEHOLDER_0__. Long ago was the time when Ymir lived;

Sea nor cool waves   |   nor sand there were;

Sea or cool waves   |   nor sand there were;

Earth had not been,   |   nor heaven above,

Earth had not been,   |   nor heaven above,

But a yawning gap,   |   and grass nowhere.

But there’s a wide gap, and no grass anywhere.

4. Then Bur’s sons lifted   |   the level land,

__A_TAG_PLACEHOLDER_0__. Then Bur’s sons raised the flat land,

Mithgarth the mighty   |   there they made;

Mithgarth the mighty   |   there they created;

The sun from the south   |   warmed the stones of earth,

The sun from the south   |   warmed the stones of the earth,

And green was the ground   |   with growing leeks.

And the ground was green   |   with growing leeks.

5. The sun, the sister   |   of the moon, from the south

__A_TAG_PLACEHOLDER_0__. The sun, the sister   |   of the moon, from the south

Her right hand cast   |   over heaven’s rim;

Her right hand extended over the edge of the sky;

No knowledge she had   |   where her home should be,

No knowledge she had  |   where her home should be,

The moon knew not   |   what might was his,

The moon didn't know what power he had,

The stars knew not   |   where their stations were.

The stars didn't know where they were meant to be.

[5]

[__A_TAG_PLACEHOLDER_0__]

6. Then sought the gods   |   their assembly-seats,

__A_TAG_PLACEHOLDER_0__. Then the gods sought their meeting places,

The holy ones,   |   and council held;

The holy ones,   |   and council met;

Names then gave they   |   to noon and twilight,

Names then gave they to noon and twilight,

Morning they named,   |   and the waning moon,

Morning they named, | and the fading moon,

Night and evening,   |   the years to number.

Night and evening,   |   counting the years.

7. At Ithavoll met   |   the mighty gods,

__A_TAG_PLACEHOLDER_0__. At Ithavoll, the powerful gods gathered,

Shrines and temples   |   they timbered high;

Shrines and temples | they rose high;

Forges they set,   |   and they smithied ore,

Forges were set up, and they worked the ore,

Tongs they wrought,   |   and tools they fashioned.

Tongs they made, | and tools they crafted.

8. In their dwellings at peace   |   they played at tables,

__A_TAG_PLACEHOLDER_0__. In their homes peacefully   |   they played at tables,

Of gold no lack   |   did the gods then know,—

Of gold there was no shortage, the gods were aware of this—

Till thither came up   |   giant-maids three,

Till there came up   |   three giant maids,

Huge of might,   |   out of Jotunheim.

Huge of might,   |   out of Jotunheim.

[6]

[__A_TAG_PLACEHOLDER_0__]

9. Then sought the gods   |   their assembly-seats,

__A_TAG_PLACEHOLDER_0__. Then the gods looked for their meeting places,

The holy ones,   |   and council held,

The holy ones,   |   and council held,

To find who should raise   |   the race of dwarfs

To determine who should raise the race of dwarfs

Out of Brimir’s blood   |   and the legs of Blain.

Out of Brimir’s blood and Blain’s legs.

10. There was Motsognir   |   the mightiest made

__A_TAG_PLACEHOLDER_0__. There was Motsognir | the greatest ever made

Of all the dwarfs,   |   and Durin next;

Of all the dwarfs, | and Durin next;

Many a likeness   |   of men they made,

Many a likeness of men they created,

The dwarfs in the earth,   |   as Durin said.

The dwarfs in the earth,   |   as Durin said.

11. Nyi and Nithi,   |   Northri and Suthri,

11. Nyi and Nithi,   |   Northri and Suthri,

Austri and Vestri,   |   Althjof, Dvalin,

Austri and Vestri,   |   Althjof, Dvalin,

Nar and Nain,   |   Niping, Dain,

Nar and Nain,   |   Niping, Dain,

Bifur, Bofur,   |   Bombur, Nori,

Bifur, Bofur, Bombur, Nori,

An and Onar,   |   Ai, Mjothvitnir.

An and Onar,   |   Ai, Mjothvitnir.

[7]

[__A_TAG_PLACEHOLDER_0__]

12. Vigg and Gandalf,   |   Vindalf, Thrain,

__A_TAG_PLACEHOLDER_0__. Vigg and Gandalf,   |   Vindalf, Thrain,

Thekk and Thorin,   |   Thror, Vit and Lit,

Thekk and Thorin,   |   Thror, Vit, and Lit,

Nyr and Nyrath,—   |   now have I told—

Nyr and Nyrath,—   |   now I have said—

Regin and Rathsvith—   |   the list aright.

Regin and Rathsvith—   |   the list right.

13. Fili, Kili,   |   Fundin, Nali,

Fili, Kili, Fundin, Nali,

Heptifili,   |   Hannar, Sviur,

Heptifili,   |   Hannar, Sviur,

Frar, Hornbori,   |   Fræg and Loni,

Frar, Hornbori,   |   Fræg and Loni,

Aurvang, Jari,   |   Eikinskjaldi.

Aurvang, Jari, | Eikinskjaldi.

14. The race of the dwarfs   |   in Dvalin’s throng

__A_TAG_PLACEHOLDER_0__. The group of dwarfs in Dvalin’s crowd

Down to Lofar   |   the list must I tell;

Down to Lofar   |   I must share the list;

The rocks they left,   |   and through wet lands

The rocks they left,   |   and through wet lands

They sought a home   |   in the fields of sand.

They looked for a home   |   in the sandy fields.

15. There were Draupnir   |   and Dolgthrasir,

__A_TAG_PLACEHOLDER_0__. There were Draupnir   |   and Dolgthrasir,

Hor, Haugspori,   |   Hlevang, Gloin, [8]

Hor, Haugspori, | Hlevang, Gloin, [__A_TAG_PLACEHOLDER_0__]

Dori, Ori,   |   Duf, Andvari,

Dori, Ori, | Duf, Andvari,

Skirfir, Virfir,   |   Skafith, Ai.

Skirfir, Virfir, | Skafith, Ai.

16. Alf and Yngvi,   |   Eikinskjaldi,

Alf and Yngvi, Eikinskjaldi,

Fjalar and Frosti,   |   Fith and Ginnar;

Fjalar and Frosti,   |   Fith and Ginnar;

So for all time   |   shall the tale be known,

So from now on, the tale shall be known,

The list of all   |   the forbears of Lofar.

The list of all | the ancestors of Lofar.

17. Then from the throng   |   did three come forth,

__A_TAG_PLACEHOLDER_0__. Then from the crowd   |   three stepped forward,

From the home of the gods,   |   the mighty and gracious;

From the home of the gods, | the powerful and benevolent;

Two without fate   |   on the land they found,

Two without fate   |   on the land they discovered,

Ask and Embla,   |   empty of might.

Ask and Embla,   |   lacking any strength.

18. Soul they had not,   |   sense they had not,

__A_TAG_PLACEHOLDER_0__. They had no soul,   |   they had no sense,

Heat nor motion,   |   nor goodly hue;

Heat or motion,   |   or beautiful color;

Soul gave Othin,   |   sense gave Hönir,

Soul gave Othin, | sense gave Hönir,

Heat gave Lothur   |   and goodly hue.

Heat gave Lothur and a nice color.

[9]

[__A_TAG_PLACEHOLDER_0__]

19. An ash I know,   |   Yggdrasil its name,

__A_TAG_PLACEHOLDER_0__. There's a tree I know,   |   Yggdrasil is its name,

With water white   |   is the great tree wet;

With water white | is the great tree wet;

Thence come the dews   |   that fall in the dales,

Thence come the dews that fall in the valleys,

Green by Urth’s well   |   does it ever grow.

Green by Urth’s well | does it ever grow.

20. Thence come the maidens   |   mighty in wisdom,

__A_TAG_PLACEHOLDER_0__. From there come the young women   |   powerful in wisdom,

Three from the dwelling   |   down ’neath the tree;

Three from the house   |   down under the tree;

Urth is one named,   |   Verthandi the next,—

Urth is one name,   |   Verthandi is the next,—

On the wood they scored,—   |   and Skuld the third.

On the wood they marked, — | — and Skuld the third.

Laws they made there,   |   and life allotted

Laws were made there,   |   and life was assigned

To the sons of men,   |   and set their fates.

To the sons of men,   |   and determine their destinies.

[10]

[__A_TAG_PLACEHOLDER_0__]

21. The war I remember,   |   the first in the world,

__A_TAG_PLACEHOLDER_0__. The war I remember, | the first in the world,

When the gods with spears   |   had smitten Gollveig,

When the gods with spears had struck Gollveig,

And in the hall   |   of Hor had burned her,—

And in the hall | of Hor had burned her,—

Three times burned,   |   and three times born,

Three times burned,   |   and three times reborn,

Oft and again,   |   yet ever she lives.

Oftentimes,   |   yet she is still alive.

22. Heith they named her   |   who sought their home,

__A_TAG_PLACEHOLDER_0__. They named her Heith who looked for their home,

The wide-seeing witch,   |   in magic wise;

The all-seeing witch, in a clever way;

Minds she bewitched   |   that were moved by her magic,

Minds she enchanted   |   that were inspired by her magic,

To evil women   |   a joy she was.

To wicked women   |   she was a delight.

[11]

[__A_TAG_PLACEHOLDER_0__]

23. On the host his spear   |   did Othin hurl,

__A_TAG_PLACEHOLDER_0__. On the enemy, his spear   |   did Odin throw,

Then in the world   |   did war first come;

Then in the world | did war first come;

The wall that girdled   |   the gods was broken,

The wall that surrounded the gods was shattered,

And the field by the warlike   |   Wanes was trodden.

And the field by the warlike Wanes was walked on.

24. Then sought the gods   |   their assembly-seats,

24. Then the gods looked for their meeting places,

The holy ones,   |   and council held,

The holy ones,   |   and the meeting that took place,

Whether the gods   |   should tribute give,

Whether the gods should give tribute,

Or to all alike   |   should worship belong.

Or should worship belong to everyone equally.

25. Then sought the gods   |   their assembly-seats,

__A_TAG_PLACEHOLDER_0__. Then the gods looked for their meeting places,

The holy ones,   |   and council held,

The holy ones,   |   and council held,

To find who with venom   |   the air had filled,

To find out who had filled the air with venom,

Or had given Oth’s bride   |   to the giants’ brood.

Or had given Oth’s bride to the giants’ offspring.

[12]

[__A_TAG_PLACEHOLDER_0__]

26. In swelling rage   |   then rose up Thor,—

__A_TAG_PLACEHOLDER_0__. In growing anger   |   then stood up Thor,—

Seldom he sits   |   when he such things hears,—

Seldom does he sit when he hears such things,—

And the oaths were broken,   |   the words and bonds,

And the promises were broken,   |   the words and commitments,

The mighty pledges   |   between them made.

The powerful promises made between them.

27. I know of the horn   |   of Heimdall, hidden

__A_TAG_PLACEHOLDER_0__. I know about the horn | of Heimdall, kept secret

Under the high-reaching   |   holy tree;

Under the tall sacred tree;

On it there pours   |   from Valfather’s pledge

On it pours   |   from the promise of the Father of All

A mighty stream:   |   would you know yet more?

A powerful river:   |   would you like to know more?

[13]

[__A_TAG_PLACEHOLDER_0__]

28. Alone I sat   |   when the Old One sought me,

__A_TAG_PLACEHOLDER_0__. I sat alone   |   when the Elder came to find me,

The terror of gods,   |   and gazed in mine eyes:

The terror of gods,   |   and looked into my eyes:

“What hast thou to ask?   |   why comest thou hither?

“What do you want to ask?   |   Why have you come here?”

Othin, I know   |   where thine eye is hidden.”

Othin, I know where your eye is hidden.

29. I know where Othin’s   |   eye is hidden,

__A_TAG_PLACEHOLDER_0__. I know where Odin’s eye is hidden,

Deep in the wide-famed   |   well of Mimir;

Deep in the well of Mimir, known far and wide;

Mead from the pledge   |   of Othin each morn

Mead from the promise of Othin each morning

Does Mimir drink:   |   would you know yet more?

Does Mimir drink:   |   would you know more?

30. Necklaces had I   |   and rings from Heerfather,

__A_TAG_PLACEHOLDER_0__. I had necklaces and rings from Heerfather,

Wise was my speech   |   and my magic wisdom;

Wise was my speech   |   and my magic wisdom;

.   .   .   .   .   .   .   .   .   .

.   .   .   .   .   .   .   .   .   .

Widely I saw   |   over all the worlds.

Widely I saw   |   across all the worlds.

[14]

[__A_TAG_PLACEHOLDER_0__]

31. On all sides saw I   |   Valkyries assemble,

__A_TAG_PLACEHOLDER_0__. I saw Valkyries gathering on all sides,

Ready to ride   |   to the ranks of the gods;

Ready to ride to the ranks of the gods;

Skuld bore the shield,   |   and Skogul rode next,

Skuld carried the shield,   |   and Skogul rode behind her,

Guth, Hild, Gondul,   |   and Geirskogul.

Guth, Hild, Gondul,   |   and Geirskogul.

Of Herjan’s maidens   |   the list have ye heard,

Of Herjan’s maidens | the list you have heard,

Valkyries ready   |   to ride o’er the earth.

Valkyries ready   |   to ride over the earth.

32. I saw for Baldr,   |   the bleeding god,

__A_TAG_PLACEHOLDER_0__. I saw Baldr,   |   the bleeding god,

The son of Othin,   |   his destiny set: [15]

The son of Odin,   |   his fate decided: [__A_TAG_PLACEHOLDER_0__]

Famous and fair   |   in the lofty fields,

Famous and beautiful   |   in the high fields,

Full grown in strength   |   the mistletoe stood.

Full-grown and strong, the mistletoe stood.

33. From the branch which seemed   |   so slender and fair

__A_TAG_PLACEHOLDER_0__. From the branch that looked so delicate and lovely

Came a harmful shaft   |   that Hoth should hurl;

Came a harmful arrow that Hoth should throw;

But the brother of Baldr   |   was born ere long,

But Baldr's brother was born soon after,

And one night old   |   fought Othin’s son.

And one night, the old man fought Othin’s son.

34. His hands he washed not,   |   his hair he combed not,

__A_TAG_PLACEHOLDER_0__. He didn't wash his hands,   |   he didn't comb his hair,

Till he bore to the bale-blaze   |   Baldr’s foe.

Till he bore to the bale-blaze   |   Baldr’s enemy.

But in Fensalir   |   did Frigg weep sore

But in Fensalir   |   Frigg cried a lot

For Valhall’s need:   |   would you know yet more?

For Valhall's need:   |   would you like to know more?

35. One did I see   |   in the wet woods bound,

__A_TAG_PLACEHOLDER_0__. I saw one   |   in the soggy woods,

A lover of ill,   |   and to Loki like; [16]

A lover of evil,   |   and like Loki; [__A_TAG_PLACEHOLDER_0__]

By his side does Sigyn   |   sit, nor is glad

By his side, Sigyn sits, and she is not happy.

To see her mate:   |   would you know yet more?

To see her partner:   |   do you want to know even more?

36. From the east there pours   |   through poisoned vales

__A_TAG_PLACEHOLDER_0__. From the east, there flows | through poisoned valleys

With swords and daggers   |   the river Slith.

With swords and daggers | the river Slith.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

37. Northward a hall   |   in Nithavellir

__A_TAG_PLACEHOLDER_0__. Northward a hall | in Nithavellir

Of gold there rose   |   for Sindri’s race;

Of gold there rose  | for Sindri’s people;

And in Okolnir   |   another stood,

And in Okolnir | another stood,

Where the giant Brimir   |   his beer-hall had.

Where the giant Brimir had his beer hall.

[17]

[__A_TAG_PLACEHOLDER_0__]

38. A hall I saw,   |   far from the sun,

__A_TAG_PLACEHOLDER_0__. I saw a hall,   |   far from the sun,

On Nastrond it stands,   |   and the doors face north;

On Nastrond it stands,   |   and the doors face north;

Venom drops   |   through the smoke-vent down,

Venom falls through the smoke vent below,

For around the walls   |   do serpents wind.

For around the walls   |   snakes coil.

39. I saw there wading   |   through rivers wild

__A_TAG_PLACEHOLDER_0__. I saw there wading through wild rivers

Treacherous men   |   and murderers too,

Treacherous men   |   and murderers too,

And workers of ill   |   with the wives of men;

And workers of evil | with the wives of men;

There Nithhogg sucked   |   the blood of the slain,

There Nithhogg sucked the blood of the slain,

And the wolf tore men;   |   would you know yet more?

And the wolf attacked people;   |   do you want to know more?

[18]

[__A_TAG_PLACEHOLDER_0__]

40. The giantess old   |   in Ironwood sat,

__A_TAG_PLACEHOLDER_0__. The old giantess sat in Ironwood,

In the east, and bore   |   the brood of Fenrir;

In the east, and carried the offspring of Fenrir;

Among these one   |   in monster’s guise

Among these one   |   in monster’s disguise

Was soon to steal   |   the sun from the sky.

Was soon to steal the sun from the sky.

41. There feeds he full   |   on the flesh of the dead,

__A_TAG_PLACEHOLDER_0__. There he feeds entirely on the flesh of the dead,

And the home of the gods   |   he reddens with gore;

And the home of the gods   |   it is stained with blood;

Dark grows the sun,   |   and in summer soon

Dark grows the sun,   |   and in summer soon

Come mighty storms:   |   would you know yet more?

Come, powerful storms:   |   would you like to know even more?

42. On a hill there sat,   |   and smote on his harp,

__A_TAG_PLACEHOLDER_0__. On a hill sat someone,   |   and played his harp,

Eggther the joyous,   |   the giants’ warder;

Eggther the joyful,   |   the giants' guardian;

Above him the cock   |   in the bird-wood crowed,

Above him, the rooster in the woods crowed,

Fair and red   |   did Fjalar stand.

Fair and red   |   did Fjalar stand.

[19]

[__A_TAG_PLACEHOLDER_0__]

43. Then to the gods   |   crowed Gollinkambi,

__A_TAG_PLACEHOLDER_0__. Then to the gods   |   crowed Gollinkambi,

He wakes the heroes   |   in Othin’s hall;

He wakes the heroes in Odin's hall;

And beneath the earth   |   does another crow,

And below the ground | does another crow,

The rust-red bird   |   at the bars of Hel.

The rust-red bird   |   at the bars of Hel.

44. Now Garm howls loud   |   before Gnipahellir,

__A_TAG_PLACEHOLDER_0__. Now Garm howls loudly   |   before Gnipahellir,

The fetters will burst,   |   and the wolf run free;

The chains will break,   |   and the wolf will roam free;

Much do I know,   |   and more can see

Much do I know,   |   and more can see

Of the fate of the gods,   |   the mighty in fight.

Of the fate of the gods,   |   the powerful in battle.

45. Brothers shall fight   |   and fell each other,

__A_TAG_PLACEHOLDER_0__. Brothers will fight   |   and kill each other,

And sisters’ sons   |   shall kinship stain; [20]

And the sons of my sisters shall ruin the family bond; [__A_TAG_PLACEHOLDER_0__]

Hard is it on earth,   |   with mighty whoredom;

Hard is it on earth,   |   with mighty promiscuity;

Axe-time, sword-time,   |   shields are sundered,

Axe time, sword time,   |   shields are broken,

Wind-time, wolf-time,   |   ere the world falls;

Wind-time, wolf-time,   |   before the world collapses;

Nor ever shall men   |   each other spare.

Nor will men ever spare each other.

46. Fast move the sons   |   of Mim, and fate

__A_TAG_PLACEHOLDER_0__. The sons of Mim move quickly, and fate

Is heard in the note   |   of the Gjallarhorn;

Is heard in the note of the Gjallarhorn;

Loud blows Heimdall,   |   the horn is aloft,

Loud blasts Heimdall,   |   the horn is raised,

In fear quake all   |   who on Hel-roads are.

In fear, tremble all   |   who walk the paths of Hell.

47. Yggdrasil shakes,   |   and shiver on high

__A_TAG_PLACEHOLDER_0__. Yggdrasil trembles,   |   and quivers up high

The ancient limbs,   |   and the giant is loose;

The ancient limbs,   |   and the giant is free;

To the head of Mim   |   does Othin give heed,

To the head of Mim   |   does Othin pay attention,

But the kinsman of Surt   |   shall slay him soon.

But Surt's relative will kill him soon.

[21]

[__A_TAG_PLACEHOLDER_0__]

48. How fare the gods?   |   how fare the elves?

__A_TAG_PLACEHOLDER_0__. How are the gods doing?   |   How are the elves doing?

All Jotunheim groans,   |   the gods are at council;

All of Jotunheim groans,   |   the gods are in council;

Loud roar the dwarfs   |   by the doors of stone,

Loudly the dwarfs roar by the stone doors,

The masters of the rocks:   |   would you know yet more?

The masters of the rocks:   |   would you like to know even more?

49. Now Garm howls loud   |   before Gnipahellir,

__A_TAG_PLACEHOLDER_0__. Now Garm is howling loudly before Gnipahellir,

The fetters will burst,   |   and the wolf run free;

The chains will break,   |   and the wolf will run free;

Much do I know,   |   and more can see

Much do I know,   |   and more can see

Of the fate of the gods,   |   the mighty in fight.

Of the fate of the gods,   |   the powerful in battle.

50. From the east comes Hrym   |   with shield held high;

__A_TAG_PLACEHOLDER_0__. From the east, Hrym arrives   |   with his shield raised high;

In giant-wrath   |   does the serpent writhe;

In giant wrath | does the serpent writhe;

O’er the waves he twists,   |   and the tawny eagle

O'er the waves he twists,   |   and the tawny eagle

Gnaws corpses screaming;   |   Naglfar is loose.

Gnaws corpses screaming;   |   Naglfar is free.

[22]

[__A_TAG_PLACEHOLDER_0__]

51. O’er the sea from the north   |   there sails a ship

__A_TAG_PLACEHOLDER_0__. Over the sea from the north   |   a ship is sailing

With the people of Hel,   |   at the helm stands Loki;

With the people of Hel, | Loki is in charge;

After the wolf   |   do wild men follow,

After the wolf   |   do wild men follow,

And with them the brother   |   of Byleist goes.

And with them goes the brother of Byleist.

52. Surt fares from the south   |   with the scourge of branches,

__A_TAG_PLACEHOLDER_0__. Surt rides in from the south   |   wielding a whip made of branches,

The sun of the battle-gods   |   shone from his sword;

The sun of the battle-gods shone from his sword;

The crags are sundered,   |   the giant-women sink,

The cliffs are split,   |   the giant women fall,

The dead throng Hel-way,   |   and heaven is cloven.

The dead crowd the Hel-way,   |   and heaven is split.

53. Now comes to Hlin   |   yet another hurt,

__A_TAG_PLACEHOLDER_0__. Now Hlin faces yet another hurt,

When Othin fares   |   to fight with the wolf,

When Odin goes   |   to battle the wolf,

And Beli’s fair slayer   |   seeks out Surt,

And Beli’s fair slayer seeks out Surt,

For there must fall   |   the joy of Frigg.

For the joy of Frigg must fade.

[23]

[__A_TAG_PLACEHOLDER_0__]

54. Then comes Sigfather’s   |   mighty son,

__A_TAG_PLACEHOLDER_0__. Then comes the mighty son of Sigfather,

Vithar, to fight   |   with the foaming wolf;

Vithar, to battle with the raging wolf;

In the giant’s son   |   does he thrust his sword

In the giant's son   |   does he thrust his sword

Full to the heart:   |   his father is avenged.

Full to the heart:   |   his father is avenged.

55. Hither there comes   |   the son of Hlothyn,

__A_TAG_PLACEHOLDER_0__. Here comes | the son of Hlothyn,

The bright snake gapes   |   to heaven above;

The bright snake stares up at the sky;

.   .   .   .   .   .   .   .   .   .

.   .   .   .   .   .   .   .   .   .

Against the serpent   |   goes Othin’s son.

Against the serpent   |   goes Odin's son.

56. In anger smites   |   the warder of earth,—

__A_TAG_PLACEHOLDER_0__. In anger strikes the guardian of the earth,—

Forth from their homes   |   must all men flee;—

Forth from their homes must all men flee;—

Nine paces fares   |   the son of Fjorgyn,

Nine paces goes   |   the son of Fjorgyn,

And, slain by the serpent,   |   fearless he sinks.

And, killed by the serpent,   |   he bravely sinks.

[24]

[__A_TAG_PLACEHOLDER_0__]

57. The sun turns black,   |   earth sinks in the sea,

__A_TAG_PLACEHOLDER_0__. The sun goes dark,   |   the earth disappears into the ocean,

The hot stars down   |   from heaven are whirled;

The hot stars from heaven are spinning;

Fierce grows the steam   |   and the life-feeding flame,

Fierce grows the steam   |   and the life-giving flame,

Till fire leaps high   |   about heaven itself.

Till fire jumps high   |   about heaven itself.

58. Now Garm howls loud   |   before Gnipahellir,

__A_TAG_PLACEHOLDER_0__. Now Garm howls loudly   |   in front of Gnipahellir,

The fetters will burst,   |   and the wolf run free;

The chains will break,   |   and the wolf will be free;

Much do I know,   |   and more can see

Much I know, and more I can see

Of the fate of the gods,   |   the mighty in fight.

Of the fate of the gods,   |   the powerful in battle.

59. Now do I see   |   the earth anew

__A_TAG_PLACEHOLDER_0__. Now I see the earth in a whole new light.

Rise all green   |   from the waves again;

Rise all green   |   from the waves again;

The cataracts fall,   |   and the eagle flies,

The waterfalls cascade,   |   and the eagle soars,

And fish he catches   |   beneath the cliffs.

And he catches fish beneath the cliffs.

60. The gods in Ithavoll   |   meet together,

__A_TAG_PLACEHOLDER_0__. The gods in Ithavoll   |   gather together,

Of the terrible girdler   |   of earth they talk, [25]

Of the awful earth-shaper they speak, [__A_TAG_PLACEHOLDER_0__]

And the mighty past   |   they call to mind,

And the powerful past | they remember,

And the ancient runes   |   of the Ruler of Gods.

And the ancient symbols   |   of the Ruler of Gods.

61. In wondrous beauty   |   once again

__A_TAG_PLACEHOLDER_0__. In stunning beauty   |   once again

Shall the golden tables   |   stand mid the grass,

Shall the golden tables stand among the grass,

Which the gods had owned   |   in the days of old,

Which the gods had owned   |   in the days of old,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

62. Then fields unsowed   |   bear ripened fruit,

__A_TAG_PLACEHOLDER_0__. Then unsown fields bear ripe fruit,

All ills grow better,   |   and Baldr comes back;

All problems get better,   |   and Baldr returns;

Baldr and Hoth dwell   |   in Hropt’s battle-hall,

Baldr and Hoth live in Hropt's battle-hall,

And the mighty gods:   |   would you know yet more?

And the mighty gods:   |   would you like to know more?

63. Then Hönir wins   |   the prophetic wand,

__A_TAG_PLACEHOLDER_0__. Then Hönir wins   |   the prophetic staff,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

And the sons of the brothers   |   of Tveggi abide

And the sons of the brothers of Tveggi live

In Vindheim now:   |   would you know yet more?

In Vindheim now:   |   do you want to know more?

[26]

[__A_TAG_PLACEHOLDER_0__]

64. More fair than the sun,   |   a hall I see,

__A_TAG_PLACEHOLDER_0__. More beautiful than the sun,   |   a room I see,

Roofed with gold,   |   on Gimle it stands;

Roofed with gold, on Gimle it stands;

There shall the righteous   |   rulers dwell,

There the righteous rulers will live,

And happiness ever   |   there shall they have.

And they will always find happiness there.

65. There comes on high,   |   all power to hold,

__A_TAG_PLACEHOLDER_0__. There comes from above,   |   all power to possess,

A mighty lord,   |   all lands he rules.

A powerful lord,   |   he rules over all lands.

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

66. From below the dragon   |   dark comes forth,

__A_TAG_PLACEHOLDER_0__. From below, the dragon dark comes forth,

Nithhogg flying   |   from Nithafjoll;

Nithhogg flying from Nithafjoll;

The bodies of men   |   on his wings he bears,

The bodies of men | on his wings he carries,

The serpent bright:   |   but now must I sink.

The bright serpent:   |   but now I must sink.

[1]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

1. A few editors, following Bugge, in an effort to clarify the poem, place stanzas 22, 28 and 30 before stanzas 1–20, but the arrangement in both manuscripts, followed here, seems logical. In stanza 1 the Volva, or wise-woman, called upon by Othin, answers him and demands a hearing. Evidently she belongs to the race of the giants (cf. stanza 2), and thus speaks to Othin unwillingly, being compelled to do so by his magic power. Holy: omitted in Regius; the phrase “holy races” probably means little more than mankind in general. Heimdall: the watchman of the gods; cf. stanza 46 and note. Why mankind should be referred to as Heimdall’s sons is uncertain, and the phrase has caused much perplexity. Heimdall seems to have had various attributes, and in the Rigsthula, wherein a certain Rig appears as the ancestor of the three great classes of men, a fourteenth century annotator identifies Rig with Heimdall, on what authority we do not know, for the Rig of the poem seems much more like Othin (cf. Rigsthula, introductory prose and note). Valfather (“Father of the Slain”): Othin, chief of the gods, so called because the slain warriors were brought to him at Valhall (“Hall of the Slain”) by the Valkyries (“Choosers of the Slain”).

__A_TAG_PLACEHOLDER_0__. A few editors, following Bugge, have attempted to clarify the poem by rearranging stanzas 22, 28, and 30 to come before stanzas 1–20, but the order in both manuscripts, which we are following here, seems to make more sense. In stanza 1, the Volva, or wise woman, called upon by Othin, responds to him and insists on being heard. It is clear that she comes from the race of giants (see stanza 2), and she speaks to Othin reluctantly, being forced to do so by his magic. Holy: this is left out in Regius; the term "holy races" likely refers simply to humanity as a whole. Heimdall: the watchman of the gods; see stanza 46 and the note. It is unclear why humanity is referred to as Heimdall’s sons, and this phrase has caused much confusion. Heimdall appears to have had various roles, and in the Rigsthula, where a figure named Rig is described as the ancestor of the three main classes of men, a 14th-century annotator identifies Rig with Heimdall, though we do not know the basis for this, as the Rig in the poem seems much more like Othin (see Rigsthula, introductory prose and note). Valfather (“Father of the Slain”): Othin, the chief of the gods, is called this because slain warriors were brought to him at Valhall (“Hall of the Slain”) by the Valkyries (“Choosers of the Slain”).

2. Nine worlds: the worlds of the gods (Asgarth), of the Wanes (Vanaheim, cf. stanza 21 and note), of the elves (Alfheim), of men (Mithgarth), of the giants (Jotunheim), of fire (Muspellsheim, cf. stanza 47 and note), of the dark elves (Svartalfaheim), of the dead (Niflheim), and presumably of the dwarfs (perhaps Nithavellir, cf. stanza 37 and note, but the ninth world is uncertain). The tree: the world-ash Yggdrasil, [4]symbolizing the universe; cf. Grimnismol, 29–35 and notes, wherein Yggdrasil is described at length.

__A_TAG_PLACEHOLDER_0__. Nine worlds: the worlds of the gods (Asgard), of the Vanir (Vanaheim, see stanza 21 and note), of the elves (Alfheim), of humans (Midgard), of the giants (Jotunheim), of fire (Muspellsheim, see stanza 47 and note), of the dark elves (Svartalfaheim), of the dead (Niflheim), and probably of the dwarfs (maybe Nidavellir, see stanza 37 and note, but the ninth world is uncertain). The tree: the world tree Yggdrasil, [__A_TAG_PLACEHOLDER_0__]symbolizing the universe; see Grimnismol, 29–35 and notes, where Yggdrasil is described in detail.

3. Ymir: the giant out of whose body the gods made the world; cf. Vafthruthnismol, 21. In this stanza as quoted in Snorri’s Edda the first line runs: “Of old was the age   |   ere aught there was.” Yawning gap: this phrase, “Ginnunga-gap,” is sometimes used as a proper name.

__A_TAG_PLACEHOLDER_0__. Ymir: the giant whose body the gods used to create the world; see Vafthruthnismol, 21. In this stanza as referenced in Snorri’s Edda, the first line says: “In the beginning was the age   |   before anything existed.” Yawning gap: this term, “Ginnunga-gap,” is occasionally used as a proper name.

4. Bur’s sons: Othin, Vili, and Ve. Of Bur we know only that his wife was Bestla, daughter of Bolthorn; cf. Hovamol, 141. Vili and Ve are mentioned by name in the Eddic poems only in Lokasenna, 26. Mithgarth (“Middle Dwelling”): the world of men. Leeks: the leek was often used as the symbol of fine growth (cf. Guthrunarkvitha I, 17), and it was also supposed to have magic power (cf. Sigrdrifumol, 7).

__A_TAG_PLACEHOLDER_0__. Bur’s sons: Othin, Vili, and Ve. We only know that Bur's wife was Bestla, the daughter of Bolthorn; see Hovamol, 141. Vili and Ve are only mentioned by name in the Eddic poems in Lokasenna, 26. Mithgarth (“Middle Dwelling”): the world of humans. Leeks: the leek was often used as a symbol of good growth (see Guthrunarkvitha I, 17), and it was also believed to have magical powers (see Sigrdrifumol, 7).

5. Various editors have regarded this stanza as interpolated; Hoffory thinks it describes the northern summer night in which the sun does not set. Lines 3–5 are quoted by Snorri. In the manuscripts line 4 follows line 5. Regarding the sun and moon [5]as daughter and son of Mundilferi, cf. Vafthruthnismol, 23 and note, and Grimnismol, 37 and note.

__A_TAG_PLACEHOLDER_0__. Different editors have considered this stanza as added later; Hoffory believes it describes the northern summer night when the sun doesn’t set. Lines 3–5 are cited by Snorri. In the manuscripts, line 4 comes after line 5. Regarding the sun and moon [__A_TAG_PLACEHOLDER_0__] as the daughter and son of Mundilferi, see Vafthruthnismol, 23 and note, and Grimnismol, 37 and note.

6. Possibly an interpolation, but there seems no strong reason for assuming this. Lines 1–2 are identical with lines 1–2 of stanza 9, and line 2 may have been inserted here from that later stanza.

__A_TAG_PLACEHOLDER_0__. This might be an addition, but there's no compelling reason to think so. Lines 1–2 match lines 1–2 of stanza 9, and line 2 may have been moved here from that later stanza.

7. Ithavoll (“Field of Deeds”?): mentioned only here and in stanza 60 as the meeting-place of the gods; it appears in no other connection.

__A_TAG_PLACEHOLDER_0__. Ithavoll (“Field of Deeds”?): mentioned only here and in stanza 60 as the gathering place of the gods; it doesn't appear in any other context.

8. Tables: the exact nature of this game, and whether it more closely resembled chess or checkers, has been made the subject of a 400-page treatise, Willard Fiske’s “Chess in Iceland.” Giant-maids: perhaps the three great Norns, corresponding to the three fates; cf. stanza 20 and note. Possibly, however, something has been lost after this stanza, and the missing passage, replaced by the catalogue of the dwarfs (stanzas 9–16), may have explained the “giant-maids” otherwise than as Norns. In Vafthruthnismol, 49, the Norns (this time “three throngs” instead of simply “three”) are spoken of as giant-maidens; [6]Fafnismol, 13, indicates the existence of many lesser Norns, belonging to various races. Jotunheim: the world of the giants.

__A_TAG_PLACEHOLDER_0__. Tables: the exact nature of this game, and whether it is more like chess or checkers, has been discussed in a 400-page essay, Willard Fiske’s “Chess in Iceland.” Giant-maids: possibly the three great Norns, who correspond to the three fates; see stanza 20 and the note. However, it’s possible that something was lost after this stanza, and the missing part, replaced by the list of the dwarfs (stanzas 9–16), might have explained the “giant-maids” differently than as Norns. In Vafthruthnismol, 49, the Norns (this time referred to as “three throngs” instead of just “three”) are described as giant-maidens; [__A_TAG_PLACEHOLDER_0__]Fafnismol, 13, suggests the existence of many lesser Norns from various races. Jotunheim: the realm of the giants.

9. Here apparently begins the interpolated catalogue of the dwarfs, running through stanza 16; possibly, however, the interpolated section does not begin before stanza 11. Snorri quotes practically the entire section, the names appearing in a somewhat changed order. Brimir and Blain: nothing is known of these two giants, and it has been suggested that both are names for Ymir (cf. stanza 3). Brimir, however, appears in stanza 37 in connection with the home of the dwarfs. Some editors treat the words as common rather than proper nouns, Brimir meaning “the bloody moisture” and Blain being of uncertain significance.

__A_TAG_PLACEHOLDER_0__. This seems to be where the inserted list of dwarfs begins, continuing until stanza 16; however, it's possible that the inserted section doesn't actually start until stanza 11. Snorri quotes almost the entire section, with the names appearing in a slightly different order. Brimir and Blain: we don't know much about these two giants, and some suggest that both names might refer to Ymir (see stanza 3). Brimir, though, is mentioned in stanza 37 in relation to the home of the dwarfs. Some editors interpret the words as common nouns instead of proper nouns, with Brimir meaning "the bloody moisture" and the meaning of Blain remaining unclear.

10. Very few of the dwarfs named in this and the following stanzas are mentioned elsewhere. It is not clear why Durin should have been singled out as authority for the list. The occasional repetitions suggest that not all the stanzas of the catalogue came from the same source. Most of the names presumably had some definite significance, as Northri, Suthri, Austri, and Vestri (“North,” “South,” “East,” and “West”), Althjof [7](“Mighty Thief”), Mjothvitnir (“Mead-Wolf”), Gandalf (“Magic Elf”), Vindalf (“Wind Elf”), Rathsvith (“Swift in Counsel”), Eikinskjaldi (“Oak Shield”), etc., but in many cases the interpretations are sheer guesswork.

__A_TAG_PLACEHOLDER_0__. Very few of the dwarfs listed here and in the following sections are mentioned anywhere else. It's unclear why Durin was chosen as the reference for this list. The occasional repeats suggest that not all the sections of this catalog came from the same source. Most of the names likely had specific meanings, like Northri, Suthri, Austri, and Vestri (“North,” “South,” “East,” and “West”), Althjof (“Mighty Thief”), Mjothvitnir (“Mead-Wolf”), Gandalf (“Magic Elf”), Vindalf (“Wind Elf”), Rathsvith (“Swift in Counsel”), Eikinskjaldi (“Oak Shield”), and so on, but in many cases, the interpretations are mostly guesswork.

12. The order of the lines in this and the succeeding four stanzas varies greatly in the manuscripts and editions, and the names likewise appear in many forms. Regin: probably not identical with Regin the son of Hreithmar, who plays an important part in the Reginsmol and Fafnismol, but cf. note on Reginsmol, introductory prose.

__A_TAG_PLACEHOLDER_0__. The order of the lines in this and the next four stanzas differs a lot in the manuscripts and editions, and the names also show up in many variations. Regin: likely not the same as Regin, the son of Hreithmar, who has a significant role in the Reginsmol and Fafnismol, but see the note on Reginsmol, introductory prose.

14. Dvalin: in Hovamol, 144, Dvalin seems to have given magic runes to the dwarfs, probably accounting for their skill in craftsmanship, while in Fafnismol, 13, he is mentioned as the father of some of the lesser Norns. The story that some of the dwarfs left the rocks and mountains to find a new home on the sands is mentioned, but unexplained, in Snorri’s Edda; of Lofar we know only that he was descended from these wanderers. [8]

__A_TAG_PLACEHOLDER_0__. Dvalin: In Hovamol, 144, Dvalin appears to have given magical runes to the dwarfs, likely explaining their skill in craftsmanship. In Fafnismol, 13, he is mentioned as the father of some of the lesser Norns. The story about some of the dwarfs leaving the rocks and mountains to find a new home on the sands is referenced, but not explained, in Snorri’s Edda; all we know about Lofar is that he was descended from these wanderers. [__A_TAG_PLACEHOLDER_0__]

15. Andvari: this dwarf appears prominently in the Reginsmol, which tells how the god Loki treacherously robbed him of his wealth; the curse which he laid on his treasure brought about the deaths of Sigurth, Gunnar, Atli, and many others.

__A_TAG_PLACEHOLDER_0__. Andvari: this dwarf features prominently in the Reginsmol, which recounts how the god Loki deceitfully stole his riches; the curse he placed on his treasure led to the deaths of Sigurth, Gunnar, Atli, and many others.

17. Here the poem resumes its course after the interpolated section. Probably, however, something has been lost, for there is no apparent connection between the three giant-maids of stanza 8 and the three gods, Othin, Hönir and Lothur, who in stanza 17 go forth to create man and woman. The word “three” in stanzas 8 and 17 very likely confused some early reciter, or perhaps the compiler himself. Ask and Embla: ash and elm; Snorri gives them simply as the names of the first man and woman, but says that the gods made this pair out of trees.

__A_TAG_PLACEHOLDER_0__. Here the poem continues after the inserted section. However, it's likely that something has been lost, as there seems to be no clear link between the three giant-maidens of stanza 8 and the three gods, Othin, Hönir, and Lothur, who in stanza 17 set out to create man and woman. The mention of “three” in both stanzas 8 and 17 probably confused some early reciter or even the compiler. Ask and Embla: ash and elm; Snorri notes them simply as the names of the first man and woman but states that the gods created this pair from trees.

18. Hönir: little is known of this god, save that he occasionally appears in the poems in company with Othin and Loki, and [9]that he survives the destruction, assuming in the new age the gift of prophesy (cf. stanza 63). He was given by the gods as a hostage to the Wanes after their war, in exchange for Njorth (cf. stanza 21 and note). Lothur: apparently an older name for Loki, the treacherous but ingenious son of Laufey, whose divinity Snorri regards as somewhat doubtful. He was adopted by Othin, who subsequently had good reason to regret it. Loki probably represents the blending of two originally distinct figures, one of them an old fire-god, hence his gift of heat to the newly created pair.

__A_TAG_PLACEHOLDER_0__. Hönir: not much is known about this god, except that he sometimes shows up in poems alongside Othin and Loki, and [__A_TAG_PLACEHOLDER_0__]he survives the destruction, gaining the gift of prophecy in the new age (cf. stanza 63). He was given by the gods as a hostage to the Wanes after their war, in exchange for Njorth (cf. stanza 21 and note). Lothur: seemingly an older name for Loki, the cunning but clever son of Laufey, whose divine status Snorri considers a bit uncertain. He was taken in by Othin, who later had plenty of reasons to regret that choice. Loki likely represents the merging of two originally separate figures, one of them an ancient fire-god, which is why he brings heat to the newly created pair.

19. Yggdrasil: cf. stanza 2 and note, and Grimnismol, 29–35 and notes. Urth (“The Past”): one of the three great Norns. The world-ash is kept green by being sprinkled with the marvelous healing water from her well.

__A_TAG_PLACEHOLDER_0__. Yggdrasil: see stanza 2 and the note, and Grimnismol, 29–35 and notes. Urth (“The Past”): one of the three main Norns. The world-tree stays green because it is watered with the amazing healing water from her well.

20. The maidens: the three Norns; possibly this stanza should follow stanza 8. Dwelling: Regius has “sæ” (sea) instead of “sal” (hall, home), and many editors have followed this reading, although Snorri’s prose paraphrase indicates “sal.” Urth, Verthandi and Skuld: “Past,” “Present” and “Future.” Wood, etc.: the magic signs (runes) controlling the destinies of men were cut on pieces of wood. Lines 3–4 are probably interpolations from some other account of the Norns. [10]

__A_TAG_PLACEHOLDER_0__. The maidens: the three Norns; this stanza might actually fit better after stanza 8. Dwelling: Regius uses “sæ” (sea) instead of “sal” (hall, home), and many editors have adopted this version, although Snorri’s prose paraphrase suggests “sal.” Urth, Verthandi, and Skuld: “Past,” “Present,” and “Future.” Wood, etc.: the magical symbols (runes) that shape human destinies were carved on pieces of wood. Lines 3–4 are likely additions from another version of the Norns' story. [__A_TAG_PLACEHOLDER_0__]

21. This follows stanza 20 in Regius; in the Hauksbok version stanzas 25, 26, 27, 40 and 41 come between stanzas 20 and 21. Editors have attempted all sorts of rearrangements. The war: the first war was that between the gods and the Wanes. The cult of the Wanes (Vanir) seems to have originated among the seafaring folk of the Baltic and the southern shores of the North Sea, and to have spread thence into Norway in opposition to the worship of the older gods; hence the “war.” Finally the two types of divinities were worshipped in common; hence the treaty which ended the war with the exchange of hostages. Chief among the Wanes were Njorth and his children, Freyr and Freyja, all of whom became conspicuous among the gods. Beyond this we know little of the Wanes, who seem originally to have been water-deities. I remember: the manuscripts have “she remembers,” but the Volva is apparently still speaking of her own memories, as in stanza 2. Gollveig (“Gold-Might”): apparently the first of the Wanes to come among the gods, her ill-treatment being the immediate cause of the war. Müllenhoff maintains that Gollveig is another name for Freyja. Lines 5–6, one or both of them probably interpolated, seem to symbolize the refining of gold by fire. Hor (“The High One”): Othin.

__A_TAG_PLACEHOLDER_0__. This follows stanza 20 in Regius; in the Hauksbok version, stanzas 25, 26, 27, 40, and 41 appear between stanzas 20 and 21. Editors have tried various rearrangements. The war: the first conflict was between the gods and the Wanes. The worship of the Wanes (Vanir) seems to have started among the seafaring communities of the Baltic and the southern North Sea, spreading into Norway as a counter to the worship of the older gods; hence the “war.” Eventually, both types of gods were worshiped together, leading to a treaty that ended the conflict with an exchange of hostages. Njorth and his children, Freyr and Freyja, were the main figures among the Wanes, all of whom became prominent among the gods. Beyond this, we know little about the Wanes, who seem to have originally been water deities. I remember: the manuscripts say “she remembers,” but the Volva is clearly still talking about her own memories, as in stanza 2. Gollveig (“Gold-Might”): she is apparently the first of the Wanes to join the gods, and her mistreatment sparked the war. Müllenhoff argues that Gollveig is another name for Freyja. Lines 5–6, one or both of which were probably added later, seem to represent the process of refining gold by fire. Hor (“The High One”): Othin.

22. Heith (“Shining One”?): a name often applied to wise-women and prophetesses. The application of this stanza to Gollveig is far from clear, though the reference may be to the [11]magic and destructive power of gold. It is also possible that the stanza is an interpolation. Bugge maintains that it applies to the Volva who is reciting the poem, and makes it the opening stanza, following it with stanzas 28 and 30, and then going on with stanzas 1 ff. The text of line 2 is obscure, and has been variously emended.

__A_TAG_PLACEHOLDER_0__. Heith (“Shining One”?): a name often given to wise women and prophetesses. It's unclear how this stanza connects to Gollveig, though it might refer to the [__A_TAG_PLACEHOLDER_0__]magical and destructive power of gold. There's also a chance that this stanza is an addition. Bugge argues that it refers to the Volva reciting the poem, making it the opening stanza, followed by stanzas 28 and 30, and then continuing with stanzas 1 and following. The text of line 2 is unclear and has been edited in various ways.

23. This stanza and stanza 24 have been transposed from the order in the manuscripts, for the former describes the battle and the victory of the Wanes, after which the gods took council, debating whether to pay tribute to the victors, or to admit them, as was finally done, to equal rights of worship.

__A_TAG_PLACEHOLDER_0__. This stanza and stanza 24 have been rearranged from their order in the manuscripts because the former talks about the battle and the victory of the Wanes. After that, the gods held a meeting to discuss whether to honor the victors with tribute or to give them equal rights to worship, which is what ultimately happened.

25. Possibly, as Finn Magnusen long ago suggested, there is something lost after stanza 24, but it was not the custom of the Eddic poets to supply transitions which their hearers could generally be counted on to understand. The story referred to in stanzas 25–26 (both quoted by Snorri) is that of the rebuilding of Asgarth after its destruction by the Wanes. The gods employed a giant as builder, who demanded as his reward the sun and moon, and the goddess Freyja for his wife. The gods, terrified by the rapid progress of the work, forced Loki, who had advised the bargain, to delay the giant by a trick, so that the [12]work was not finished in the stipulated time (cf. Grimnismol, 44, note). The enraged giant then threatened the gods, whereupon Thor slew him. Oth’s bride: Freyja; of Oth little is known beyond the fact that Snorri refers to him as a man who “went away on long journeys.”

__A_TAG_PLACEHOLDER_0__. Possibly, as Finn Magnusen suggested long ago, something is missing after stanza 24, but it wasn't common for the Eddic poets to provide transitions that their audience would generally understand. The story mentioned in stanzas 25–26 (both quoted by Snorri) is about the rebuilding of Asgard after it was destroyed by the Wanes. The gods hired a giant as the builder, who demanded as payment the sun and moon, along with the goddess Freyja as his wife. The gods, scared by how quickly the work was progressing, forced Loki, who had suggested the deal, to trick the giant into delaying his work, so that the [__A_TAG_PLACEHOLDER_0__]project wasn’t completed on time (cf. Grimnismol, 44, note). The furious giant then threatened the gods, leading Thor to kill him. Oth’s bride: Freyja; not much is known about Oth except that Snorri describes him as a man who “went away on long journeys.”

26. Thor: the thunder-god, son of Othin and Jorth (Earth); cf. particularly Harbarthsljoth and Thrymskvitha, passim. Oaths, etc.: the gods, by violating their oaths to the giant who rebuilt Asgarth, aroused the undying hatred of the giants’ race, and thus the giants were among their enemies in the final battle.

__A_TAG_PLACEHOLDER_0__. Thor: the god of thunder, son of Othin and the Earth; see especially Harbarthsljoth and Thrymskvitha, passim. Oaths, etc.: the gods, by breaking their promises to the giant who reconstructed Asgarth, stirred up the eternal hatred of the giant race, making the giants their enemies in the ultimate battle.

27. Here the Volva turns from her memories of the past to a statement of some of Othin’s own secrets in his eternal search for knowledge (stanzas 27–29). Bugge puts this stanza after stanza 29. The horn of Heimdall: the Gjallarhorn (“Shrieking Horn”), with which Heimdall, watchman of the gods, will summon them to the last battle. Till that time the horn is buried under Yggdrasil. Valfather’s pledge: Othin’s eye (the sun?), which he gave to the water-spirit Mimir (or Mim) in exchange for the latter’s wisdom. It appears here and in stanza 29 as a drinking-vessel, from which Mimir drinks the magic mead, and from which he pours water on the ash Yggdrasil. Othin’s sacrifice of his eye in order to gain knowledge of his final doom is one of the series of disasters leading up to the destruction of the gods. There were several differing versions of the story of Othin’s relations with Mimir; another one, quite incompatible with this, appears in stanza 47. In the manuscripts I know and I see appear as “she knows” and “she sees” (cf. note on 21). [13]

__A_TAG_PLACEHOLDER_0__. Here, the Volva shifts from recalling past memories to revealing some of Othin’s secrets as he endlessly seeks knowledge (stanzas 27–29). Bugge places this stanza after stanza 29. The horn of Heimdall: the Gjallarhorn (“Shrieking Horn”), which Heimdall, the guardian of the gods, will use to call them to the final battle. Until then, the horn is buried beneath Yggdrasil. Valfather’s pledge: Othin’s eye (the sun?), which he gave to the water spirit Mimir (or Mim) in exchange for wisdom. It appears here and in stanza 29 as a drinking vessel, from which Mimir consumes the magical mead and pours water on the ash Yggdrasil. Othin’s sacrifice of his eye to gain knowledge of his ultimate fate is part of the series of disasters that lead to the destruction of the gods. There are several different versions of the story of Othin’s relationship with Mimir; another version, which contradicts this one, is found in stanza 47. In the manuscripts, I know and I see appear as “she knows” and “she sees” (see note on 21). [__A_TAG_PLACEHOLDER_0__]

28. The Hauksbok version omits all of stanzas 28–34, stanza 27 being there followed by stanzas 40 and 41. Regius indicates stanzas 28 and 29 as a single stanza. Bugge puts stanza 28 after stanza 22, as the second stanza of his reconstructed poem. The Volva here addresses Othin directly, intimating that, although he has not told her, she knows why he has come to her, and what he has already suffered in his search for knowledge regarding his doom. Her reiterated “would you know yet more?” seems to mean: “I have proved my wisdom by telling of the past and of your own secrets; is it your will that I tell likewise of the fate in store for you?” The Old One: Othin.

__A_TAG_PLACEHOLDER_0__. The Hauksbok version leaves out all of stanzas 28–34, with stanza 27 followed by stanzas 40 and 41. Regius combines stanzas 28 and 29 into one stanza. Bugge places stanza 28 after stanza 22, as the second stanza of his reconstructed poem. The Volva here speaks directly to Othin, suggesting that even though he hasn't told her, she knows why he has come and what he has already endured in his quest for knowledge about his fate. Her repeated “would you like to know more?” seems to imply: “I have demonstrated my wisdom by sharing the past and your own secrets; is it your desire that I also reveal what lies ahead for you?” The Old One: Othin.

29. The first line, not in either manuscript, is a conjectural emendation based on Snorri’s paraphrase. Bugge puts this stanza after stanza 20.

__A_TAG_PLACEHOLDER_0__. The first line, which isn’t in either manuscript, is a suggested correction based on Snorri’s paraphrase. Bugge places this stanza after stanza 20.

30. This is apparently the transitional stanza, in which the Volva, rewarded by Othin for her knowledge of the past (stanzas 1–29), is induced to proceed with her real prophecy (stanzas 31–66). Some editors turn the stanza into the third person, making it a narrative link. Bugge, on the other hand, puts it [14]after stanza 28 as the third stanza of the poem. No lacuna is indicated in the manuscripts, and editors have attempted various emendations. Heerfather (“Father of the Host”): Othin.

__A_TAG_PLACEHOLDER_0__. This seems to be the transitional stanza where the Volva, rewarded by Othin for her knowledge of the past (stanzas 1–29), is encouraged to continue with her true prophecy (stanzas 31–66). Some editors change the stanza to third person, turning it into a narrative link. Bugge, however, places it [__A_TAG_PLACEHOLDER_0__]after stanza 28 as the third stanza of the poem. There are no gaps indicated in the manuscripts, and editors have suggested various changes. Heerfather (“Father of the Host”): Othin.

31. Valkyries: these “Choosers of the Slain” (cf. stanza 1, note) bring the bravest warriors killed in battle to Valhall, in order to re-enforce the gods for their final struggle. They are also called “Wish-Maidens,” as the fulfillers of Othin’s wishes. The conception of the supernatural warrior-maiden was presumably brought to Scandinavia in very early times from the South-Germanic races, and later it was interwoven with the likewise South-Germanic tradition of the swan-maiden. A third complication developed when the originally quite human women of the hero-legends were endowed with the qualities of both Valkyries and swan-maidens, as in the cases of Brynhild (cf. Gripisspo, introductory note), Svava (cf. Helgakvitha Hjorvarthssonar, prose after stanza 5 and note) and Sigrun (cf. Helgakvitha Hundingsbana I, 17 and note). The list of names here given may be an interpolation; a quite different list is given in Grimnismol, 36. Ranks of the gods: some editors regard the word thus translated as a specific place name. Herjan (“Leader of Hosts”): Othin. It is worth noting that the name Hild (“Warrior”) is the basis of Bryn-hild (“Warrior in Mail-Coat”).

__A_TAG_PLACEHOLDER_0__. Valkyries: these "Choosers of the Slain" (see stanza 1, note) take the bravest warriors who have died in battle to Valhalla, to strengthen the gods for their final fight. They are also known as "Wish-Maidens," as they carry out Othin’s desires. The idea of the supernatural warrior-maiden likely came to Scandinavia in ancient times from the South-Germanic tribes and was later blended with the South-Germanic tradition of the swan-maiden. A further development occurred when the originally human women from hero-legends were given the traits of both Valkyries and swan-maidens, as seen in the cases of Brynhild (see Gripisspo, introductory note), Svava (see Helgakvitha Hjorvarthssonar, prose after stanza 5 and note), and Sigrun (see Helgakvitha Hundingsbana I, 17 and note). The list of names provided may be an addition; a different list is found in Grimnismol, 36. Ranks of the gods: some editors interpret the translated word as a specific place name. Herjan (“Leader of Hosts”): Othin. It is interesting to note that the name Hild (“Warrior”) is the root of Bryn-hild (“Warrior in Mail-Coat”).

32. Baldr: The death of Baldr, the son of Othin and Frigg, was the first of the great disasters to the gods. The story is fully told by Snorri. Frigg had demanded of all created things, saving only the mistletoe, which she thought too weak to be worth troubling [15]about, an oath that they would not harm Baldr. Thus it came to be a sport for the gods to hurl weapons at Baldr, who, of course, was totally unharmed thereby. Loki, the trouble-maker, brought the mistletoe to Baldr’s blind brother, Hoth, and guided his hand in hurling the twig. Baldr was slain, and grief came upon all the gods. Cf. Baldrs Draumar.

__A_TAG_PLACEHOLDER_0__. Baldr: The death of Baldr, the son of Odin and Frigg, was the first major disaster for the gods. Snorri tells the whole story. Frigg made every living thing swear an oath not to harm Baldr, except for the mistletoe, which she thought was too weak to worry about. As a result, the gods took it as a game to throw weapons at Baldr, who, of course, was completely unharmed. Loki, the trickster, gave the mistletoe to Baldr’s blind brother, Hoth, and guided his hand to throw the branch. Baldr was killed, and all the gods were filled with grief. Cf. Baldrs Draumar.

33. The lines in this and the following stanza have been combined in various ways by editors, lacunæ having been freely conjectured, but the manuscript version seems clear enough. The brother of Baldr: Vali, whom Othin begot expressly to avenge Baldr’s death. The day after his birth he fought and slew Hoth.

__A_TAG_PLACEHOLDER_0__. The lines in this and the next stanza have been mixed in different ways by editors, with gaps often guessed, but the version from the manuscript seems straightforward enough. The brother of Baldr: Vali, whom Othin fathered specifically to avenge Baldr’s death. The day after he was born, he fought and killed Hoth.

34. Frigg: Othin’s wife. Some scholars have regarded her as a solar myth, calling her the sun-goddess, and pointing out that her home in Fensalir (“the sea-halls”) symbolizes the daily setting of the sun beneath the ocean horizon.

__A_TAG_PLACEHOLDER_0__. Frigg: Othin’s wife. Some researchers have viewed her as a solar myth, referring to her as the sun goddess, and noting that her home in Fensalir (“the sea-halls”) represents the daily setting of the sun beneath the ocean horizon.

35. The translation here follows the Regius version. The Hauksbok has the same final two lines, but in place of the first [16]pair has, “I know that Vali   |   his brother gnawed, / With his bowels then   |   was Loki bound.” Many editors have followed this version of the whole stanza or have included these two lines, often marking them as doubtful, with the four from Regius. After the murder of Baldr, the gods took Loki and bound him to a rock with the bowels of his son Narfi, who had just been torn to pieces by Loki’s other son, Vali. A serpent was fastened above Loki’s head, and the venom fell upon his face. Loki’s wife, Sigyn, sat by him with a basin to catch the venom, but whenever the basin was full, and she went away to empty it, then the venom fell on Loki again, till the earth shook with his struggles. “And there he lies bound till the end.” Cf. Lokasenna, concluding prose.

__A_TAG_PLACEHOLDER_0__. This translation is based on the Regius version. The Hauksbok has the same final two lines, but instead of the first [__A_TAG_PLACEHOLDER_0__]pair, it includes, “I know that Vali   |   his brother gnawed, / With his bowels then   |   was Loki bound.” Many editors have followed this version of the entire stanza or added these two lines, often marking them as questionable, along with the four from Regius. After Baldr was murdered, the gods captured Loki and bound him to a rock using the intestines of his son Narfi, who had just been killed by Loki’s other son, Vali. A snake was placed above Loki’s head, and the poison dripped onto his face. Loki’s wife, Sigyn, sat beside him with a bowl to collect the poison, but every time the bowl was full and she went to empty it, the poison would fall on Loki again, causing the earth to tremble from his struggles. “And there he lies bound till the end.” Cf. Lokasenna, concluding prose.

36. Stanzas 36–39 describe the homes of the enemies of the gods: the giants (36), the dwarfs (37), and the dead in the land of the goddess Hel (38–39). The Hauksbok version omits stanzas 36 and 37. Regius unites 36 with 37, but most editors have assumed a lacuna. Slith (“the Fearful”): a river in the giants’ home. The “swords and daggers” may represent the icy cold.

__A_TAG_PLACEHOLDER_0__. Stanzas 36–39 describe the homes of the gods' enemies: the giants (36), the dwarfs (37), and the dead in the realm of the goddess Hel (38–39). The Hauksbok version skips stanzas 36 and 37. Regius combines 36 with 37, but most editors believe there's a gap. Slith (“the Fearful”): a river in the giants’ territory. The “swords and daggers” might symbolize the freezing cold.

37. Nithavellir (“the Dark Fields”): a home of the dwarfs. Perhaps the word should be “Nithafjoll” (“the Dark Crags”). Sindri: the great worker in gold among the dwarfs. Okolnir [17](“the Not Cold”): possibly a volcano. Brimir: the giant (possibly Ymir) out of whose blood, according to stanza 9, the dwarfs were made; the name here appears to mean simply the leader of the dwarfs.

__A_TAG_PLACEHOLDER_0__. Nithavellir (“the Dark Fields”): a home of the dwarfs. Maybe it should be “Nithafjoll” (“the Dark Crags”). Sindri: the master craftsman in gold among the dwarfs. Okolnir [__A_TAG_PLACEHOLDER_0__] (“the Not Cold”): probably a volcano. Brimir: the giant (possibly Ymir) whose blood, according to stanza 9, the dwarfs were created from; here, the name seems to simply mean the leader of the dwarfs.

38. Stanzas 38 and 39 follow stanza 43 in the Hauksbok version. Snorri quotes stanzas 38, 39, 40 and 41, though not consecutively. Nastrond (“Corpse-Strand”): the land of the dead, ruled by the goddess Hel. Here the wicked undergo tortures. Smoke-vent: the phrase gives a picture of the Icelandic house, with its opening in the roof serving instead of a chimney.

__A_TAG_PLACEHOLDER_0__. Stanzas 38 and 39 come after stanza 43 in the Hauksbok version. Snorri quotes stanzas 38, 39, 40, and 41, but not in order. Nastrond (“Corpse-Strand”): the land of the dead, ruled by the goddess Hel. Here, the wicked face torture. Smoke-vent: this term describes an Icelandic house, with an opening in the roof that serves as a chimney.

39. The stanza is almost certainly in corrupt form. The third line is presumably an interpolation, and is lacking in most of the late paper manuscripts. Some editors, however, have called lines 1–3 the remains of a full stanza, with the fourth line lacking, and lines 4–5 the remains of another. The stanza depicts the torments of the two worst classes of criminals known to Old Norse morality—oath-breakers and murderers. Nithhogg (“the Dread Biter”): the dragon that lies beneath the ash Yggdrasil and gnaws at its roots, thus symbolizing the destructive elements in the universe; cf. Grimnismol, 32, 35. The wolf: presumably the wolf Fenrir, one of the children of Loki and the giantess Angrbotha (the others being Mithgarthsorm and the goddess Hel), who was chained by the gods with the marvelous chain Gleipnir, fashioned by a dwarf “out of six things: the [18]noise of a cat’s step, the beards of women, the roots of mountains, the nerves of bears, the breath of fishes, and the spittle of birds.” The chaining of Fenrir cost the god Tyr his right hand; cf. stanza 44.

__A_TAG_PLACEHOLDER_0__. The stanza is likely in a corrupted state. The third line is probably an addition and is missing from most later paper manuscripts. Some editors, however, consider lines 1–3 as the remnants of a complete stanza, with the fourth line missing, and lines 4–5 as parts of another. The stanza illustrates the suffering of the two worst types of criminals in Old Norse ethics—oath-breakers and murderers. Nithhogg (“the Dread Biter”): the dragon that lies beneath the ash tree Yggdrasil and gnaws at its roots, symbolizing the destructive forces in the universe; see Grimnismol, 32, 35. The wolf: likely refers to the wolf Fenrir, one of the children of Loki and the giantess Angrbotha (the others being Mithgarthsorm and the goddess Hel), who was bound by the gods with the magical chain Gleipnir, made by a dwarf “out of six things: the [__A_TAG_PLACEHOLDER_0__]noise of a cat’s footsteps, the beards of women, the roots of mountains, the nerves of bears, the breath of fish, and the spittle of birds.” The chaining of Fenrir cost the god Tyr his right hand; see stanza 44.

40. The Hauksbok version inserts after stanza 39 the refrain-stanza (44), and puts stanzas 40 and 41 between 27 and 21. With this stanza begins the account of the final struggle itself. The giantess: her name is nowhere stated, and the only other reference to Ironwood is in Grimnismol, 39, in this same connection. The children of this giantess and the wolf Fenrir are the wolves Skoll and Hati, the first of whom steals the sun, the second the moon. Some scholars naturally see here an eclipse-myth.

__A_TAG_PLACEHOLDER_0__. The Hauksbok version adds a refrain stanza (44) after stanza 39, and places stanzas 40 and 41 between stanzas 27 and 21. This stanza begins the narrative of the final battle itself. The giantess: her name is never mentioned, and the only other reference to Ironwood is in Grimnismol, 39, in the same context. The children of this giantess and the wolf Fenrir are the wolves Skoll and Hati, with the first one stealing the sun and the second the moon. Some scholars naturally interpret this as an eclipse myth.

41. In the third line many editors omit the comma after “sun,” and put one after “soon,” making the two lines run: “Dark grows the sun   |   in summer soon, / Mighty storms—” etc. Either phenomenon in summer would be sufficiently striking.

__A_TAG_PLACEHOLDER_0__. In the third line, many editors leave out the comma after “sun” and add one after “soon,” making the two lines read: “Dark grows the sun   |   in summer soon, / Mighty storms—” etc. Either event in summer would be quite impressive.

42. In the Hauksbok version stanzas 42 and 43 stand between stanzas 44 and 38. Eggther: this giant, who seems to be the watchman of the giants, as Heimdall is that of the gods and Surt of the dwellers in the fire-world, is not mentioned elsewhere in [19]the poems. Fjalar, the cock whose crowing wakes the giants for the final struggle.

__A_TAG_PLACEHOLDER_0__. In the Hauksbok version, stanzas 42 and 43 are placed between stanzas 44 and 38. Eggther: this giant, who appears to be the watchman of the giants, similar to how Heimdall is for the gods and Surt is for the fire-dwellers, is not mentioned anywhere else in [__A_TAG_PLACEHOLDER_0__] the poems. Fjalar, the rooster whose crowing alerts the giants for the final battle.

43. Gollinkambi (“Gold-Comb”): the cock who wakes the gods and heroes, as Fjalar does the giants. The rust-red bird: the name of this bird, who wakes the people of Hel’s domain, is nowhere stated.

__A_TAG_PLACEHOLDER_0__. Gollinkambi (“Gold-Comb”): the rooster that wakes the gods and heroes, just like Fjalar wakes the giants. The rust-red bird: the name of this bird, which awakens the souls in Hel’s realm, is not mentioned anywhere.

44. This is a refrain-stanza. In Regius it appears in full only at this point, but is repeated in abbreviated form before stanzas 50 and 59. In the Hauksbok version the full stanza comes first between stanzas 35 and 42, then, in abbreviated form, it occurs four times: before stanzas 45, 50, 55, and 59. In the Hauksbok line 3 runs: “Farther I see   |   and more can say.” Garm: the dog who guards the gates of Hel’s kingdom; cf. Baldrs Draumar, 2 ff, and Grimnismol, 44. Gnipahellir (“the Cliff-Cave”): the entrance to the world of the dead. The wolf: Fenrir; cf. stanza 39 and note.

__A_TAG_PLACEHOLDER_0__. This is a refrain-stanza. In Regius, it appears fully only at this point, but is repeated in a shorter form before stanzas 50 and 59. In the Hauksbok version, the full stanza comes first between stanzas 35 and 42, then in a shortened form, it appears four times: before stanzas 45, 50, 55, and 59. In the Hauksbok, line 3 states: “Farther I see   |   and more can say.” Garm: the dog who guards the gates of Hel’s realm; see Baldrs Draumar, 2 ff, and Grimnismol, 44. Gnipahellir (“the Cliff-Cave”): the entrance to the world of the dead. The wolf: Fenrir; see stanza 39 and note.

45. From this point on through stanza 57 the poem is quoted by Snorri, stanza 49 alone being omitted. There has been much discussion as to the status of stanza 45. Lines 4 and 5 look like an interpolation. After line 5 the Hauksbok has a line running: “The world resounds,   |   the witch is flying.” Editors have arranged these seven lines in various ways, with lacunæ freely indicated. Sisters’ sons: in all Germanic countries the relations between uncle and nephew were felt to be particularly close. [20]

__A_TAG_PLACEHOLDER_0__. From this point until stanza 57, Snorri quotes the poem, leaving out stanza 49. There’s been a lot of debate about the role of stanza 45. Lines 4 and 5 seem like they were added later. After line 5, the Hauksbok includes a line that says: “The world resounds,   |   the witch is flying.” Editors have rearranged these seven lines in different ways, with gaps clearly marked. Sisters’ sons: in all Germanic countries, the relationship between uncles and their nephews was considered particularly close. [__A_TAG_PLACEHOLDER_0__]

46. Regius combines the first three lines of this stanza with lines 3, 2, and 1 of stanza 47 as a single stanza. Line 4, not found in Regius, is introduced from the Hauksbok version, where it follows line 2 of stanza 47. The sons of Mim: the spirits of the water. On Mim (or Mimir) cf. stanza 27 and note. Gjallarhorn: the “Shrieking Horn” with which Heimdall, the watchman of the gods, calls them to the last battle.

__A_TAG_PLACEHOLDER_0__. Regius merges the first three lines of this stanza with lines 3, 2, and 1 of stanza 47 into one stanza. Line 4, which isn’t in Regius, is taken from the Hauksbok version, where it comes after line 2 of stanza 47. The sons of Mim: the spirits of the water. For more on Mim (or Mimir), see stanza 27 and its note. Gjallarhorn: the “Shrieking Horn” that Heimdall, the guardian of the gods, uses to summon them to the final battle.

47. In Regius lines 3, 2, and 1, in that order, follow stanza 46 without separation. Line 4 is not found in Regius, but is introduced from the Hauksbok version. Yggdrasil: cf. stanza 19 and note, and Grimnismol, 29–35. The giant: Fenrir. The head of Mim: various myths were current about Mimir. This stanza refers to the story that he was sent by the gods with Hönir as a hostage to the Wanes after their war (cf. stanza 21 and note), and that the Wanes cut off his head and returned it to the gods. Othin embalmed the head, and by magic gave it the power of speech, thus making Mimir’s noted wisdom always available. Of course this story does not fit with that underlying the references to Mimir in stanzas 27 and 29. The kinsman of Surt: the wolf [21]Fenrir, who slays Othin in the final struggle; cf. stanza 53. Surt is the giant who rules the fire-world, Muspellsheim; cf. stanza 52.

__A_TAG_PLACEHOLDER_0__. In Regius, lines 3, 2, and 1, in that order, follow stanza 46 without interruption. Line 4 isn't found in Regius but comes from the Hauksbok version. Yggdrasil: see stanza 19 and its note, and Grimnismol, 29–35. The giant: Fenrir. The head of Mim: various myths exist about Mimir. This stanza refers to the story that he was sent by the gods with Hönir as a hostage to the Wanes after their war (see stanza 21 and its note), and that the Wanes cut off his head and sent it back to the gods. Othin preserved the head and magically gave it the ability to speak, thus ensuring that Mimir's famous wisdom was always accessible. This story, of course, doesn't align with the references to Mimir in stanzas 27 and 29. The kinsman of Surt: the wolf [__A_TAG_PLACEHOLDER_0__]Fenrir, who kills Othin in the final battle; see stanza 53. Surt is the giant who rules the fire-world, Muspellsheim; see stanza 52.

48. This stanza in Regius follows stanza 51; in the Hauksbok it stands, as here, after 47. Jotunheim: the land of the giants.

__A_TAG_PLACEHOLDER_0__. This stanza in Regius comes after stanza 51; in the Hauksbok, it is placed, like here, after 47. Jotunheim: the land of giants.

49. Identical with stanza 44. In the manuscripts it is here abbreviated.

__A_TAG_PLACEHOLDER_0__. The same as stanza 44. In the manuscripts, it's abbreviated here.

50. Hrym: the leader of the giants, who comes as the helmsman of the ship Naglfar (line 4). The serpent: Mithgarthsorm, one of the children of Loki and Angrbotha (cf. stanza 39, note). The serpent was cast into the sea, where he completely encircles the land; cf. especially Hymiskvitha, passim. The eagle: the giant Hræsvelg, who sits at the edge of heaven in the form of an eagle, and makes the winds with his wings; cf. Vafthruthnismol, 37, and Skirnismol, 27. Naglfar: the ship which was made out of dead men’s nails to carry the giants to battle. [22]

__A_TAG_PLACEHOLDER_0__. Hrym: the leader of the giants, who comes as the captain of the ship Naglfar (line 4). The serpent: Mithgarthsorm, one of the children of Loki and Angrbotha (see stanza 39, note). The serpent was thrown into the sea, where he completely surrounds the land; see especially Hymiskvitha, passim. The eagle: the giant Hræsvelg, who sits at the edge of heaven in the form of an eagle and creates the winds with his wings; see Vafthruthnismol, 37, and Skirnismol, 27. Naglfar: the ship made from the nails of dead men, which will carry the giants into battle. [__A_TAG_PLACEHOLDER_0__]

51. North: a guess; the manuscripts have “east,” but there seems to be a confusion with stanza 50, line 1. People of Hel: the manuscripts have “people of Muspell,” but these came over the bridge Bifrost (the rainbow), which broke beneath them, whereas the people of Hel came in a ship steered by Loki. The wolf: Fenrir. The brother of Byleist: Loki. Of Byleist (or Byleipt) no more is known.

__A_TAG_PLACEHOLDER_0__. North: a guess; the manuscripts say “east,” but there seems to be a mix-up with stanza 50, line 1. People of Hel: the manuscripts mention “people of Muspell,” but they crossed the Bifrost bridge (the rainbow), which collapsed under them, while the people of Hel arrived in a ship guided by Loki. The wolf: Fenrir. The brother of Byleist: Loki. There’s not much more known about Byleist (or Byleipt).

52. Surt: the ruler of the fire-world. The scourge of branches: fire. This is one of the relatively rare instances in the Eddic poems of the type of poetic diction which characterizes the skaldic verse.

__A_TAG_PLACEHOLDER_0__. Surt: the king of the fire world. The scourge of branches: fire. This is one of the few occasions in the Eddic poems that showcases the poetic style typically found in skaldic verse.

53. Hlin: apparently another name for Frigg, Othin’s wife. After losing her son Baldr, she is fated now to see Othin slain by the wolf Fenrir. Beli’s slayer: the god Freyr, who killed the giant Beli with his fist; cf. Skirnismol, 16 and note. On Freyr, who belonged to the race of the Wanes, and was the brother of Freyja, see especially Skirnismol, passim. The joy of Frigg: Othin. [23]

__A_TAG_PLACEHOLDER_0__. Hlin: another name for Frigg, Othin’s wife. After losing her son Baldr, she is destined to witness Othin being killed by the wolf Fenrir. Beli’s slayer: the god Freyr, who defeated the giant Beli with his fist; see Skirnismol, 16 and note. For more on Freyr, who was part of the Wanes and the brother of Freyja, check especially Skirnismol, passim. The joy of Frigg: Othin. [__A_TAG_PLACEHOLDER_0__]

54. As quoted by Snorri the first line of this stanza runs: “Fares Othin’s son   |   to fight with the wolf.” Sigfather (“Father of Victory”): Othin. His son, Vithar, is the silent god, famed chiefly for his great shield, and his strength, which is little less than Thor’s. He survives the destruction. The giant’s son: Fenrir.

__A_TAG_PLACEHOLDER_0__. According to Snorri, the first line of this stanza says: “Othin’s son goes to fight the wolf.” Sigfather (“Father of Victory”): Othin. His son, Vithar, is the quiet god, known mainly for his huge shield and his strength, which is almost as great as Thor’s. He survives the destruction. The giant’s son: Fenrir.

55. This and the following stanza are clearly in bad shape. In Regius only lines 1 and 4 are found, combined with stanza 56 as a single stanza. Line 1 does not appear in the Hauksbok version, the stanza there beginning with line 2. Snorri, in quoting these two stanzas, omits 55, 2–4, and 56, 3, making a single stanza out of 55, 1, and 56, 4, 2, 1, in that order. Moreover, the Hauksbok manuscript at this point is practically illegible. The lacuna (line 3) is, of course, purely conjectural, and all sorts of arrangements of the lines have been attempted by editors. Hlothyn: another name for Jorth (“Earth”), Thor’s mother; his father was Othin. The snake: Mithgarthsorm; cf. stanza 5c and note. Othin’s son: Thor. The fourth line in Regius reads “against the wolf,” but if this line refers to Thor at all, and not to Vithar, the Hauksbok reading, “serpent,” is correct.

__A_TAG_PLACEHOLDER_0__. This and the next stanza are clearly in rough condition. In Regius, only lines 1 and 4 are present, combined with stanza 56 as a single stanza. Line 1 doesn't show up in the Hauksbok version, which starts the stanza with line 2. Snorri, when quoting these two stanzas, skips 55, lines 2-4, and 56, line 3, creating a new stanza from 55, line 1, and 56, lines 4, 2, and 1, in that order. Additionally, the Hauksbok manuscript here is nearly unreadable. The gap (line 3) is completely speculative, and editors have tried various arrangements of the lines. Hlothyn: another name for Jorth (“Earth”), Thor’s mother; his father was Othin. The snake: Mithgarthsorm; see stanza 5c and note. Othin’s son: Thor. The fourth line in Regius says “against the wolf,” but if this line is about Thor and not Vithar, the Hauksbok reading, “serpent,” is accurate.

56. The warder of earth: Thor. The son of Fjorgyn: again [24]Thor, who, after slaying the serpent, is overcome by his venomous breath, and dies. Fjorgyn appears in both a masculine and a feminine form. In the masculine it is a name for Othin; in the feminine, as here and in Harbarthsljoth, 56, it apparently refers to Jorth.

__A_TAG_PLACEHOLDER_0__. The guardian of the earth: Thor. The son of Fjorgyn: once again [__A_TAG_PLACEHOLDER_0__]Thor, who, after killing the serpent, is affected by its poisonous breath and dies. Fjorgyn appears in both masculine and feminine forms. In the masculine, it refers to Othin; in the feminine, as mentioned here and in Harbarthsljoth, 56, it seems to refer to Jorth.

57. With this stanza ends the account of the destruction.

__A_TAG_PLACEHOLDER_0__. This stanza marks the end of the story about the destruction.

58. Again the refrain-stanza (cf. stanza 44 and note), abbreviated in both manuscripts, as in the case of stanza 49. It is probably misplaced here.

__A_TAG_PLACEHOLDER_0__. Once more, the refrain-stanza (see stanza 44 and note), shortened in both manuscripts, like in stanza 49. It’s likely out of place here.

59. Here begins the description of the new world which is to rise out of the wreck of the old one. It is on this passage that a few critics have sought to base their argument that the poem is later than the introduction of Christianity (circa 1000), but this theory has never seemed convincing (cf. introductory note).

__A_TAG_PLACEHOLDER_0__. Here starts the description of the new world that will emerge from the ruins of the old one. It is on this passage that some critics have tried to argue that the poem is from after the introduction of Christianity (circa 1000), but this theory has never been convincing (see introductory note).

60. The third line of this stanza is not found in Regius. Ithavoll: cf. stanza 7 and note. The girdler of earth: Mithgarthsorm, [25]who, lying in the sea, surrounded the land. The Ruler of Gods: Othin. The runes were both magic signs, generally carved on wood, and sung or spoken charms.

__A_TAG_PLACEHOLDER_0__. The third line of this stanza isn't found in Regius. Ithavoll: see stanza 7 and note. The girdler of earth: Mithgarthsorm, [__A_TAG_PLACEHOLDER_0__]which, lying in the sea, surrounded the land. The Ruler of Gods: Othin. The runes were both magical symbols, usually carved on wood, and spoken or sung charms.

61. The Hauksbok version of the first two lines runs:

__A_TAG_PLACEHOLDER_0__. The Hauksbok version of the first two lines reads:

“The gods shall find there,   |   wondrous fair,

“The gods will find there,   |   wonderfully beautiful,

The golden tables   |   amid the grass.”

The golden tables   |   in the grass.”

No lacuna (line 4) is indicated in the manuscripts. Golden tables: cf. stanza 8 and note.

No gaps (line 4) are noted in the manuscripts. Golden tables: see stanza 8 and note.

62. Baldr: cf. stanza 32 and note. Baldr and his brother, Hoth, who unwittingly slew him at Loki’s instigation, return together, their union being a symbol of the new age of peace. Hropt: another name for Othin. His “battle-hall” is Valhall.

__A_TAG_PLACEHOLDER_0__. Baldr: see stanza 32 and note. Baldr and his brother, Hoth, who accidentally killed him at Loki’s urging, reunite, and their coming together represents the beginning of a new era of peace. Hropt: another name for Odin. His "battle-hall" is Valhalla.

63. No lacuna (line 2) indicated in the manuscripts. Hönir: cf. stanza 18 and note. In this new age he has the gift of foretelling the future. Tveggi (“The Twofold”): another name for [26]Othin. His brothers are Vili and Ve (cf. Lokasenna, 26, and note). Little is known of them, and nothing, beyond this reference, of their sons. Vindheim (“Home of the Wind”): heaven.

__A_TAG_PLACEHOLDER_0__. There are no gaps (line 2) noted in the manuscripts. Hönir: see stanza 18 and the note. In this new era, he has the ability to predict the future. Tveggi (“The Twofold”): another name for [__A_TAG_PLACEHOLDER_0__]Othin. His brothers are Vili and Ve (see Lokasenna, 26, and the note). Not much is known about them, and nothing is mentioned about their sons apart from this reference. Vindheim (“Home of the Wind”): heaven.

64. This stanza is quoted by Snorri. Gimle: Snorri makes this the name of the hall itself, while here it appears to refer to a mountain on which the hall stands. It is the home of the happy, as opposed to another hall, not here mentioned, for the dead. Snorri’s description of this second hall is based on Voluspo, 38, which he quotes, and perhaps that stanza properly belongs after 64.

__A_TAG_PLACEHOLDER_0__. This stanza is cited by Snorri. Gimle: Snorri refers to this as the name of the hall itself, but here it seems to indicate a mountain where the hall is located. It is the home of the blessed, in contrast to another hall, not mentioned here, for the dead. Snorri’s description of this second hall is based on Voluspo, 38, which he quotes, and it's possible that this stanza rightly belongs after 64.

65. This stanza is not found in Regius, and is probably spurious. No lacuna is indicated in the Hauksbok version, but late paper manuscripts add two lines, running:

__A_TAG_PLACEHOLDER_0__. This stanza isn't in Regius and is likely not authentic. There's no gap noted in the Hauksbok version, but later paper manuscripts include two extra lines that say:

“Rule he orders,   |   and rights he fixes,

“Rule he commands, | and rights he establishes,

Laws he ordains   |   that ever shall live.”

Laws he establishes | that will live on forever.”

The name of this new ruler is nowhere given, and of course the suggestion of Christianity is unavoidable. It is not certain, however, that even this stanza refers to Christianity, and if it does, it may have been interpolated long after the rest of the poem was composed.

The name of this new ruler isn't mentioned anywhere, and the implication of Christianity is clear. However, it's not certain that this stanza even refers to Christianity, and if it does, it might have been added long after the rest of the poem was written.

66. This stanza, which fits so badly with the preceding ones, [27]may well have been interpolated. It has been suggested that the dragon, making a last attempt to rise, is destroyed, this event marking the end of evil in the world. But in both manuscripts the final half-line does not refer to the dragon, but, as the gender shows, to the Volva herself, who sinks into the earth; a sort of conclusion to the entire prophecy. Presumably the stanza (barring the last half-line, which was probably intended as the conclusion of the poem) belongs somewhere in the description of the great struggle. Nithhogg: the dragon at the roots of Yggdrasil; cf. stanza 39 and note. Nithafjoll (“the Dark Crags”); nowhere else mentioned. Must I: the manuscripts have “must she.” [28]

__A_TAG_PLACEHOLDER_0__. This stanza, which doesn’t fit well with the ones before it, [__A_TAG_PLACEHOLDER_0__] might have been added later. It’s been suggested that the dragon, making one last attempt to rise, is destroyed, marking the end of evil in the world. However, in both manuscripts, the final half-line doesn’t refer to the dragon but, as indicated by the gender, to the Volva herself, who sinks into the earth; a sort of conclusion to the entire prophecy. Presumably, the stanza (except for the last half-line, which was likely meant to be the conclusion of the poem) belongs somewhere in the description of the great struggle. Nithhogg: the dragon at the roots of Yggdrasil; cf. stanza 39 and note. Nithafjoll (“the Dark Crags”); not mentioned anywhere else. Must I: the manuscripts have “must she.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HOVAMOL

The Ballad of the High One

[__A_TAG_PLACEHOLDER_0__]

Intro Note

This poem follows the Voluspo in the Codex Regius, but is preserved in no other manuscript. The first stanza is quoted by Snorri, and two lines of stanza 84 appear in one of the sagas.

This poem comes after the Voluspo in the Codex Regius, but it isn't found in any other manuscripts. The first stanza is cited by Snorri, and two lines from stanza 84 show up in one of the sagas.

In its present shape it involves the critic of the text in more puzzles than any other of the Eddic poems. Without going in detail into the various theories, what happened seems to have been somewhat as follows. There existed from very early times a collection of proverbs and wise counsels, which were attributed to Othin just as the Biblical proverbs were to Solomon. This collection, which presumably was always elastic in extent, was known as “The High One’s Words,” and forms the basis of the present poem. To it, however, were added other poems and fragments dealing with wisdom which seemed by their nature to imply that the speaker was Othin. Thus a catalogue of runes, or charms, was tacked on, and also a set of proverbs, differing essentially in form from those comprising the main collection. Here and there bits of verse more nearly narrative crept in; and of course the loose structure of the poem made it easy for any reciter to insert new stanzas almost at will. This curious miscellany is what we now have as the Hovamol.

In its current form, it challenges the text critic more than any other of the Eddic poems. Without diving into the various theories, what seems to have happened is somewhat like this: there was a collection of proverbs and wise advice from very early times, attributed to Othin, similar to how the Biblical proverbs are connected to Solomon. This collection, which was likely always flexible in scope, was called “The High One’s Words” and serves as the foundation for the present poem. However, other poems and fragments related to wisdom were added that implied the speaker was Othin. As a result, a list of runes or charms was attached, along with a set of proverbs that were fundamentally different in format from those in the main collection. Occasionally, more narrative-like verses were included; and naturally, the loose structure of the poem allowed any reciter to add new stanzas almost whenever they wanted. This intriguing mix is what we now know as the Hovamol.

Five separate elements are pretty clearly recognizable: (1) the Hovamol proper (stanzas 1–80), a collection of proverbs and counsels for the conduct of life; (2) the Loddfafnismol (stanzas 111–138), a collection somewhat similar to the first, but specifically addressed to a certain Loddfafnir; (3) the Ljothatal (stanzas 147–165), a collection of charms; (4) the love-story of Othin and Billing’s daughter (stanzas 96–102), with an introductory dissertation on the faithlessness of women in general (stanzas 81–95), which probably crept into the poem first, and then pulled the story, as an apt illustration, after it; (5) the story of how Othin got the mead of poetry—the draught which gave him the gift of tongues—from the maiden Gunnloth (stanzas 103–110). There is also a brief passage (stanzas 139–146) telling how Othin won the runes, this passage being a natural introduction to the Ljothatal, and doubtless brought into the poem for that reason. [29]

Five distinct elements are clearly identifiable: (1) the Hovamol proper (stanzas 1–80), a collection of proverbs and advice for living; (2) the Loddfafnismol (stanzas 111–138), which is somewhat similar to the first but specifically directed to a certain Loddfafnir; (3) the Ljothatal (stanzas 147–165), a collection of charms; (4) the love story of Othin and Billing’s daughter (stanzas 96–102), preceded by a discussion on the unfaithfulness of women in general (stanzas 81–95), which likely became part of the poem first and then brought the story in as a fitting example; (5) the tale of how Othin obtained the mead of poetry—the drink that bestowed upon him the gift of eloquence—from the maiden Gunnloth (stanzas 103–110). There's also a brief section (stanzas 139–146) explaining how Othin acquired the runes, which serves as a natural introduction to the Ljothatal and was probably added to the poem for that reason. [__A_TAG_PLACEHOLDER_0__]

It is idle to discuss the authorship or date of such a series of accretions as this. Parts of it are doubtless among the oldest relics of ancient Germanic poetry; parts of it may have originated at a relatively late period. Probably, however, most of its component elements go pretty far back, although we have no way of telling how or when they first became associated.

It’s pointless to debate who wrote this collection or when it was created. Some sections are likely among the oldest remnants of ancient Germanic poetry, while others might have come from a later time. However, most of its parts probably date back quite a ways, even though we can't determine how or when they were first linked together.

It seems all but meaningless to talk about “interpolations” in a poem which has developed almost solely through the process of piecing together originally unrelated odds and ends. The notes, therefore, make only such suggestions as are needed to keep the main divisions of the poem distinct.

It seems pretty pointless to discuss "interpolations" in a poem that has evolved mainly by stitching together originally unrelated bits and pieces. Therefore, the notes only provide the suggestions necessary to keep the main sections of the poem clear.

Few gnomic collections in the world’s literary history present sounder wisdom more tersely expressed than the Hovamol. Like the Book of Proverbs it occasionally rises to lofty heights of poetry. If it presents the worldly wisdom of a violent race, it also shows noble ideals of loyalty, truth, and unfaltering courage.

Few collections of wise sayings in the world’s literary history convey sound wisdom more concisely than the Hovamol. Like the Book of Proverbs, it sometimes reaches impressive poetic heights. While it reflects the worldly wisdom of a fierce people, it also displays noble ideals of loyalty, truth, and unwavering courage.

[__A_TAG_PLACEHOLDER_0__]

1. Within the gates   |   ere a man shall go,

__A_TAG_PLACEHOLDER_0__. Inside the gates   |   before a man can enter,

(Full warily let him watch,)

(Full warily let him watch,)

Full long let him look about him;

Full long let him look about him;

For little he knows   |   where a foe may lurk,

For little does he know where an enemy might be hiding,

And sit in the seats within.

Please take a seat inside.

2. Hail to the giver!   |   a guest has come;

__A_TAG_PLACEHOLDER_0__. Cheers to the provider!   |   a visitor has arrived;

Where shall the stranger sit?

Where should the stranger sit?

Swift shall he be   |   who with swords shall try

Swift shall he be | who with swords shall try

The proof of his might to make.

The proof of his strength to create.

[30]

[__A_TAG_PLACEHOLDER_0__]

3. Fire he needs   |   who with frozen knees

3. He needs fire   |   who has frozen knees

Has come from the cold without;

Has come from the cold outside;

Food and clothes   |   must the farer have,

Food and clothes   |   the traveler must have,

The man from the mountains come.

The man from the mountains has arrived.

4. Water and towels   |   and welcoming speech

4. Water and towels  |   and a friendly welcome speech

Should he find who comes to the feast;

Should he find out who shows up at the feast;

If renown he would get,   |   and again be greeted,

If he wanted fame, | and to be welcomed again,

Wisely and well must he act.

He must act wisely and well.

5. Wits must he have   |   who wanders wide,

5. He must be sharp-witted who roams far,

But all is easy at home;

But everything is easy at home;

At the witless man   |   the wise shall wink

At the clueless guy   |   the smart will wink

When among such men he sits.

When he sits among those men.

6. A man shall not boast   |   of his keenness of mind,

__A_TAG_PLACEHOLDER_0__. A man should not brag | about how sharp his mind is,

But keep it close in his breast;

But keep it close to his heart;

To the silent and wise   |   does ill come seldom

To the quiet and insightful   |   misfortune rarely strikes

When he goes as guest to a house;

When he visits someone's house as a guest;

(For a faster friend   |   one never finds

(For a faster friend   |   one never finds

Than wisdom tried and true.)

Than wisdom tried and tested.

7. The knowing guest   |   who goes to the feast,

7. The savvy guest   |   who attends the feast,

In silent attention sits;

Sits in quiet attention;

With his ears he hears,   |   with his eyes he watches,

With his ears, he listens,   |   with his eyes, he observes,

Thus wary are wise men all.

Thus, all wise men are cautious.

[31]

[__A_TAG_PLACEHOLDER_0__]

8. Happy the one   |   who wins for himself

8. Blessed is the person  |   who achieves for themselves

Favor and praises fair;

Kindness and compliments are good;

Less safe by far   |   is the wisdom found

Less safe by far   |   is the wisdom found

That is hid in another’s heart.

That is hidden in someone else's heart.

9. Happy the man   |   who has while he lives

9. Happy is the person | who, while alive

Wisdom and praise as well,

Wisdom and praise too,

For evil counsel   |   a man full oft

For bad advice   |   a man often

Has from another’s heart.

Has from someone else's heart.

10. A better burden   |   may no man bear

10. No one can carry a better load

For wanderings wide than wisdom;

For travels broader than knowledge;

It is better than wealth   |   on unknown ways,

It is better than wealth   |   on unknown paths,

And in grief a refuge it gives.

And it provides a refuge in sorrow.

11. A better burden   |   may no man bear

11. No man can carry a better burden.

For wanderings wide than wisdom;

For travels broader than knowledge;

Worse food for the journey   |   he brings not afield

Worse food for the journey | he doesn’t bring along

Than an over-drinking of ale.

Than drinking too much beer.

12. Less good there lies   |   than most believe

__A_TAG_PLACEHOLDER_0__. There's less good there than most people think.

In ale for mortal men;

In beer for regular people;

For the more he drinks   |   the less does man

For the more he drinks   |   the less does man

Of his mind the mastery hold.

Of his mind he has control.

[32]

[__A_TAG_PLACEHOLDER_0__]

13. Over beer the bird   |   of forgetfulness broods,

__A_TAG_PLACEHOLDER_0__. While drinking beer, the bird of forgetfulness sits quietly,

And steals the minds of men;

And takes over the minds of people;

With the heron’s feathers   |   fettered I lay

With the heron's feathers | trapped, I lay

And in Gunnloth’s house was held.

And Gunnloth's house was where it happened.

14. Drunk I was,   |   I was dead-drunk,

__A_TAG_PLACEHOLDER_0__. I was wasted,   |   I was completely wasted,

When with Fjalar wise I was;

When I was with wise Fjalar;

’Tis the best of drinking   |   if back one brings

It’s the best kind of drinking | if you bring someone back

His wisdom with him home.

His wisdom is with him.

15. The son of a king   |   shall be silent and wise,

15. The king's son   |   will be quiet and smart,

And bold in battle as well;

And courageous in battle too;

Bravely and gladly   |   a man shall go,

Bravely and gladly | a man shall go,

Till the day of his death is come.

Till the day of his death comes.

16. The sluggard believes   |   he shall live forever,

16. The lazy person thinks   |   he will never die,

If the fight he faces not;

If he doesn't face the fight;

But age shall not grant him   |   the gift of peace,

But age won't give him the gift of peace,

Though spears may spare his life.

Though spears might save his life.

17. The fool is agape   |   when he comes to the feast,

17. The fool is stunned   |   when he arrives at the feast,

He stammers or else is still;

He stutters or stays silent;

But soon if he gets   |   a drink is it seen

But soon, if he gets a drink, it’s noticeable.

What the mind of the man is like.

What a man's mind is like.

[33]

[__A_TAG_PLACEHOLDER_0__]

18. He alone is aware   |   who has wandered wide,

18. Only he knows   |   who has traveled far,

And far abroad has fared,

And has traveled far and wide,

How great a mind   |   is guided by him

How great a mind is guided by him

That wealth of wisdom has.

That wealth of knowledge has.

19. Shun not the mead,   |   but drink in measure;

19. Don't avoid the mead,   |   but drink in moderation;

Speak to the point or be still;

Speak clearly and directly, or be quiet;

For rudeness none   |   shall rightly blame thee

For being rude, no one should rightly blame you.

If soon thy bed thou seekest.

If soon you’re looking for your bed.

20. The greedy man,   |   if his mind be vague,

20. The greedy man,   |   if his thoughts are unclear,

Will eat till sick he is;

Will eat until he’s stuffed;

The vulgar man,   |   when among the wise,

The rude person, | when in the company of the knowledgeable,

To scorn by his belly is brought.

To be looked down upon by his stomach is brought.

21. The herds know well   |   when home they shall fare,

21. The herds know when it's time to head home,

And then from the grass they go;

And then they leave the grass;

But the foolish man   |   his belly’s measure

But the foolish man | his belly’s measure

Shall never know aright.

Will never know for sure.

22. A paltry man   |   and poor of mind

22. A weak person   |   and lacking in intellect

At all things ever mocks;

At everything ever mocks;

For never he knows,   |   what he ought to know,

For he never knows what he should know,

That he is not free from faults.

That he has flaws.

23. The witless man   |   is awake all night,

23. The clueless guy   |   is up all night,

Thinking of many things;

Overthinking.

Care-worn he is   |   when the morning comes,

Care-worn he is   |   when the morning arrives,

And his woe is just as it was.

And his sorrow is just the same as it was.

24. The foolish man   |   for friends all those

24. The foolish man | considers everyone a friend

Who laugh at him will hold; [34]

Whoever laughs at him will be judged; [__A_TAG_PLACEHOLDER_0__]

When among the wise   |   he marks it not

When he's with the wise   |   he doesn't notice it

Though hatred of him they speak.

Though they speak with hatred toward him.

25. The foolish man   |   for friends all those

__A_TAG_PLACEHOLDER_0__. The foolish man   |   considers everyone a friend.

Who laugh at him will hold;

Who laughs at him will hold;

But the truth when he comes   |   to the council he learns,

But the truth is, when he comes to the council, he learns,

That few in his favor will speak.

That hardly anyone will speak in his favor.

26. An ignorant man   |   thinks that all he knows,

26. A clueless person   |   believes that everything they know,

When he sits by himself in a corner;

When he sits alone in a corner;

But never what answer   |   to make he knows,

But he never knows what answer to give,

When others with questions come.

When others have questions.

27. A witless man,   |   when he meets with men,

__A_TAG_PLACEHOLDER_0__. A clueless person,   |   when he encounters others,

Had best in silence abide;

Better to remain silent;

For no one shall find   |   that nothing he knows,

For no one will discover that nothing he knows,

If his mouth is not open too much.

If his mouth isn’t opened too wide.

(But a man knows not,   |   if nothing he knows,

(But a man knows not,   |   if nothing he knows,

When his mouth has been open too much.)

When his mouth has been open too much.

28. Wise shall he seem   |   who well can question,

28. He'll appear wise who knows how to ask the right questions,

And also answer well;

And also respond well;

Nought is concealed   |   that men may say

Nothings hidden that people might claim

Among the sons of men.

Among humankind.

29. Often he speaks   |   who never is still

29. Often he talks   |   who never keeps quiet

With words that win no faith; [35]

With words that gain no trust; [__A_TAG_PLACEHOLDER_0__]

The babbling tongue,   |   if a bridle it find not,

The babbling tongue,   |   if it finds no restraint,

Oft for itself sings ill.

Often sings poorly for itself.

30. In mockery no one   |   a man shall hold,

30. In mockery no one  |   a man shall hold,

Although he fare to the feast;

Although he goes to the feast;

Wise seems one oft,   |   if nought he is asked,

Wise seems one often,   |   if nothing is asked of him,

And safely he sits dry-skinned.

And he sits safely, dry-skinned.

31. Wise a guest holds it   |   to take to his heels,

31. A wise guest knows when to make a quick exit,

When mock of another he makes;

When he makes fun of someone;

But little he knows   |   who laughs at the feast,

But little does he know who laughs at the feast,

Though he mocks in the midst of his foes.

Though he makes fun of his enemies.

32. Friendly of mind   |   are many men,

Many people are open-minded,

Till feasting they mock at their friends;

Till they feast, they make fun of their friends;

To mankind a bane   |   must it ever be

To humanity, it must always be a curse.

When guests together strive.

When guests work together.

33. Oft should one make   |   an early meal,

33. People should often have an early meal,

Nor fasting come to the feast;

Nor should fasting attend the feast;

Else he sits and chews   |   as if he would choke,

Else he sits and chews | as if he's going to choke,

And little is able to ask.

And little can ask.

34. Crooked and far   |   is the road to a foe,

34. The road to an enemy is long and twisted,

Though his house on the highway be;

Though his house is on the highway;

But wide and straight   |   is the way to a friend,

But the path to a friend is wide and straight,

Though far away he fare.

Though far away, he is.

35. Forth shall one go,   |   nor stay as a guest

35. One should go forth,   |   and not linger as a guest

In a single spot forever; [36]

In one place forever; [__A_TAG_PLACEHOLDER_0__]

Love becomes loathing   |   if long one sits

Love turns into hatred if you sit with it too long.

By the hearth in another’s home.

By the fireplace in someone else's home.

36. Better a house,   |   though a hut it be,

__A_TAG_PLACEHOLDER_0__. Better a home,   |   even if it’s just a small one,

A man is master at home;

A man is in charge at home;

A pair of goats   |   and a patched-up roof

A pair of goats | and a repaired roof

Are better far than begging.

Are much better than begging.

37. Better a house,   |   though a hut it be,

__A_TAG_PLACEHOLDER_0__. Better a house,   |   even if it's a hut,

A man is master at home;

A man is in charge at home;

His heart is bleeding   |   who needs must beg

His heart is breaking | who has to beg

When food he fain would have.

When he really wanted to eat.

38. Away from his arms   |   in the open field

38. Away from his embrace   |   in the open field

A man should fare not a foot;

A man shouldn't go even a step;

For never he knows   |   when the need for a spear

For he never knows when the need for a spear

Shall arise on the distant road.

Shall rise on the distant road.

39. If wealth a man   |   has won for himself,

__A_TAG_PLACEHOLDER_0__. If a man has gained wealth for himself,

Let him never suffer in need;

Let him never be in need;

Oft he saves for a foe   |   what he plans for a friend,

Often he reserves for an enemy what he intends for a friend,

For much goes worse than we wish.

For a lot of things turn out worse than we want.

40. None so free with gifts   |   or food have I found

__A_TAG_PLACEHOLDER_0__. I haven't found anyone as generous with gifts or food.

That gladly he took not a gift, [37]

That he happily didn’t accept a gift, [__A_TAG_PLACEHOLDER_0__]

Nor one who so widely   |   scattered his wealth

Nor anyone who so liberally scattered his wealth

That of recompense hatred he had.

He had a hatred for revenge.

41. Friends shall gladden each other   |   with arms and garments,

__A_TAG_PLACEHOLDER_0__. Friends will make each other happy   |   with gifts and clothes,

As each for himself can see;

As each person can see for themselves;

Gift-givers’ friendships   |   are longest found,

Gift-givers’ friendships   |   are the longest lasting,

If fair their fates may be.

If their fates may be fair.

42. To his friend a man   |   a friend shall prove,

42. A man will prove to be a friend to his friend,

And gifts with gifts requite;

And gifts repay gifts;

But men shall mocking   |   with mockery answer,

But men will respond with mockery and ridicule,

And fraud with falsehood meet.

And fraud meets falsehood.

43. To his friend a man   |   a friend shall prove,

43. A man will show himself to be a friend to his friend,

To him and the friend of his friend;

To him and his friend's friend;

But never a man   |   shall friendship make

But no man   |   shall create friendship

With one of his foeman’s friends.

With one of his enemy’s friends.

44. If a friend thou hast   |   whom thou fully wilt trust,

44. If you have a friend   |   whom you can completely trust,

And good from him wouldst get,

And you would get something good from him,

Thy thoughts with his mingle,   |   and gifts shalt thou make,

Your thoughts mix with his, and you will make offerings.

And fare to find him oft.

And it’s often good to find him.

[38]

[__A_TAG_PLACEHOLDER_0__]

45. If another thou hast   |   whom thou hardly wilt trust,

45. If you have someone else | whom you barely trust,

Yet good from him wouldst get,

Yet you would get good from him,

Thou shalt speak him fair,   |   but falsely think,

Thou shalt speak to him nicely,   |   but think untruthfully,

And fraud with falsehood requite.

And repay fraud with lies.

46. So is it with him   |   whom thou hardly wilt trust,

46. That's how it is with him | whom you can barely trust,

And whose mind thou mayst not know;

And whose mind you may not know;

Laugh with him mayst thou,   |   but speak not thy mind,

Laugh with him if you want, but don't share your thoughts.

Like gifts to his shalt thou give.

Like gifts to his shall you give.

47. Young was I once,   |   and wandered alone,

47. I was young once,   |   and I wandered alone,

And nought of the road I knew;

And I didn't know anything about the road;

Rich did I feel   |   when a comrade I found,

Rich did I feel when I found a friend,

For man is man’s delight.

For man is man's joy.

48. The lives of the brave   |   and noble are best,

48. The lives of the brave and noble are the best,

Sorrows they seldom feed;

They rarely indulge in sorrows;

But the coward fear   |   of all things feels,

But the coward fears all,

And not gladly the niggard gives.

And the miser doesn't give willingly.

49. My garments once   |   in a field I gave

49. I once gave my clothes in a field

To a pair of carven poles;

To a pair of carved poles;

Heroes they seemed   |   when clothes they had,

Heroes they seemed | when they had clothes,

But the naked man is nought.

But the naked man is nothing.

50. On the hillside drear   |   the fir-tree dies,

50. On the gloomy hillside   |   the fir tree dies,

All bootless its needles and bark;

All useless its needles and bark;

It is like a man   |   whom no one loves,—

It’s like a man | whom no one loves,—

Why should his life be long?

Why should he live a long life?

[39]

[__A_TAG_PLACEHOLDER_0__]

51. Hotter than fire   |   between false friends

51. Hotter than fire   |   among fake friends

Does friendship five days burn;

Does friendship last five days?

When the sixth day comes   |   the fire cools,

When the sixth day arrives   |   the fire cools,

And ended is all the love.

And all the love has come to an end.

52. No great thing needs   |   a man to give,

52. No big deal requires a guy to give,

Oft little will purchase praise;

Often, little will buy praise;

With half a loaf   |   and a half-filled cup

With half a loaf   |   and a half-full cup

A friend full fast I made.

A friend I made fast.

53. A little sand   |   has a little sea,

53. A bit of sand   |   has a bit of sea,

And small are the minds of men;

And the minds of men are small;

Though all men are not   |   equal in wisdom,

Though not all men are equal in wisdom,

Yet half-wise only are all.

Yet everyone is only half-wise.

54. A measure of wisdom   |   each man shall have,

54. Everyone will have a bit of wisdom,

But never too much let him know;

But never let him know too much;

The fairest lives   |   do those men live

The best lives | are lived by those men.

Whose wisdom wide has grown.

Whose wisdom has greatly expanded.

55. A measure of wisdom   |   each man shall have,

__A_TAG_PLACEHOLDER_0__. Everyone will possess their own amount of wisdom,

But never too much let him know;

But don't let him know too much;

For the wise man’s heart   |   is seldom happy,

For the wise man's heart is rarely happy,

If wisdom too great he has won.

If he has gained too much wisdom.

56. A measure of wisdom   |   each man shall have,

56. Each man will have his own measure of wisdom,

But never too much let him know; [40]

But never let him know too much; [__A_TAG_PLACEHOLDER_0__]

Let no man the fate   |   before him see,

Let no man see the fate before him,

For so is he freest from sorrow.

For that is how he is least burdened by sorrow.

57. A brand from a brand   |   is kindled and burned,

A brand from a brand

And fire from fire begotten;

And fire from fire created;

And man by his speech   |   is known to men,

And people are recognized by their words.

And the stupid by their stillness.

And the foolish by their silence.

58. He must early go forth   |   who fain the blood

58. He must go out early   |   who wants the blood

Or the goods of another would get;

Or someone else would gain;

The wolf that lies idle   |   shall win little meat,

The wolf that lays around   |   won't catch much food,

Or the sleeping man success.

Or the sleeping man wins.

59. He must early go forth   |   whose workers are few,

59. He must set out early   |   when there are few workers,

Himself his work to seek;

His work to seek;

Much remains undone   |   for the morning-sleeper,

Much remains undone   |   for the morning person,

For the swift is wealth half won.

For the fast is success half achieved.

60. Of seasoned shingles   |   and strips of bark

60. Of aged shingles   |   and pieces of bark

For the thatch let one know his need,

For the thatch, let one know his need,

And how much of wood   |   he must have for a month,

And how much wood he must need for a month,

Or in half a year he will use.

Or in six months he will use.

61. Washed and fed   |   to the council fare,

__A_TAG_PLACEHOLDER_0__. Cleaned up and given food   |   suitable for the council,

But care not too much for thy clothes;

But don't worry too much about your clothes;

Let none be ashamed   |   of his shoes and hose,

Let no one be ashamed  |   of their shoes and socks,

Less still of the steed he rides,

Less still of the horse he rides,

(Though poor be the horse he has.)

(Though the horse he has may be poor.)

[41]

[__A_TAG_PLACEHOLDER_0__]

62. When the eagle comes   |   to the ancient sea,

__A_TAG_PLACEHOLDER_0__. When the eagle arrives   |   at the old ocean,

He snaps and hangs his head;

He quickly looks down;

So is a man   |   in the midst of a throng,

So is a man | in the middle of a crowd,

Who few to speak for him finds.

Whoever speaks for him finds few.

63. To question and answer   |   must all be ready

63. To ask and reply   |   everyone must be prepared

Who wish to be known as wise;

Who want to be seen as wise;

Tell one thy thoughts,   |   but beware of two,—

Tell someone your thoughts,   |   but be careful of two,—

All know what is known to three.

All know what three know.

64. The man who is prudent   |   a measured use

64. The smart guy knows how to use things wisely.

Of the might he has will make;

Of the power he possesses will create;

He finds when among   |   the brave he fares

He realizes that when he's with the brave, he does well.

That the boldest he may not be.

That he might not be the boldest.

65. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

Oft for the words   |   that to others one speaks

Oftentimes for the words   |   that one says to others

He will get but an evil gift.

He'll receive nothing but a bad gift.

66. Too early to many   |   a meeting I came,

66. It was too early for many   |   when I arrived at the meeting,

And some too late have I sought;

And I've searched for some things too late;

The beer was all drunk,   |   or not yet brewed;

The beer was all gone, | or not yet made;

Little the loathed man finds.

Little the hated man finds.

[42]

[__A_TAG_PLACEHOLDER_0__]

67. To their homes men would bid me   |   hither and yon,

67. Men would send me back and forth to their homes,

If at meal-time I needed no meat,

If at mealtime I didn't need any meat,

Or would hang two hams   |   in my true friend’s house,

Or would hang two hams in my true friend’s house,

Where only one I had eaten.

Where I had only eaten one.

68. Fire for men   |   is the fairest gift,

68. Fire for humans   |   is the greatest gift,

And power to see the sun;

And the ability to see the sun;

Health as well,   |   if a man may have it,

Health as well,   |   if a person can have it,

And a life not stained with sin.

And a life free from sin.

69. All wretched is no man,   |   though never so sick;

69. No one is entirely wretched,   |   no matter how sick they are;

Some from their sons have joy,

Some of their sons find joy,

Some win it from kinsmen,   |   and some from their wealth,

Some inherit it from family,   |   and some from their riches,

And some from worthy works.

And some from reputable sources.

70. It is better to live   |   than to lie a corpse,

__A_TAG_PLACEHOLDER_0__. It’s better to be alive   |   than to be a dead body,

The live man catches the cow;

The living man catches the cow;

I saw flames rise   |   for the rich man’s pyre,

I saw flames rise   |   for the rich man’s funeral fire,

And before his door he lay dead.

And he lay dead in front of his door.

71. The lame rides a horse,   |   the handless is herdsman,

71. The disabled rides a horse,   |   the one without hands is a herdsman,

The deaf in battle is bold;

The deaf in battle are brave;

The blind man is better   |   than one that is burned,

The blind man is better than the one who is burned,

No good can come of a corpse.

No good can come from a corpse.

[43]

[__A_TAG_PLACEHOLDER_0__]

72. A son is better,   |   though late he be born,

72. A son is better,   |   even if he is born late,

And his father to death have fared;

And his dad has died;

Memory-stones   |   seldom stand by the road

Memory-stones   |   rarely stand by the road

Save when kinsman honors his kin.

Save when a relative honors their family.

73. Two make a battle,   |   the tongue slays the head;

__A_TAG_PLACEHOLDER_0__. Two create a conflict,   |   the tongue takes down the mind;

In each furry coat   |   a fist I look for.

In every furry coat   |   I search for a fist.

74. He welcomes the night   |   whose fare is enough.

74. He greets the night | its offerings are sufficient.

(Short are the yards of a ship,)

(Short are the yards of a ship,)

Uneasy are autumn nights;

Autumn nights feel uneasy;

Full oft does the weather   |   change in a week,

Full oft does the weather change in a week,

And more in a month’s time.

And even more in a month.

75. A man knows not,   |   if nothing he knows,

__A_TAG_PLACEHOLDER_0__. A man doesn't know,   |   if he knows nothing,

That gold oft apes begets;

That gold often imitates;

One man is wealthy   |   and one is poor,

One man is rich | and one is poor,

Yet scorn for him none should know.

Yet no one should know scorn for him.

76. Among Fitjung’s sons   |   saw I well-stocked folds,—

__A_TAG_PLACEHOLDER_0__. Among Fitjung’s sons   |   I saw well-stocked pens,—

Now bear they the beggar’s staff; [44]

Now they carry the beggar’s staff; [__A_TAG_PLACEHOLDER_0__]

Wealth is as swift   |   as a winking eye,

Wealth is as quick as a blinking eye,

Of friends the falsest it is.

Of friends, it is the most deceitful.

77. Cattle die,   |   and kinsmen die,

77. Cattle die,   |   and family members die,

And so one dies one’s self;

And so one loses themselves;

But a noble name   |   will never die,

But a noble name will never fade away,

If good renown one gets.

If one gains a good reputation.

78. Cattle die,   |   and kinsmen die,

78. Cattle die, | and family die,

And so one dies one’s self;

And so one dies alone;

One thing I know   |   that never dies,

One thing I know | that never dies,

The fame of a dead man’s deeds.

The reputation of a deceased person's actions.

79. Certain is that   |   which is sought from runes,

__A_TAG_PLACEHOLDER_0__. It is certain that | what is sought from runes,

That the gods so great have made,

That the great gods have created,

And the Master-Poet painted;

And the Master-Poet created;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  . of the race of gods:

. . . . . of the race of gods:

Silence is safest and best.

Silence is the safest choice.

80. An unwise man,   |   if a maiden’s love

80. A foolish man,   |   if a girl’s love

Or wealth he chances to win, [45]

Or wealth he could gain, [__A_TAG_PLACEHOLDER_0__]

His pride will wax,   |   but his wisdom never,

His pride will grow,   |   but his wisdom won't.

Straight forward he fares in conceit.

He goes straight ahead with confidence.

*    *    *    *    *    *

*    *    *    *    *    *

81. Give praise to the day at evening,   |   to a woman on her pyre,

__A_TAG_PLACEHOLDER_0__. Praise the day in the evening,   |   and honor a woman on her pyre,

To a weapon which is tried,   |   to a maid at wedlock,

To a tested weapon,   |   to a bride on her wedding day,

To ice when it is crossed,   |   to ale that is drunk.

To ice when it's crossed,   |   to ale that is drunk.

82. When the gale blows hew wood,   |   in fair winds seek the water;

82. When the wind is strong, chop wood; in calm weather, gather water;

Sport with maidens at dusk,   |   for day’s eyes are many;

Sporting with young women at dusk,   |   because there are many eyes in the daylight;

From the ship seek swiftness,   |   from the shield protection,

From the ship, seek speed,   |   from the shield, seek safety,

Cuts from the sword,   |   from the maiden kisses.

Cuts from the sword,   |   from the maiden's kisses.

83. By the fire drink ale,   |   over ice go on skates;

83. Enjoy some ale by the fire,   |   and skate on the ice;

Buy a steed that is lean,   |   and a sword when tarnished, [46]

Buy a horse that is slim,   |   and a sword that looks worn, [__A_TAG_PLACEHOLDER_0__]

The horse at home fatten,   |   the hound in thy dwelling.

The horse gets fat at home,   |   the dog is in your house.

*    *    *    *    *    *

*    *    *    *    *    *

84. A man shall trust not   |   the oath of a maid,

__A_TAG_PLACEHOLDER_0__. A man should not trust the promise of a girl,

Nor the word a woman speaks;

Nor the words a woman speaks;

For their hearts on a whirling   |   wheel were fashioned,

For their hearts were shaped like a spinning wheel,

And fickle their breasts were formed.

And their hearts were fickle.

*    *    *    *    *    *

*    *    *    *    *    *

85. In a breaking bow   |   or a burning flame,

__A_TAG_PLACEHOLDER_0__. In a snapping bow   |   or a raging fire,

A ravening wolf   |   or a croaking raven,

A hungry wolf   |   or a croaking raven,

In a grunting boar,   |   a tree with roots broken,

In a grunting boar,   |   a tree with broken roots,

In billowy seas   |   or a bubbling kettle,

In rolling waves   |   or a boiling kettle,

86. In a flying arrow   |   or falling waters,

86. In a flying arrow   |   or falling water,

In ice new formed   |   or the serpent’s folds,

In newly formed ice | or the snake's coils,

In a bride’s bed-speech   |   or a broken sword,

In a bride’s bedtime speech | or a broken sword,

In the sport of bears   |   or in sons of kings,

In the sport of bears   |   or in the sons of kings,

87. In a calf that is sick   |   or a stubborn thrall,

__A_TAG_PLACEHOLDER_0__. In a sick calf   |   or a stubborn servant,

A flattering witch   |   or a foe new slain.

A charming witch   |   or a recently defeated enemy.

[47]

[__A_TAG_PLACEHOLDER_0__]

88. In a brother’s slayer,   |   if thou meet him abroad,

__A_TAG_PLACEHOLDER_0__. If you encounter your brother's killer out in the world,

In a half-burned house,   |   in a horse full swift—

In a half-burned house,   |   in a fast-running horse—

One leg is hurt   |   and the horse is useless—

One leg is injured   |   and the horse is worthless—

None had ever such faith   |   as to trust in them all.

None had ever such faith | as to trust in all of them.

*    *    *    *    *    *

*    *    *    *    *    *

89. Hope not too surely   |   for early harvest,

89. Don’t get your hopes up too much | for an early harvest,

Nor trust too soon in thy son;

Nor trust too soon in your son;

The field needs good weather,   |   the son needs wisdom,

The field needs good weather,   |   the son needs wisdom,

And oft is either denied.

And often is either denied.

*    *    *    *    *    *

*    *    *    *    *    *

90. The love of women   |   fickle of will

90. The love of women | uncertain in desire

Is like starting o’er ice   |   with a steed unshod,

Is like starting over on ice | with a horse without shoes,

A two-year-old restive   |   and little tamed,

A two-year-old restless | and barely tamed,

Or steering a rudderless   |   ship in a storm,

Or steering a ship without a rudder in a storm,

Or, lame, hunting reindeer   |   on slippery rocks.

Or, crippled, hunting reindeer   |   on slick rocks.

*    *    *    *    *    *

*    *    *    *    *    *

91. Clear now will I speak,   |   for I know them both,

91. I will speak clearly now,   |   because I know them both,

Men false to women are found;

Men who are unfaithful to women can be found;

When fairest we speak,   |   then falsest we think,

When we speak most beautifully,   |   then we think most deceitfully,

Against wisdom we work with deceit.

Against wisdom, we use lies.

92. Soft words shall he speak   |   and wealth shall he offer

92. He will speak kind words   |   and offer riches.

Who longs for a maiden’s love,

Who yearns for a woman's love,

And the beauty praise   |   of the maiden bright;

And the beauty of the bright maiden;

He wins whose wooing is best.

He wins who woos the best.

[48]

[__A_TAG_PLACEHOLDER_0__]

93. Fault for loving   |   let no man find

Don't blame anyone for love.

Ever with any other;

Always with anyone else;

Oft the wise are fettered,   |   where fools go free,

Often the wise are trapped,   |   while fools roam free,

By beauty that breeds desire.

Through beauty that inspires desire.

94. Fault with another   |   let no man find

94. Don't let anyone criticize someone else.

For what touches many a man;

For what impacts many people;

Wise men oft   |   into witless fools

Wise men often turn into foolish idiots

Are made by mighty love.

Are created by powerful love.

95. The head alone knows   |   what dwells near the heart,

95 Only the mind knows   |   what resides close to the heart,

A man knows his mind alone;

A man knows his own thoughts;

No sickness is worse   |   to one who is wise

No illness is worse | to someone who is wise

Than to lack the longed-for joy.

Than to miss out on the joy that was hoped for.

96. This found I myself,   |   when I sat in the reeds,

__A_TAG_PLACEHOLDER_0__. I realized this when I sat among the reeds,

And long my love awaited;

And my love waited a long time;

As my life the maiden   |   wise I loved,

As I lived my life, I loved the wise maiden,

Yet her I never had.

Yet I never had her.

97. Billing’s daughter   |   I found on her bed,

97. Billing’s daughter   |   I found her on her bed,

In slumber bright as the sun;

In sleep as bright as the sun;

Empty appeared   |   an earl’s estate

Empty appeared   |   an earl’s estate

Without that form so fair.

Without that fair form.

[49]

[__A_TAG_PLACEHOLDER_0__]

98. “Othin, again   |   at evening come,

98. “Othin, once more | in the evening,

If a woman thou wouldst win;

If you want to win a woman;

Evil it were   |   if others than we

Evil it were   |   if others than we

Should know of such a sin.”

Should know of such a sin.

99. Away I hastened,   |   hoping for joy,

99. I rushed away,   |   looking for happiness,

And careless of counsel wise;

And indifferent to wise advice;

Well I believed   |   that soon I should win

Well, I believed that soon I would win

Measureless joy with the maid.

Endless joy with the girl.

100. So came I next   |   when night it was,

100. So I arrived next when it was night,

The warriors all were awake;

The warriors were all awake;

With burning lights   |   and waving brands

With bright lights   |   and flickering torches

I learned my luckless way.

I learned my unlucky way.

101. At morning then,   |   when once more I came,

101. In the morning, when I returned again,

And all were sleeping still,

And everyone was still sleeping,

A dog I found   |   in the fair one’s place,

A dog I found   |   in the beautiful girl’s place,

Bound there upon her bed.

Bound there on her bed.

102. Many fair maids,   |   if a man but tries them,

__A_TAG_PLACEHOLDER_0__. Many beautiful women,   |   if a guy just gives them a shot,

False to a lover are found;

False to a lover are found;

That did I learn   |   when I longed to gain

That did I learn | when I wanted to achieve

With wiles the maiden wise; [50]

With clever tricks, the wise maiden; [__A_TAG_PLACEHOLDER_0__]

Foul scorn was my meed   |   from the crafty maid,

Foul scorn was my reward from the sly girl,

And nought from the woman I won.

And I didn’t gain anything from the woman.

*    *    *    *    *    *

*    *    *    *    *    *

103. Though glad at home,   |   and merry with guests,

__A_TAG_PLACEHOLDER_0__. Although happy at home,   |   and cheerful with friends,

A man shall be wary and wise;

A man should be cautious and smart;

The sage and shrewd,   |   wide wisdom seeking,

The wise and clever, | always looking for knowledge,

Must see that his speech be fair;

Must ensure that his speech is fair;

A fool is he named   |   who nought can say,

A fool is he called   |   who cannot say,

For such is the way of the witless.

For that’s how the clueless behave.

104. I found the old giant,   |   now back have I fared,

__A_TAG_PLACEHOLDER_0__. I found the old giant,   |   now I have returned,

Small gain from silence I got;

Small gain from silence I got;

Full many a word,   |   my will to get,

Full many a word, | my will to get,

I spoke in Suttung’s hall.

I spoke in Suttung's hall.

105. The mouth of Rati   |   made room for my passage,

__A_TAG_PLACEHOLDER_0__. The mouth of Rati   |   opened up for me to pass through,

And space in the stone he gnawed; [51]

And he chewed on the space in the stone; [__A_TAG_PLACEHOLDER_0__]

Above and below   |   the giants’ paths lay,

Above and below | the giants' paths stretched,

So rashly I risked my head.

So foolishly I put my life on the line.

106. Gunnloth gave   |   on a golden stool

__A_TAG_PLACEHOLDER_0__. Gunnloth sat on a golden stool

A drink of the marvelous mead;

A sip of the amazing mead;

A harsh reward   |   did I let her have

A harsh reward | did I let her have

For her heroic heart,

For her brave heart,

And her spirit troubled sore.

And her spirit was troubled.

107. The well-earned beauty   |   well I enjoyed,

__A_TAG_PLACEHOLDER_0__. I truly appreciated the beauty that I worked hard for,

Little the wise man lacks;

The wise man lacks little;

So Othrörir now   |   has up been brought

So Othrörir has now been brought up.

To the midst of the men of earth.

To the heart of the people on earth.

108. Hardly, methinks,   |   would I home have come,

108. I barely think I would have come home,

And left the giants’ land,

And left the land of giants,

Had not Gunnloth helped me,   |   the maiden good,

Had Gunnloth not helped me, the good maiden,

Whose arms about me had been.

Whose arms had been around me.

109. The day that followed,   |   the frost-giants came,

__A_TAG_PLACEHOLDER_0__. The next day, the frost giants arrived,

Some word of Hor to win,

Some word of Hor to win,

(And into the hall of Hor;) [52]

(And into the hall of Hor;) [__A_TAG_PLACEHOLDER_0__]

Of Bolverk they asked,   |   were he back midst the gods,

Of Bolverk they asked,   |   if he was back among the gods,

Or had Suttung slain him there?

Or had Suttung killed him there?

110. On his ring swore Othin   |   the oath, methinks;

110. On his ring, Othin swore the oath, I think;

Who now his troth shall trust?

Who can you trust anymore?

Suttung’s betrayal   |   he sought with drink,

Suttung’s betrayal   |   he sought with alcohol,

And Gunnloth to grief he left.

And he left Gunnloth in sorrow.

*    *    *    *    *    *

*    *    *    *    *    *

111. It is time to chant   |   from the chanter’s stool;

__A_TAG_PLACEHOLDER_0__. It’s time to sing   |   from the singer’s stool;

By the wells of Urth I was,

By the wells of Urth, I was,

I saw and was silent,   |   I saw and thought,

I watched and stayed quiet,   |   I watched and reflected,

And heard the speech of Hor.

And heard Hor's talk.

(Of runes heard I words,   |   nor were counsels wanting,

(Of runes, I heard words,   |   nor were counsels lacking,

At the hall of Hor,

At Hor's hall,

In the hall of Hor;

In the hall of Hor;

Such was the speech I heard.)

Such was the speech I heard.

[53]

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112. I rede thee, Loddfafnir!   |   and hear thou my rede,—

__A_TAG_PLACEHOLDER_0__. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great your gain if you learn:

Rise not at night,   |   save if news thou seekest,

Rise not at night, | unless you’re looking for news,

Or fain to the outhouse wouldst fare.

Or you would gladly go to the bathroom.

113. I rede thee, Loddfafnir!   |   and hear thou my rede,—

113. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Beware of sleep   |   on a witch’s bosom,

Beware of sleeping on a witch's chest,

Nor let her limbs ensnare thee.

Nor let her limbs trap you.

114. Such is her might   |   that thou hast no mind

114. Her power is such that you have no thoughts

For the council or meeting of men;

For the men's meeting;

Meat thou hatest,   |   joy thou hast not,

Meat you hate, | joy you don't have,

And sadly to slumber thou farest.

And sadly, you go to sleep.

115. I rede thee, Loddfafnir!   |   and hear thou my rede,—

115. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you will have if you listen,

Great thy gain if thou learnest: [54]

Great your gain if you learn: [__A_TAG_PLACEHOLDER_0__]

Seek never to win   |   the wife of another,

Seek never to win | the wife of another,

Or long for her secret love.

Or long for her hidden love.

116. I rede thee, Loddfafnir!   |   and hear thou my rede,—

116. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

If o’er mountains or gulfs   |   thou fain wouldst go,

If you want to travel over mountains or across seas,

Look well to thy food for the way.

Look closely at your food for the journey.

117. I rede thee, Loddfafnir!   |   and hear thou my rede,—

117. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

An evil man   |   thou must not let

An evil man   |   you must not let

Bring aught of ill to thee;

Attract anything negative to you;

For an evil man   |   will never make

For a wicked person | will never create

Reward for a worthy thought.

Reward for a great idea.

118. I saw a man   |   who was wounded sore

118. I saw a man   |   who was badly hurt

By an evil woman’s word;

By a wicked woman's word;

A lying tongue   |   his death-blow launched,

A lying tongue | his fatal blow delivered,

And no word of truth there was.

And there was no truth in it at all.

119. I rede thee, Loddfafnir!   |   and hear thou my rede,—

119. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

If a friend thou hast   |   whom thou fully wilt trust,

If you have a friend | whom you can completely trust,

Then fare to find him oft;

Then go find him regularly;

For brambles grow   |   and waving grass

For thorny bushes grow   |   and swaying grass

On the rarely trodden road.

On the seldom-traveled road.

[55]

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120. I rede thee, Loddfafnir!   |   and hear thou my rede,—

120. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

A good man find   |   to hold in friendship,

A good man is one to have as a friend,

And give heed to his healing charms.

And pay attention to his healing powers.

121. I rede thee, Loddfafnir!   |   and hear thou my rede,—

121. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Be never the first   |   to break with thy friend

Be never the first to cut ties with your friend.

The bond that holds you both;

The connection that ties you two together;

Care eats the heart   |   if thou canst not speak

Care eats the heart   |   if you can't speak

To another all thy thought.

To someone else, all your thoughts.

122. I rede thee, Loddfafnir!   |   and hear thou my rede,—

122. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Exchange of words   |   with a witless ape

Exchange of words | with a clueless ape

Thou must not ever make.

You must never make.

123. For never thou mayst   |   from an evil man

123. For you can never escape from a wicked person.

A good requital get;

A good reward received;

But a good man oft   |   the greatest love

But a good man often | the greatest love

Through words of praise will win thee.

Through words of praise, I will win you over.

124. Mingled is love   |   when a man can speak

124. Love is mixed up   |   when a man can talk

To another all his thought; [56]

To someone else, all his thoughts; [__A_TAG_PLACEHOLDER_0__]

Nought is so bad   |   as false to be,

Naught is worse than being untrue,

No friend speaks only fair.

No friend only speaks nicely.

125. I rede thee, Loddfafnir!   |   and hear thou my rede,—

125. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

With a worse man speak not   |   three words in dispute,

With a worse man, don't say three words in disagreement,

Ill fares the better oft

Things often turn out better.

When the worse man wields a sword.

When the worse person wields a sword.

126. I rede thee, Loddfafnir!   |   and hear thou my rede,—

126. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

A shoemaker be,   |   or a maker of shafts,

A shoemaker is, or a maker of shafts,

For only thy single self;

For just yourself;

If the shoe is ill made,   |   or the shaft prove false,

If the shoe is poorly made,   |   or the shaft turns out to be unreliable,

Then evil of thee men think.

Then the evil of these men think.

127. I rede thee, Loddfafnir!   |   and hear thou my rede,—

127. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

If evil thou knowest,   |   as evil proclaim it,

If you know evil, | then call it out.

And make no friendship with foes.

And don’t be friends with enemies.

128. I rede thee, Loddfafnir!   |   and hear thou my rede,—

128. I tell you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest, [57]

Profit you have if you listen, [__A_TAG_PLACEHOLDER_0__]

Great thy gain if thou learnest:

Great is your gain if you learn:

In evil never   |   joy shalt thou know,

In evil, you'll never find joy.

But glad the good shall make thee.

But happy the good will make you.

129. I rede thee, Loddfafnir!   |   and hear thou my rede,—

__A_TAG_PLACEHOLDER_0__. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Look not up   |   when the battle is on,—

Look not up   |   when the battle is on,—

(Like madmen the sons   |   of men become,—)

(Like crazy people the sons   |   of men become,—)

Lest men bewitch thy wits.

So men don't confuse you.

130. I rede thee, Loddfafnir!   |   and hear thou my rede,—

130. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

If thou fain wouldst win   |   a woman’s love,

If you truly want to win a woman’s love,

And gladness get from her,

And happiness comes from her,

Fair be thy promise   |   and well fulfilled;

Fair be your promise and well fulfilled;

None loathes what good he gets.

None dislike what good they receive.

131. I rede thee, Loddfafnir!   |   and hear thou my rede,—

__A_TAG_PLACEHOLDER_0__. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

I bid thee be wary,   |   but be not fearful;

I urge you to be careful, but don't be afraid;

(Beware most with ale   |   or another’s wife,

(Beware most with ale   |   or another’s wife,

And third beware   |   lest a thief outwit thee.)

And third, be careful not to let a thief outsmart you.

[58]

[__A_TAG_PLACEHOLDER_0__]

132. I rede thee, Loddfafnir!   |   and hear thou my rede,—

132. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Scorn or mocking   |   ne’er shalt thou make

Scorn or mockery | you shall never create

Of a guest or a journey-goer.

Of a guest or a traveler.

133. Oft scarcely he knows   |   who sits in the house

__A_TAG_PLACEHOLDER_0__. Often he hardly knows   |   who is sitting in the house

What kind is the man who comes;

What kind of man is coming;

None so good is found   |   that faults he has not,

None so good is found that he has no faults,

Nor so wicked that nought he is worth.

Nor so wicked that he is worth nothing.

134. I rede thee, Loddfafnir!   |   and hear thou my rede,—

__A_TAG_PLACEHOLDER_0__. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you hear,

Great thy gain if thou learnest:

Great is your gain if you learn:

Scorn not ever   |   the gray-haired singer,

Scorn not ever   |   the gray-haired singer,

Oft do the old speak good;

Oftentimes, older people have wise things to say;

(Oft from shrivelled skin   |   come skillful counsels,

(Oft from shriveled skin   |   come skillful counsels,

Though it hang with the hides,

Though it hangs with the hides,

And flap with the pelts,

And flap with the skins,

And is blown with the bellies.)

And is blown with the bellies.

[59]

[__A_TAG_PLACEHOLDER_0__]

135. I rede thee, Loddfafnir!   |   and hear thou my rede,—

135. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

Curse not thy guest,   |   nor show him thy gate,

Curse not your guest,   |   nor show him your gate,

Deal well with a man in want.

Deal kindly with someone in need.

136. Strong is the beam   |   that raised must be

__A_TAG_PLACEHOLDER_0__. Strong is the beam   |   that raised must be

To give an entrance to all;

To make it accessible for all;

Give it a ring,   |   or grim will be

Give it a call,   |   or it will be grim

The wish it would work on thee.

The hope it would work on you.

137. I rede thee, Loddfafnir!   |   and hear thou my rede,—

__A_TAG_PLACEHOLDER_0__. I advise you, Loddfafnir!   |   and listen to my advice,—

Profit thou hast if thou hearest,

Profit you have if you listen,

Great thy gain if thou learnest:

Great is your gain if you learn:

When ale thou drinkest,   |   seek might of earth,

When you drink ale,   |   seek the strength of the earth,

(For earth cures drink,   |   and fire cures ills,

(For earth cures drink,   |   and fire cures ills,

The oak cures tightness,   |   the ear cures magic,

The oak relieves tightness,   |   the ear brings magic,

Rye cures rupture,   |   the moon cures rage,

Rye heals a break,   |   the moon calms anger,

Grass cures the scab,   |   and runes the sword-cut;)

Grass heals the scab,   |   and restores the sword wound;)

The field absorbs the flood.

The field soaks up the flood.

[60]

[__A_TAG_PLACEHOLDER_0__]

138. Now are Hor’s words   |   spoken in the hall,

__A_TAG_PLACEHOLDER_0__. Now Hor’s words are spoken in the hall,

Kind for the kindred of men,

Kind for the family of people,

Cursed for the kindred of giants:

Cursed for the family of giants:

Hail to the speaker,   |   and to him who learns!

Hail to the speaker,   |   and to those who learn!

Profit be his who has them!

Profit to whoever has them!

Hail to them who hearken

Hats off to those who listen

*    *    *    *    *    *

*    *    *    *    *    *

139. I ween that I hung   |   on the windy tree,

__A_TAG_PLACEHOLDER_0__. I think that I hung on the windy tree,

Hung there for nights full nine;

Hung there for nine full nights;

With the spear I was wounded,   |   and offered I was

With the spear, I was hurt,   |   and I was offered

To Othin, myself to myself,

To Othin, me to me,

On the tree that none   |   may ever know

On the tree that no one will ever know

What root beneath it runs.

What root runs beneath it.

[61]

[__A_TAG_PLACEHOLDER_0__]

140. None made me happy   |   with loaf or horn,

140. No one brought me joy   |   with bread or drink,

And there below I looked;

And there below, I looked;

I took up the runes,   |   shrieking I took them,

I picked up the runes,   |   screaming I grabbed them,

And forthwith back I fell.

And immediately I fell back.

141. Nine mighty songs   |   I got from the son

__A_TAG_PLACEHOLDER_0__. Nine powerful songs   |   I received from the son

Of Bolthorn, Bestla’s father;

Of Bolthorn, Bestla's dad;

And a drink I got   |   of the goodly mead

And I had a drink of the good mead.

Poured out from Othrörir.

Poured out from Othrörir.

142. Then began I to thrive,   |   and wisdom to get,

142. Then I started to prosper,   |   and gain knowledge,

I grew and well I was;

I grew and I was doing well;

Each word led me on   |   to another word,

Each word took me to another word,

Each deed to another deed.

Each deed to another deed.

143. Runes shalt thou find,   |   and fateful signs,

__A_TAG_PLACEHOLDER_0__. You will find runes,   |   and fateful signs,

That the king of singers colored,

That the king of singers painted,

And the mighty gods have made; [62]

And the powerful gods have created; [__A_TAG_PLACEHOLDER_0__]

Full strong the signs,   |   full mighty the signs

Full strong the signs,   |   full mighty the signs

That the ruler of gods doth write.

That the ruler of the gods writes.

144. Othin for the gods,   |   Dain for the elves,

__A_TAG_PLACEHOLDER_0__. Odin for the gods,   |   Dain for the elves,

And Dvalin for the dwarfs,

And Dvalin for the dwarves,

Alsvith for giants   |   and all mankind,

Alsvith for giants and all mankind,

And some myself I wrote.

And I wrote some myself.

145. Knowest how one shall write,   |   knowest how one shall rede?

__A_TAG_PLACEHOLDER_0__. Do you know how to write,   |   do you know how to read?

Knowest how one shall tint,   |   knowest how one makes trial?

Know how one should shade, | know how one tests?

Knowest how one shall ask,   |   knowest how one shall offer?

Do you know how to ask, and do you know how to offer?

Knowest how one shall send,   |   knowest how one shall sacrifice?

Do you know how to send it, and do you know how to make a sacrifice?

[63]

[__A_TAG_PLACEHOLDER_0__]

146. Better no prayer   |   than too big an offering,

__A_TAG_PLACEHOLDER_0__. A simple prayer is better   |   than an extravagant gift,

By thy getting measure thy gift;

By your ability, gauge your gift;

Better is none   |   than too big a sacrifice,

Better is none   |   than too great a sacrifice,

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

So Thund of old wrote   |   ere man’s race began,

So Thund of old wrote   |   before mankind began,

Where he rose on high   |   when home he came.

Where he rose high | when he returned home.

*    *    *    *    *    *

*    *    *    *    *    *

147. The songs I know   |   that king’s wives know not,

__A_TAG_PLACEHOLDER_0__. The songs I know   |   that king’s wives don't know,

Nor men that are sons of men;

Nor men who are sons of men;

The first is called help,   |   and help it can bring thee

The first is called help,   |   and it can provide you with assistance.

In sorrow and pain and sickness.

In sorrow, suffering, and illness.

148. A second I know,   |   that men shall need

__A_TAG_PLACEHOLDER_0__. I know for sure,   |   that people will need

Who leechcraft long to use;

Who craves to use leechcraft;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

. . . . . . . .   |   . . . . . . . .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

[64]

[__A_TAG_PLACEHOLDER_0__]

149. A third I know,   |   if great is my need

149. I know a third,   |   if my need is great

Of fetters to hold my foe;

Of chains to restrain my enemy;

Blunt do I make   |   mine enemy’s blade,

Blunt I will make my enemy's blade,

Nor bites his sword or staff.

Nor does he bite his sword or staff.

150. A fourth I know,   |   if men shall fasten

150. A fourth I know,   |   if people will hold on

Bonds on my bended legs;

Bonds on my bent knees;

So great is the charm   |   that forth I may go,

So great is the charm that I can go forth,

The fetters spring from my feet,

The shackles come off my feet,

Broken the bonds from my hands.

Broken the ties from my hands.

151. A fifth I know,   |   if I see from afar

151. I know a fifth one,   |   if I see it from a distance

An arrow fly ’gainst the folk;

An arrow flies against the people;

It flies not so swift   |   that I stop it not,

It doesn't fly so fast that I can't stop it.

If ever my eyes behold it.

If I ever see it.

152. A sixth I know,   |   if harm one seeks

__A_TAG_PLACEHOLDER_0__. I know a sixth,   |   if someone is looking for trouble

With a sapling’s roots to send me;

With the roots of a young tree to guide me;

The hero himself   |   who wreaks his hate

The hero himself   |   who unleashes his anger

Shall taste the ill ere I.

Shall taste the bad before I.

153. A seventh I know,   |   if I see in flames

153. I know a seventh,   |   if I see it burning

The hall o’er my comrades’ heads;

The hall above my friends' heads;

It burns not so wide   |   that I will not quench it,

It doesn't burn so wide that I can't put it out.

I know that song to sing.

I know that song to sing.

[65]

[__A_TAG_PLACEHOLDER_0__]

154. An eighth I know,   |   that is to all

154. An eighth I know,   |   that is to all

Of greatest good to learn;

Most important to learn;

When hatred grows   |   among heroes’ sons,

When hatred grows among the sons of heroes,

I soon can set it right.

I'll fix it soon.

155. A ninth I know,   |   if need there comes

155. I know a ninth,   |   if there's a need

To shelter my ship on the flood;

To protect my ship from the flood;

The wind I calm   |   upon the waves,

The wind I calm   |   on the waves,

And the sea I put to sleep.

And I put the sea to rest.

156. A tenth I know,   |   what time I see

__A_TAG_PLACEHOLDER_0__. I know a tenth,   |   when I see it

House-riders flying on high;

House-riders soaring high;

So can I work   |   that wildly they go,

So can I work | that wildly they go,

Showing their true shapes,

Revealing their true forms,

Hence to their own homes.

So back to their homes.

157. An eleventh I know,   |   if needs I must lead

__A_TAG_PLACEHOLDER_0__. I know an eleventh,   |   if I have to take the lead

To the fight my long-loved friends;

To the fight, my long-loved friends;

I sing in the shields,   |   and in strength they go

I sing in the shields,   |   and with strength they move forward

Whole to the field of fight,

Whole to the field of fight,

Whole from the field of fight,

Whole from the battlefield,

And whole they come thence home.

And they all come back home.

158. A twelfth I know,   |   if high on a tree

__A_TAG_PLACEHOLDER_0__. I know of a twelfth,   |   if it’s high up in a tree

I see a hanged man swing; [66]

I see a man hanging and swinging; [__A_TAG_PLACEHOLDER_0__]

So do I write   |   and color the runes

So I write   |   and color the symbols

That forth he fares,

That then he goes,

And to me talks.

And talks to me.

159. A thirteenth I know,   |   if a thane full young

__A_TAG_PLACEHOLDER_0__. I know one who is thirteenth,   |   if a very young thane

With water I sprinkle well;

I sprinkle water well;

He shall not fall,   |   though he fares mid the host,

He won't fall, even if he is among the crowd,

Nor sink beneath the swords.

Nor fall beneath the swords.

160. A fourteenth I know,   |   if fain I would name

160. I know fourteen, if I wanted to name them.

To men the mighty gods;

To men, the powerful gods;

All know I well   |   of the gods and elves,—

All know I well | of the gods and elves,—

Few be the fools know this.

Few are the fools who know this.

161. A fifteenth I know,   |   that before the doors

__A_TAG_PLACEHOLDER_0__. I know of a fifteenth,   |   that before the doors

Of Delling sang Thjothrörir the dwarf;

Of Delling sang Thjothrörir the dwarf;

Might he sang for the gods,   |   and glory for elves,

Might he sing for the gods,   |   and bring glory to the elves,

And wisdom for Hroptatyr wise.

And wisdom for Hroptatyr.

162. A sixteenth I know,   |   if I seek delight

162. A sixteenth I know,   |   if I look for pleasure

To win from a maiden wise;

To win from a wise maiden;

The mind I turn   |   of the white-armed maid,

The mind I turn   |   of the woman with white arms,

And thus change all her thoughts.

And so, change all her thoughts.

[67]

[__A_TAG_PLACEHOLDER_0__]

163. A seventeenth I know,   |   so that seldom shall go

__A_TAG_PLACEHOLDER_0__. I know it's the seventeenth,   |   so it rarely happens that I will go

A maiden young from me;

A young maiden from me;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

164. Long these songs   |   thou shalt, Loddfafnir,

__A_TAG_PLACEHOLDER_0__. For a long time, these songs | you shall, Loddfafnir,

Seek in vain to sing;

Try to sing in vain;

Yet good it were   |   if thou mightest get them,

Yet it would be good if you could get them,

Well, if thou wouldst them learn,

Well, if you want to learn them,

Help, if thou hadst them.

Help, if you had them.

165. An eighteenth I know,   |   that ne’er will I tell

__A_TAG_PLACEHOLDER_0__. An eighteenth I know,   |   that I will never reveal

To maiden or wife of man,—

To maiden or wife of man,—

The best is what none   |   but one’s self doth know,

The best is what only one’s self knows,

So comes the end of the songs,—

So ends the songs—

Save only to her   |   in whose arms I lie,

Save only to her   |   in whose arms I lie,

Or who else my sister is.

Or who else my sister is.

[28]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

1. This stanza is quoted by Snorri, the second line being omitted in most of the Prose Edda manuscripts.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza, but in most of the Prose Edda manuscripts, the second line is left out.

2. Probably the first and second lines had originally nothing to do with the third and fourth, the last two not referring to host or guest, but to the general danger of backing one’s views with the sword. [30]

__A_TAG_PLACEHOLDER_0__. The first and second lines likely had no connection to the third and fourth; the last two don’t mention host or guest, but rather the overall risk of defending one’s opinions through violence. [__A_TAG_PLACEHOLDER_0__]

6. Lines 5 and 6 appear to have been added to the stanza. [31]

__A_TAG_PLACEHOLDER_0__. Lines 5 and 6 seem to have been included in the stanza. [__A_TAG_PLACEHOLDER_0__]

12. Some editors have combined this stanza in various ways with the last two lines of stanza 11, as in the manuscript the first two lines of the latter are abbreviated, and, if they belong there at all, are presumably identical with the first two lines of stanza 10. [32]

__A_TAG_PLACEHOLDER_0__. Some editors have mixed this stanza in different ways with the last two lines of stanza 11, since in the manuscript the first two lines of the latter are shortened, and if they belong there at all, they are likely the same as the first two lines of stanza 10. [__A_TAG_PLACEHOLDER_0__]

13. The heron: the bird of forgetfulness, referred to in line 1. Gunnloth: the daughter of the giant Suttung, from whom Othin won the mead of poetry. For this episode see stanzas 104–110.

__A_TAG_PLACEHOLDER_0__. The heron: the bird that symbolizes forgetfulness, mentioned in line 1. Gunnloth: the daughter of the giant Suttung, from whom Odin obtained the mead of poetry. For more on this episode, see stanzas 104–110.

14. Fjalar: apparently another name for Suttung. This stanza, and probably 13, seem to have been inserted as illustrative. [34]

__A_TAG_PLACEHOLDER_0__. Fjalar: seems to be another name for Suttung. This stanza, and likely 13, appear to have been added for illustration. [__A_TAG_PLACEHOLDER_0__]

25. The first two lines are abbreviated in the manuscript, but are doubtless identical with the first two lines of stanza 24.

__A_TAG_PLACEHOLDER_0__. The first two lines are shortened in the manuscript, but they are definitely the same as the first two lines of stanza 24.

27. The last two lines were probably added as a commentary on lines 3 and 4. [36]

__A_TAG_PLACEHOLDER_0__. The last two lines were likely added as a commentary on lines 3 and 4. [__A_TAG_PLACEHOLDER_0__]

36. The manuscript has “little” in place of “a hut” in line 1, but this involves an error in the initial-rhymes, and the emendation has been generally accepted.

__A_TAG_PLACEHOLDER_0__. The manuscript has “little” instead of “a hut” in line 1, but this creates a mistake in the initial rhymes, and the correction has been widely accepted.

37. Lines 1 and 2 are abbreviated in the manuscript, but are doubtless identical with the first two lines of stanza 36.

__A_TAG_PLACEHOLDER_0__. Lines 1 and 2 are shortened in the manuscript, but are certainly the same as the first two lines of stanza 36.

39. In the manuscript this stanza follows stanza 40. [37]

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 40. [__A_TAG_PLACEHOLDER_0__]

40. The key-word in line 3 is missing in the manuscript, but editors have agreed in inserting a word meaning “generous.”

__A_TAG_PLACEHOLDER_0__. The keyword in line 3 is missing from the manuscript, but the editors have agreed to insert a word that means “generous.”

41. In line 3 the manuscript adds “givers again” to “gift-givers.” [39]

__A_TAG_PLACEHOLDER_0__. In line 3, the manuscript adds “givers again” to “gift-givers.” [__A_TAG_PLACEHOLDER_0__]

55–56. The first pairs of lines are abbreviated in the manuscript. [40]

__A_TAG_PLACEHOLDER_0__. The initial lines in the manuscript are shortened. [__A_TAG_PLACEHOLDER_0__]

61. The fifth line is probably a spurious addition. [41]

__A_TAG_PLACEHOLDER_0__. The fifth line is likely an unnecessary addition. [__A_TAG_PLACEHOLDER_0__]

62. This stanza follows stanza 63 in the manuscript, but there are marks therein indicating the transposition.

__A_TAG_PLACEHOLDER_0__. This stanza comes after stanza 63 in the manuscript, but there are notes in it showing the rearrangement.

65. The manuscript indicates no lacuna (lines 1 and 2). Many editors have filled out the stanza with two lines from late paper manuscripts, the passage running:

__A_TAG_PLACEHOLDER_0__. The manuscript shows no missing parts (lines 1 and 2). Many editors have completed the stanza with two lines from later paper manuscripts, the passage going:

“A man must be watchful   |   and wary as well,

“A man must be alert and cautious as well,

And fearful of trusting a friend.”

And afraid to trust a friend.

[42]

[__A_TAG_PLACEHOLDER_0__]

70. The manuscript has “and a worthy life” in place of “than to lie a corpse” in line 1, but Rask suggested the emendation as early as 1818, and most editors have followed him. [43]

__A_TAG_PLACEHOLDER_0__. The manuscript says “and a worthy life” instead of “than to lie a corpse” in line 1, but Rask proposed the change as early as 1818, and most editors have adopted it. [__A_TAG_PLACEHOLDER_0__]

73–74. These seven lines are obviously a jumble. The two lines of stanza 73 not only appear out of place, but the verse-form is unlike that of the surrounding stanzas. In 74, the second line is clearly interpolated, and line 1 has little enough connection with lines 3, 4 and 5. It looks as though some compiler (or copyist) had inserted here various odds and ends for which he could find no better place.

__A_TAG_PLACEHOLDER_0__. These seven lines are clearly a mess. The two lines of stanza 73 not only seem out of place, but their verse form doesn’t match the surrounding stanzas. In 74, the second line is obviously added later, and line 1 doesn’t connect well with lines 3, 4, and 5. It seems like some compiler (or copyist) added various bits and pieces here that he couldn't find a better spot for.

75. The word “gold” in line 2 is more or less conjectural, the manuscript being obscure. The reading in line 4 is also doubtful. [44]

__A_TAG_PLACEHOLDER_0__. The word “gold” in line 2 is somewhat uncertain, as the manuscript is unclear. The interpretation in line 4 is also questionable. [__A_TAG_PLACEHOLDER_0__]

76. In the manuscript this stanza follows 78, the order being: 77, 78, 76, 80, 79, 81. Fitjung (“the Nourisher”): Earth.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after 78, in this order: 77, 78, 76, 80, 79, 81. Fitjung (“the Nourisher”): Earth.

79. This stanza is certainly in bad shape, and probably out of place here. Its reference to runes as magic signs suggests that it properly belongs in some list of charms like the Ljothatal (stanzas 147–165). The stanza-form is so irregular as to show either that something has been lost or that there have been interpolations. The manuscript indicates no lacuna; Gering fills out the assumed gap as follows:

__A_TAG_PLACEHOLDER_0__. This stanza is definitely in poor condition and likely doesn’t belong here. Its mention of runes as magical signs implies that it should actually be included in a collection of charms like the Ljothatal (stanzas 147–165). The irregularity of the stanza suggests that either something is missing or there have been additions. The manuscript shows no gaps; Gering fills in the presumed missing part as follows:

“Certain is that   |   which is sought from runes,

“It's certain that   |   what is sought from runes,

The runes—,” etc.

The runes—,” etc.

[45]

[__A_TAG_PLACEHOLDER_0__]

81. With this stanza the verse-form, as indicated in the translation, abruptly changes to Malahattr. What has happened seems to have been something like this. Stanza 80 introduces the idea of man’s love for woman. Consequently some reciter or compiler (or possibly even a copyist) took occasion to insert at this point certain stanzas concerning the ways of women. Thus stanza 80 would account for the introduction of stanzas 81 and 82, which, in turn, apparently drew stanza 83 in with them. Stanza 84 suggests the fickleness of women, and is immediately followed—again with a change of verse-form—by a list of things equally untrustworthy (stanzas 85–90). Then, after a few more stanzas on love in the regular measure of the Hovamol (stanzas 91–95), is introduced, by way of illustration, Othin’s story of his [46]adventure with Billing’s daughter (stanzas 96–102). Some such process of growth, whatever its specific stages may have been, must be assumed to account for the curious chaos of the whole passage from stanza 81 to stanza 102.

__A_TAG_PLACEHOLDER_0__. With this stanza, the verse form, as shown in the translation, suddenly shifts to Malahattr. What seems to have happened is something like this. Stanza 80 introduces the concept of a man's love for a woman. As a result, some reciter or compiler (or maybe even a copyist) took the opportunity to add certain stanzas about the behavior of women at this point. Hence, stanza 80 would lead to the inclusion of stanzas 81 and 82, which, in turn, seemingly pulled in stanza 83 with them. Stanza 84 hints at the unpredictability of women and is immediately followed—again with a change in verse form—by a list of equally unreliable things (stanzas 85–90). Then, after a few more stanzas on love in the regular meter of the Hovamol (stanzas 91–95), Othin's story about his [__A_TAG_PLACEHOLDER_0__] adventure with Billing's daughter is introduced as an illustration (stanzas 96–102). Some kind of process of development, regardless of its specific stages, must be assumed to explain the strange disarray of the entire passage from stanza 81 to stanza 102.

84. Lines 3 and 4 are quoted in the Fostbræthrasaga.

__A_TAG_PLACEHOLDER_0__. Lines 3 and 4 are mentioned in the Fostbræthrasaga.

85. Stanzas 85–88 and 90 are in Fornyrthislag, and clearly come from a different source from the rest of the Hovamol.

__A_TAG_PLACEHOLDER_0__. Stanzas 85–88 and 90 use Fornyrthislag and definitely originate from a different source than the rest of the Hovamol.

87. The stanza is doubtless incomplete. Some editors add from a late paper manuscript two lines running:

__A_TAG_PLACEHOLDER_0__. The stanza is definitely unfinished. Some editors include two lines from a late paper manuscript that read:

“In a light, clear sky   |   or a laughing throng,

“In a bright, clear sky   |   or a joyful crowd,

In the howl of a dog   |   or a harlot’s grief.”

In the howl of a dog or a prostitute's sorrow.

[47]

[__A_TAG_PLACEHOLDER_0__]

88. This stanza follows stanza 89 in the manuscript. Many editors have changed the order, for while stanza 89 is pretty clearly an interpolation wherever it stands, it seriously interferes with the sense if it breaks in between 87 and 88. [48]

__A_TAG_PLACEHOLDER_0__. This stanza comes after stanza 89 in the manuscript. Many editors have rearranged it, since stanza 89 is obviously an addition no matter where it appears, but it really disrupts the flow if it interrupts the transition between 87 and 88. [__A_TAG_PLACEHOLDER_0__]

96. Here begins the passage (stanzas 96–102) illustrating the falseness of woman by the story of Othin’s unsuccessful love-affair with Billing’s daughter. Of this person we know nothing beyond what is here told, but the story needs little comment. [49]

__A_TAG_PLACEHOLDER_0__. This section (stanzas 96–102) showcases the deceitfulness of women through the tale of Othin’s failed romance with Billing’s daughter. We don’t know anything about her except what is mentioned here, but the story speaks for itself. [__A_TAG_PLACEHOLDER_0__]

102. Rask adds at the beginning of this stanza two lines from a late paper manuscript, running:

__A_TAG_PLACEHOLDER_0__. Rask includes at the start of this stanza two lines from a later paper manuscript, which say:

“Few are so good   |   that false they are never

“Few are so good that they are never false."

To cheat the mind of a man.”

To trick someone's mind.

He makes these two lines plus lines 1 and 2 a full stanza, and lines 3, 4, 5, and 6 a second stanza. [50]

He combines these two lines with lines 1 and 2 to create a complete stanza, while lines 3, 4, 5, and 6 form a second stanza. [__A_TAG_PLACEHOLDER_0__]

103. With this stanza the subject changes abruptly, and apparently the virtues of fair speech, mentioned in the last three lines, account for the introduction, from what source cannot be known, of the story of Othin and the mead of song (stanzas 104–110).

__A_TAG_PLACEHOLDER_0__. With this stanza, the focus shifts suddenly, and it seems that the qualities of good speech, highlighted in the last three lines, explain how the story of Othin and the mead of song comes in (stanzas 104–110).

104. The giant Suttung (“the old giant”) possessed the magic mead, a draught of which conferred the gift of poetry. Othin, desiring to obtain it, changed himself into a snake, bored his way through a mountain into Suttung’s home, made love to the giant’s daughter, Gunnloth, and by her connivance drank up all the mead. Then he flew away in the form of an eagle, leaving Gunnloth to her fate. While with Suttung he assumed the name of Bolverk (“the Evil-Doer”).

__A_TAG_PLACEHOLDER_0__. The giant Suttung (“the old giant”) had the magic mead, a drink that granted the gift of poetry. Othin, wanting to get it, transformed himself into a snake, dug his way through a mountain into Suttung’s home, became intimate with the giant’s daughter, Gunnloth, and with her help, drank up all the mead. Then he flew away as an eagle, leaving Gunnloth to face her own consequences. While with Suttung, he went by the name Bolverk (“the Evil-Doer”).

105. Rati (“the Traveller”): the gimlet with which Othin bored through the mountain to reach Suttung’s home. [51]

__A_TAG_PLACEHOLDER_0__. Rati (“the Traveler”): the tool with which Othin drilled through the mountain to get to Suttung's home. [__A_TAG_PLACEHOLDER_0__]

106. Probably either the fourth or the fifth line is a spurious addition.

__A_TAG_PLACEHOLDER_0__. Most likely, either the fourth or the fifth line is an unauthorized addition.

107. Othrörir: here the name of the magic mead itself, whereas in stanza 141 it is the name of the vessel containing it. Othin had no intention of bestowing any of the precious mead upon men, but as he was flying over the earth, hotly pursued by Suttung, he spilled some of it out of his mouth, and in this way mankind also won the gift of poetry.

__A_TAG_PLACEHOLDER_0__. Othrörir: here, it's the name of the magic mead itself, while in stanza 141, it refers to the vessel that holds it. Othin didn't plan to share any of the valuable mead with humans, but as he was flying over the earth, being chased by Suttung, he accidentally spilled some from his mouth. That's how humanity received the gift of poetry.

109. Hor: Othin (“the High One”). The frost-giants, Suttung’s kinsmen, appear not to have suspected Othin of being [52]identical with Bolverk, possibly because the oath referred to in stanza 110 was an oath made by Othin to Suttung that there was no such person as Bolverk among the gods. The giants, of course, fail to get from Othin the information they seek concerning Bolverk, but Othin is keenly conscious of having violated the most sacred of oaths, that sworn on his ring.

__A_TAG_PLACEHOLDER_0__. Hor: Othin (“the High One”). The frost-giants, Suttung’s relatives, didn’t seem to realize that Othin was [__A_TAG_PLACEHOLDER_0__]the same as Bolverk, probably because the oath mentioned in stanza 110 was one that Othin made to Suttung, claiming there was no one named Bolverk among the gods. The giants, of course, don’t manage to get the information they want from Othin about Bolverk, but Othin is very aware that he has broken the most sacred of oaths, the one he swore on his ring.

111. With this stanza begins the Loddfafnismol (stanzas 111–138). Loddfafnir is apparently a wandering singer, who, from his “chanter’s stool,” recites the verses which he claims to have received from Othin. Wells of Urth: cf. Voluspo, 19 and note. Urth (“the Past”) is one of the three Norns. This stanza is apparently in corrupt form, and editors have tried many experiments with it, both in rejecting lines as spurious and in rearranging the words and punctuation. It looks rather as though the first four lines formed a complete stanza, and the last four had [53]crept in later. The phrase translated “the speech of Hor” is “Hova mol,” later used as the title for the entire poem.

__A_TAG_PLACEHOLDER_0__. This stanza starts the Loddfafnismol (stanzas 111–138). Loddfafnir seems to be a wandering singer who, from his “chanter’s stool,” recites the verses he claims to have received from Othin. Wells of Urth: see Voluspo, 19 and note. Urth (“the Past”) is one of the three Norns. This stanza is apparently in a corrupted form, and editors have tried various methods with it, both in rejecting lines as fake and in rearranging the words and punctuation. It seems like the first four lines made a complete stanza, and the last four may have [__A_TAG_PLACEHOLDER_0__] been added later. The phrase translated as “the speech of Hor” is “Hova mol,” which was later used as the title for the whole poem.

112. Lines 1–3 are the formula, repeated (abbreviated in the manuscript) in most of the stanzas, with which Othin prefaces his counsels to Loddfafnir, and throughout this section, except in stanzas 111 and 138, Loddfafnir represents himself as simply quoting Othin’s words. The material is closely analogous to that contained in the first eighty stanzas of the poem. In some cases (e.g., stanzas 117, 119, 121, 126 and 130) the formula precedes a full four-line stanza instead of two (or three) lines. [57]

__A_TAG_PLACEHOLDER_0__. Lines 1–3 are the repeated formula (shortened in the manuscript) featured in most of the stanzas, which Othin uses to introduce his advice to Loddfafnir. Throughout this section, except in stanzas 111 and 138, Loddfafnir portrays himself as merely quoting Othin’s words. This content closely resembles that found in the first eighty stanzas of the poem. In some instances (e.g., stanzas 117, 119, 121, 126, and 130), the formula comes before a complete four-line stanza rather than two (or three) lines. [__A_TAG_PLACEHOLDER_0__]

129. Line 5 is apparently interpolated.

__A_TAG_PLACEHOLDER_0__. Line 5 is likely added.

131. Lines 5–6 probably were inserted from a different poem. [58]

__A_TAG_PLACEHOLDER_0__. Lines 5–6 were likely added from another poem. [__A_TAG_PLACEHOLDER_0__]

133. Many editors reject the last two lines of this stanza as spurious, putting the first two lines at the end of the preceding stanza. Others, attaching lines 3 and 4 to stanza 132, insert as the first two lines of stanza 133 two lines from a late paper manuscript, running:

__A_TAG_PLACEHOLDER_0__. Many editors dismiss the last two lines of this stanza as inauthentic, moving the first two lines to the end of the previous stanza. Others, linking lines 3 and 4 to stanza 132, add two lines from a later paper manuscript as the first two lines of stanza 133, which read:

“Evil and good   |   do men’s sons ever

“Evil and good | do men’s sons ever

Mingled bear in their breasts.”

“Mingled bear in their hearts.”

134. Presumably the last four lines have been added to this stanza, for the parallelism in the last three makes it probable that they belong together. The wrinkled skin of the old man is [59]compared with the dried skins and bellies of animals kept for various purposes hanging in an Icelandic house.

__A_TAG_PLACEHOLDER_0__. It seems like the last four lines were added to this stanza because the similarity in the last three suggests they go together. The old man's wrinkled skin is [__A_TAG_PLACEHOLDER_0__]compared to the dried skins and bellies of animals stored for different uses, hanging in a house in Iceland.

136. This stanza suggests the dangers of too much hospitality. The beam (bolt) which is ever being raised to admit guests becomes weak thereby. It needs a ring to help it in keeping the door closed, and without the ability at times to ward off guests a man becomes the victim of his own generosity.

__A_TAG_PLACEHOLDER_0__. This stanza highlights the risks of being overly hospitable. The support beam that's constantly lifted to welcome guests becomes weak as a result. It requires a ring to help keep the door closed, and without the ability to sometimes turn guests away, a person can fall prey to their own generosity.

137. The list of “household remedies” in this stanza is doubtless interpolated. Their nature needs no comment here. [60]

__A_TAG_PLACEHOLDER_0__. The list of "home remedies" in this stanza was definitely added later. Their nature doesn't require any explanation here. [__A_TAG_PLACEHOLDER_0__]

138. In the manuscript this stanza comes at the end of the entire poem, following stanza 165. Most recent editors have followed Müllenhoff in shifting it to this position, as it appears to conclude the passage introduced by the somewhat similar stanza III.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza is placed at the end of the poem, after stanza 165. Recent editors have mostly agreed with Müllenhoff in moving it to this spot, as it seems to wrap up the section introduced by the somewhat similar stanza III.

139. With this stanza begins the most confusing part of the Hovamol: the group of eight stanzas leading up to the Ljothatal, or list of charms. Certain paper manuscripts have before this stanza a title: “Othin’s Tale of the Runes.” Apparently stanzas 139, 140 and 142 are fragments of an account of how Othin obtained the runes; 141 is erroneously inserted from some version of the magic mead story (cf. stanzas 104–110); and stanzas 143, 144, 145, and 146 are from miscellaneous sources, all, however, dealing with the general subject of runes. With stanza 147 a clearly continuous passage begins once more. The windy tree: the ash Yggdrasil (literally “the Horse of Othin,” so called because of this story), on which Othin, in order to win the magic runes, hanged himself as an offering to himself, and wounded himself with his own spear. Lines 5 and 6 have presumably been borrowed from Svipdagsmol, 30. [61]

__A_TAG_PLACEHOLDER_0__. This stanza marks the start of the most confusing section of the Hovamol: the group of eight stanzas leading up to the Ljothatal, or list of charms. Some manuscript copies have a title before this stanza: “Othin’s Tale of the Runes.” It seems that stanzas 139, 140, and 142 are fragments of a story about how Othin got the runes; 141 is incorrectly included from some version of the magic mead tale (see stanzas 104–110); and stanzas 143, 144, 145, and 146 come from various sources, all related to the general topic of runes. With stanza 147, a clearly continuous section begins again. The windy tree: the ash Yggdrasil (literally “the Horse of Othin,” named for this story), on which Othin, to gain the magic runes, hanged himself as a sacrifice to himself and pierced himself with his own spear. Lines 5 and 6 were probably taken from Svipdagsmol, 30. [__A_TAG_PLACEHOLDER_0__]

141. This stanza, interrupting as it does the account of Othin’s winning the runes, appears to be an interpolation. The meaning of the stanza is most obscure. Bolthorn was Othin’s grandfather, and Bestla his mother. We do not know the name of the uncle here mentioned, but it has been suggested that this son of Bolthorn was Mimir (cf. Voluspo, 27 and note, and 47 and note). In any case, the nine magic songs which he learned from his uncle seem to have enabled him to win the magic mead (cf. stanzas 104–110). Concerning Othrörir, here used as the name of the vessel containing the mead, cf. stanza 107 and note.

__A_TAG_PLACEHOLDER_0__. This stanza, which interrupts the story of Othin's acquisition of the runes, seems to be an addition. The meaning of the stanza is quite unclear. Bolthorn was Othin's grandfather, and Bestla was his mother. We don't know the name of the uncle mentioned here, but some have suggested that this son of Bolthorn was Mimir (see Voluspo, 27 and note, and 47 and note). In any case, the nine magic songs he learned from his uncle appear to have helped him obtain the magic mead (see stanzas 104–110). Regarding Othrörir, which is used as the name of the vessel holding the mead, see stanza 107 and note.

143. This and the following stanza belong together, and in many editions appear as a single stanza. They presumably come from some lost poem on the authorship of the runes. Lines 2 and 3 follow line 4 in the manuscript; the transposition was suggested by Bugge. The king of singers: Othin. The magic signs (runes) were commonly carved in wood, then colored red. [62]

__A_TAG_PLACEHOLDER_0__. This and the next stanza go together, and in many editions, they are presented as a single stanza. They likely come from a lost poem about the authorship of the runes. Lines 2 and 3 appear after line 4 in the manuscript; Bugge suggested this rearrangement. The king of singers: Othin. The magic signs (runes) were typically carved into wood and then painted red. [__A_TAG_PLACEHOLDER_0__]

144. Dain and Dvalin: dwarfs; cf. Voluspo, 14, and note. Dain, however, may here be one of the elves rather than the dwarf of that name. The two names also appear together in Grimnismol, 33, where they are applied to two of the four harts that nibble at the topmost twigs of Yggdrasil. Alsvith (“the All-Wise”) appears nowhere else as a giant’s name. Myself: Othin. We have no further information concerning the list of those who wrote the runes for the various races, and these four lines seem like a confusion of names in the rather hazy mind of some reciter.

__A_TAG_PLACEHOLDER_0__. Dain and Dvalin: dwarfs; see Voluspo, 14, and note. However, Dain might be one of the elves here instead of the dwarf with that name. The two names also come up together in Grimnismol, 33, where they refer to two of the four stags that munch on the topmost branches of Yggdrasil. Alsvith (“the All-Wise”) is not found elsewhere as a giant’s name. Myself: Othin. We don't have more details about the list of those who created the runes for the different races, and these four lines seem like a jumble of names in the rather unclear memory of some storyteller.

145. This Malahattr stanza appears to be a regular religious formula, concerned less with the runes which one “writes” and “tints” (cf. stanza 79) than with the prayers which one “asks” and the sacrifices which one “offers” and “sends.” Its origin is wholly uncertain, but it is clearly an interpolation here. In the manuscript the phrase “knowest?” is abbreviated after the first line. [63]

__A_TAG_PLACEHOLDER_0__. This Malahattr stanza seems to be a standard religious formula, focusing more on the prayers that one “asks” and the sacrifices that one “offers” and “sends” than on the runes that one “writes” and “tints” (see stanza 79). Its origin is completely unclear, but it is obviously an addition here. In the manuscript, the phrase “knowest?” is shortened after the first line. [__A_TAG_PLACEHOLDER_0__]

146. This stanza as translated here follows the manuscript reading, except in assuming a gap between lines 3 and 5. In Vigfusson and Powell’s Corpus Poeticum Boreale the first three lines have somehow been expanded into eight. The last two lines are almost certainly misplaced; Bugge suggests that they belong at the end of stanza 144. Thund: another name for Othin. When home he came: presumably after obtaining the runes as described in stanzas 139 and 140.

__A_TAG_PLACEHOLDER_0__. This stanza, as translated here, follows the manuscript reading, except that it assumes there's a gap between lines 3 and 5. In Vigfusson and Powell’s Corpus Poeticum Boreale, the first three lines have somehow been stretched into eight. The last two lines are almost definitely out of place; Bugge suggests they should be at the end of stanza 144. Thund: another name for Othin. When home he came: probably after getting the runes mentioned in stanzas 139 and 140.

147. With this stanza begins the Ljothatal, or list of charms. The magic songs themselves are not given, but in each case the peculiar application of the charm is explained. The passage, which is certainly approximately complete as far as it goes, runs to the end of the poem. In the manuscript and in most editions line 4 falls into two half-lines, running:

__A_TAG_PLACEHOLDER_0__. This stanza marks the beginning of the Ljothatal, or the list of charms. While the actual magic songs aren’t provided, each charm's specific use is detailed. The section is definitely close to complete as far as it extends, continuing to the end of the poem. In the manuscript and in most editions, line 4 splits into two half-lines, which read:

“In sickness and pain   |   and every sorrow.”

“In sickness and pain and every sorrow.”

[64]

[__A_TAG_PLACEHOLDER_0__]

148. Second, etc., appear in the manuscript as Roman numerals. The manuscript indicates no gap after line 2.

__A_TAG_PLACEHOLDER_0__. Second, etc., are shown in the manuscript as Roman numerals. The manuscript does not show any gap after line 2.

152. The sending of a root with runes written thereon was an excellent way of causing death. So died the Icelandic hero Grettir the Strong. [65]

__A_TAG_PLACEHOLDER_0__. Sending a root with runes inscribed on it was a sure way to bring about death. That's how the Icelandic hero Grettir the Strong met his end. [__A_TAG_PLACEHOLDER_0__]

156. House-riders: witches, who ride by night on the roofs of houses, generally in the form of wild beasts. Possibly one of the last two lines is spurious.

__A_TAG_PLACEHOLDER_0__. House-riders: witches who fly at night on the rooftops of houses, usually disguised as wild animals. One of the last two lines might be an addition.

157. The last line looks like an unwarranted addition, and line 4 may likewise be spurious.

__A_TAG_PLACEHOLDER_0__. The last line seems like an unnecessary addition, and line 4 might also be fake.

158. Lines 4–5 are probably expanded from a single line. [66]

__A_TAG_PLACEHOLDER_0__. Lines 4–5 are likely extended from a single line. [__A_TAG_PLACEHOLDER_0__]

159. The sprinkling of a child with water was an established custom long before Christianity brought its conception of baptism.

__A_TAG_PLACEHOLDER_0__. Sprinkling a child with water was a common practice long before Christianity introduced the idea of baptism.

161. This stanza, according to Müllenhoff, was the original conclusion of the poem, the phrase “a fifteenth” being inserted only after stanzas 162–165 had crept in. Delling: a seldom mentioned god who married Not (Night). Their son was Dag (Day). Thjothrörir: not mentioned elsewhere. Hroptatyr: Othin. [67]

__A_TAG_PLACEHOLDER_0__. This stanza, according to Müllenhoff, was the original end of the poem, with the phrase “a fifteenth” added only after stanzas 162–165 were included. Delling: a rarely mentioned god who married Not (Night). Their son was Dag (Day). Thjothrörir: not referenced anywhere else. Hroptatyr: Othin. [__A_TAG_PLACEHOLDER_0__]

163. Some editors have combined these two lines with stanza 164. Others have assumed that the gap follows the first half-line, making “so that—from me” the end of the stanza.

__A_TAG_PLACEHOLDER_0__. Some editors have merged these two lines with stanza 164. Others have suggested that the break occurs after the first half-line, making “so that—from me” the conclusion of the stanza.

164. This stanza is almost certainly an interpolation, and seems to have been introduced after the list of charms and the Loddfafnismol (stanzas 111–138) were combined in a single poem, for there is no other apparent excuse for the reference to Loddfafnir at this point. The words “if thou mightest get them” are a conjectural emendation.

__A_TAG_PLACEHOLDER_0__. This stanza is likely an addition and appears to have been inserted after the charms and the Loddfafnismol (stanzas 111–138) were merged into one poem, as there's no clear reason for mentioning Loddfafnir here. The phrase “if you could get them” is a suggested correction.

165. This stanza is almost totally obscure. The third and fourth lines look like interpolations. [68]

__A_TAG_PLACEHOLDER_0__. This stanza is pretty much unclear. The third and fourth lines seem like they were added later. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

VAFTHRUTHNISMOL

The Ballad of Vafthruthnir

[__A_TAG_PLACEHOLDER_0__]

Introduction

The Vafthruthnismol follows the Hovamol in the Codex Regius. From stanza 20 on it is also included in the Arnamagnæan Codex, the first part evidently having appeared on a leaf now lost. Snorri quotes eight stanzas of it in the Prose Edda, and in his prose text closely paraphrases many others.

The Vafthruthnismol comes after the Hovamol in the Codex Regius. Starting from stanza 20, it is also found in the Arnamagnæan Codex, although the first part seems to have been on a page that is now missing. Snorri references eight stanzas from it in the Prose Edda, and in his prose, he closely paraphrases many more.

The poem is wholly in dialogue form except for a single narrative stanza (stanza 5). After a brief introductory discussion between Othin and his wife, Frigg, concerning the reputed wisdom of the giant Vafthruthnir, Othin, always in quest of wisdom, seeks out the giant, calling himself Gagnrath. The giant immediately insists that they shall demonstrate which is the wiser of the two, and propounds four questions (stanzas 11, 13, 15, and 17), each of which Othin answers. It is then the god’s turn to ask, and he begins with a series of twelve numbered questions regarding the origins and past history of life. These Vafthruthnir answers, and Othin asks five more questions, this time referring to what is to follow the destruction of the gods, the last one asking the name of his own slayer. Again Vafthruthnir answers, and Othin finally propounds the unanswerable question: “What spake Othin himself in the ears of his son, ere in the bale-fire he burned?” Vafthruthnir, recognizing his questioner as Othin himself, admits his inferiority in wisdom, and so the contest ends.

The poem is entirely in dialogue form except for one narrative stanza (stanza 5). After a short introductory chat between Othin and his wife, Frigg, about the supposed wisdom of the giant Vafthruthnir, Othin, who is always seeking wisdom, goes to find the giant, calling himself Gagnrath. The giant immediately insists they must prove who is wiser and asks four questions (stanzas 11, 13, 15, and 17), all of which Othin answers. Then it’s the god’s turn to ask, and he starts with twelve numbered questions about the origins and past history of life. Vafthruthnir answers those, and Othin follows up with five more questions about what will happen after the destruction of the gods, the last one asking for the name of his own killer. Again, Vafthruthnir answers, and Othin finally poses the unanswerable question: “What did Othin himself say in the ears of his son before he burned in the bale-fire?” Vafthruthnir, recognizing his questioner as Othin, concedes that he is not as wise, and thus the contest concludes.

The whole poem is essentially encyclopædic in character, and thus was particularly useful to Snorri in his preparation of the Prose Edda. The encyclopædic poem with a slight narrative outline seems to have been exceedingly popular; the Grimnismol and the much later Alvissmol represent different phases of the same type. The Vafthruthnismol and Grimnismol together, indeed, constitute a fairly complete dictionary of Norse mythology. There has been much discussion as to the probable date of the Vafthruthnismol, but it appears to belong to about the same period as the Voluspo: in other words, the middle of the tenth century. While there may be a few interpolated passages in the poem as we now have it, it is clearly a united whole, and evidently in relatively good condition.

The entire poem is basically encyclopedic in nature, making it especially helpful for Snorri as he worked on the Prose Edda. This type of encyclopedic poem with a bit of a narrative structure seemed to be very popular; the Grimnismol and the much later Alvissmol represent different phases of the same genre. Together, the Vafthruthnismol and Grimnismol form a pretty complete dictionary of Norse mythology. There’s been a lot of debate about when the Vafthruthnismol was written, but it seems to belong to about the same time as the Voluspo: in other words, the middle of the tenth century. While there might be a few added sections in the poem as we have it now, it clearly holds together as a cohesive piece and is in relatively good condition.

[__A_TAG_PLACEHOLDER_0__]

[69]

[__A_TAG_PLACEHOLDER_0__]

Othin spake:

Odin spoke:

1. “Counsel me, Frigg,   |   for I long to fare,

__A_TAG_PLACEHOLDER_0__. “Help me, Frigg, | because I want to go,”

And Vafthruthnir fain would find;

And Vafthruthnir gladly would find;

In wisdom old   |   with the giant wise

In ancient wisdom   |   with the wise giant

Myself would I seek to match.”

Myself would I seek to match.

Frigg spake:

Frigg said:

2. “Heerfather here   |   at home would I keep,

__A_TAG_PLACEHOLDER_0__. “Father here   |   at home I would stay,

Where the gods together dwell;

Where the gods reside together;

Amid all the giants   |   an equal in might

Amid all the giants   |   a peer in strength

To Vafthruthnir know I none.”

"I don't know Vafthruthnir."

Othin spake:

Othin said:

3. “Much have I fared,   |   much have I found,

3. “I've been through a lot,   |   I've discovered a lot,

Much have I got from the gods;

Much have I received from the gods;

And fain would I know   |   how Vafthruthnir now

And I would really like to know how Vafthruthnir now

Lives in his lofty hall.”

Lives in his grand house.

Frigg spake:

Frigg said:

4. “Safe mayst thou go,   |   safe come again,

4. “You may go safely,   |   and come back safely,

And safe be the way thou wendest!

And may your path be safe!

Father of men,   |   let thy mind be keen

Father of mankind,   |   let your thoughts be sharp

When speech with the giant thou seekest.”

When you seek to talk with the giant.

5. The wisdom then   |   of the giant wise [70]

__A_TAG_PLACEHOLDER_0__. The wisdom of the great wise giant [__A_TAG_PLACEHOLDER_0__]

Forth did he fare to try;

He went to try.

He found the hall   |   of the father of Im,

He found the hall of Im's father,

And in forthwith went Ygg.

And in went Ygg right away.

Othin spake:

Odin spoke:

6. “Vafthruthnir, hail!   |   to thy hall am I come,

6. “Vafthruthnir, greetings! | I’ve come to your hall,

For thyself I fain would see;

For you, I would really like to see;

And first would I ask   |   if wise thou art,

And first I would ask if you are wise,

Or, giant, all wisdom hast won.”

Or, giant, you have gained all knowledge.

Vafthruthnir spake:

Vafthruthnir said:

7. “Who is the man   |   that speaks to me,

7. “Who is the guy that’s talking to me,

Here in my lofty hall?

Here in my grand hall?

Forth from our dwelling   |   thou never shalt fare,

Forth from our home, you shall never go,

Unless wiser than I thou art.”

Unless you are wiser than I am.

Othin spake:

Odin spoke

8. “Gagnrath they call me,   |   and thirsty I come

__A_TAG_PLACEHOLDER_0__. “They call me Gagnrath,   |   and I come thirsty

From a journey hard to thy hall;

From a journey hard to your hall;

Welcome I look for,   |   for long have I fared,

Welcome, I look for,   |   for a long time I have traveled,

And gentle greeting, giant.”

"Greetings, gentle giant."

Vafthruthnir spake:

Vafthruthnir said:

9. “Why standest thou there   |   on the floor whilst thou speakest?

9. “Why are you standing there on the floor while you talk?

A seat shalt thou have in my hall; [71]

A seat you will have in my hall; [__A_TAG_PLACEHOLDER_0__]

Then soon shall we know   |   whose knowledge is more,

Then we'll soon find out   |   whose knowledge is greater,

The guest’s or the sage’s gray.”

The guest's or the wise person's gray.

Othin spake:

Odin spoke:

10. “If a poor man reaches   |   the home of the rich,

__A_TAG_PLACEHOLDER_0__. “If a poor person arrives at the home of a wealthy one,

Let him wisely speak or be still;

Let him speak wisely or stay silent;

For to him who speaks   |   with the hard of heart

For the one who speaks with a hard heart

Will chattering ever work ill.”

Will chatting ever work poorly?

Vafthruthnir spake:

Vafthruthnir said:

11. “Speak forth now, Gagnrath,   |   if there from the floor

11. “Go ahead and speak, Gagnrath,   |   if you have something to say.”

Thou wouldst thy wisdom make known:

You would make your wisdom known:

What name has the steed   |   that each morn anew

What is the name of the horse | that each morning is new

The day for mankind doth draw?”

The day for humanity is drawing near.

Othin spake:

Odin spoke:

12. “Skinfaxi is he,   |   the steed who for men

__A_TAG_PLACEHOLDER_0__. “Skinfaxi is he,   |   the horse that brings light to humans

The glittering day doth draw;

The shiny day is coming;

The best of horses   |   to heroes he seems,

The best of horses   |   looks like a hero,

And brightly his mane doth burn.”

And his mane shines bright.

Vafthruthnir spake:

Vafthruthnir spoke:

13. “Speak forth now, Gagnrath,   |   if there from the floor [72]

__A_TAG_PLACEHOLDER_0__. “Now speak up, Gagnrath,   |   if you have something to say from the floor [__A_TAG_PLACEHOLDER_0__]

Thou wouldst thy wisdom make known:

You would make your wisdom known:

What name has the steed   |   that from East anew

What name does the horse have that comes from the East again

Brings night for the noble gods?”

Brings night for the noble gods?

Othin spake:

Odin spoke:

14. “Hrimfaxi name they   |   the steed that anew

__A_TAG_PLACEHOLDER_0__. “They call the horse Hrimfaxi   |   the one that anew

Brings night for the noble gods;

Brings night for the noble gods;

Each morning foam   |   from his bit there falls,

Each morning, foam from his bit falls,

And thence come the dews in the dales.”

And that's where the dew in the valleys comes from.

Vafthruthnir spake:

Vafthruthnir said:

15. “Speak forth now, Gagnrath,   |   if there from the floor

15. "Go ahead, Gagnrath,   |   if there's something from the floor

Thou wouldst thy wisdom make known:

You'd like to share your wisdom:

What name has the river   |   that ’twixt the realms

What name does the river have | that flows between the kingdoms

Of the gods and the giants goes?”

Of the gods and the giants, where do they go?

Othin spake:

Odin spoke:

16. “Ifing is the river   |   that ’twixt the realms

__A_TAG_PLACEHOLDER_0__. “Ifing is the river   |   that between the realms

Of the gods and the giants goes;

Of the gods and the giants goes;

For all time ever   |   open it flows,

For all time, it flows freely,

No ice on the river there is.”

No ice on the river there is.

Vafthruthnir spake:

Vafthruthnir spoke:

17. “Speak forth now, Gagnrath,   |   if there from the floor [73]

__A_TAG_PLACEHOLDER_0__. “Go ahead and speak, Gagnrath,   |   if you’re standing on the floor [__A_TAG_PLACEHOLDER_0__]

Thou wouldst thy wisdom make known:

You would like to share your wisdom:

What name has the field   |   where in fight shall meet

What name does the field have   |   where we will meet in battle

Surt and the gracious gods?”

Surt and the kind gods?

Othin spake:

Othin spoke:

18. “Vigrith is the field   |   where in fight shall meet

__A_TAG_PLACEHOLDER_0__. “Vigrith is the battlefield | where warriors will clash

Surt and the gracious gods;

Surt and the kind gods;

A hundred miles   |   each way does it measure,

A hundred miles | each way is the distance,

And so are its boundaries set.”

And so its boundaries are established.

Vafthruthnir spake:

Vafthruthnir said:

19. “Wise art thou, guest!   |   To my bench shalt thou go,

__A_TAG_PLACEHOLDER_0__. “You’re wise, my guest! | You will come to my bench,

In our seats let us speak together;

In our seats, let's talk together;

Here in the hall   |   our heads, O guest,

Here in the hall   |   our heads, O guest,

hall we wager our wisdom upon.”

hall we wager our wisdom upon.”

Othin spake:

Odin spoke:

20. “First answer me well,   |   if thy wisdom avails,

__A_TAG_PLACEHOLDER_0__. “First, answer me honestly,   |   if your knowledge permits,

And thou knowest it, Vafthruthnir, now:

And you know it, Vafthruthnir, now:

In earliest time   |   whence came the earth,

In the earliest days | where the earth came from,

Or the sky, thou giant sage?”

Or the sky, you giant sage?

[74]

[__A_TAG_PLACEHOLDER_0__]

Vafthruthnir spake:

Vafthruthnir said:

21. “Out of Ymir’s flesh   |   was fashioned the earth,

__A_TAG_PLACEHOLDER_0__. “From Ymir’s flesh   |   the earth was created,

And the mountains were made of his bones;

And the mountains were formed from his bones;

The sky from the frost-cold   |   giant’s skull,

The sky from the freezing giant's skull,

And the ocean out of his blood.”

And the ocean out of his blood.

Othin spake:

Odin spoke:

22. “Next answer me well,   |   if thy wisdom avails,

__A_TAG_PLACEHOLDER_0__. “Now answer me clearly,   |   if your knowledge is useful,

And thou knowest it, Vafthruthnir, now:

And you know it now, Vafthruthnir:

Whence came the moon,   |   o’er the world of men

Whence came the moon,   |   over the world of people

That fares, and the flaming sun?”

That fares, and the blazing sun?”

Vafthruthnir spake:

Vafthruthnir said:

23. “Mundilferi is he   |   who begat the moon,

__A_TAG_PLACEHOLDER_0__. “Mundilferi is the one | who fathered the moon,

And fathered the flaming sun;

And fathered the blazing sun;

The round of heaven   |   each day they run,

The cycle of the heavens | every day they move,

To tell the time for men.”

To tell the time for men.

Othin spake:

Othin said:

24. “Third answer me well,   |   if wise thou art called,

24. “Answer me clearly, if you’re as wise as they say,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

Whence came the day,   |   o’er mankind that fares,

Whence came the day,   |   over humanity that travels,

Or night with the narrowing moon?”

Or night with the shrinking moon?”

[75]

[__A_TAG_PLACEHOLDER_0__]

Vafthruthnir spake:

Vafthruthnir spoke:

25. “The father of day   |   is Delling called,

__A_TAG_PLACEHOLDER_0__. “Delling is called the father of day,

And the night was begotten by Nor;

And the night was created by Nor;

Full moon and old   |   by the gods were fashioned,

Full moon and old | by the gods were created,

To tell the time for men.”

To tell the time for men.

Othin spake:

Odin spoke:

26. “Fourth answer me well,   |   if wise thou art called,

26. “Fourth, answer me clearly,   |   if you are indeed wise,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

Whence did winter come,   |   or the summer warm,

Whence did winter come,   |   or the summer warm,

First with the gracious gods?”

"First with the gracious gods?"

Vafthruthnir spake:

Vafthruthnir said:

27. “Vindsval he was   |   who was winter’s father,

__A_TAG_PLACEHOLDER_0__. “Vindsval he was | who was winter’s father,

And Svosuth summer begat;”

And Svosuth summer began;”

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

[76]

[__A_TAG_PLACEHOLDER_0__]

Othin spake:

Odin spoke:

28. “Fifth answer me well,   |   if wise thou art called,

__A_TAG_PLACEHOLDER_0__. “Fifth, answer me clearly,   |   if you’re considered wise,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

What giant first   |   was fashioned of old,

What giant was created long ago,

And the eldest of Ymir’s kin?”

And what about the oldest of Ymir's family?

Vafthruthnir spake:

Vafthruthnir spoke

29. “Winters unmeasured   |   ere earth was made

__A_TAG_PLACEHOLDER_0__. “Winters without count | before the world was created

Was the birth of Bergelmir;

Was Bergelmir born;

Thruthgelmir’s son   |   was the giant strong,

Thruthgelmir's son | was the strong giant,

And Aurgelmir’s grandson of old.”

"And Aurgelmir’s grandson of old."

Othin spake:

Odin said:

30. “Sixth answer me well,   |   if wise thou art called,

30. “Sixth, listen carefully to me,   |   if you’re considered wise,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

Whence did Aurgelmir come   |   with the giants’ kin,

Whence did Aurgelmir come   |   with the giants’ kin,

Long since, thou giant sage?”

"Long ago, you giant sage?"

Vafthruthnir spake:

Vafthruthnir said:

31. “Down from Elivagar   |   did venom drop,

__A_TAG_PLACEHOLDER_0__. “From Elivagar, poison dropped,

And waxed till a giant it was; [77]

And grew until it was a giant; [__A_TAG_PLACEHOLDER_0__]

And thence arose   |   our giants’ race,

And from there came our race of giants,

And thus so fierce are we found.”

And so we are found to be fierce.

Othin spake:

Odin spoke:

32. “Seventh answer me well,   |   if wise thou art called,

32. “Seventh, answer me clearly, | if you’re called wise,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

How begat he children,   |   the giant grim,

How did the grim giant have children, |

Who never a giantess knew?”

"Who has ever known a giantess?"

Vafthruthnir spake:

Vafthruthnir said:

33. “They say ’neath the arms   |   of the giant of ice

__A_TAG_PLACEHOLDER_0__. “They say under the arms   |   of the giant of ice

Grew man-child and maid together;

Raised a young man and woman together;

And foot with foot   |   did the wise one fashion

And foot with foot | did the wise one create

A son that six heads bore.”

A son with six heads.

Othin spake:

Odin said:

34. “Eighth answer me well,   |   if wise thou art called,

34. “Eighth, answer me clearly,   |   if you are truly wise,"

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

What farthest back   |   dost thou bear in mind?

What do you remember from way back?

For wide is thy wisdom, giant!”

For your wisdom is vast, giant!

[78]

[__A_TAG_PLACEHOLDER_0__]

Vafthruthnir spake:

Vafthruthnir said:

35. “Winters unmeasured   |   ere earth was made

__A_TAG_PLACEHOLDER_0__. “Winters uncounted   |   before the earth was created

Was the birth of Bergelmir;

Birth of Bergelmir;

This first knew I well,   |   when the giant wise

This first knew I well,   |   when the giant wise

In a boat of old was borne.”

In an old boat was carried.

Othin spake:

Odin spoke:

36. “Ninth answer me well,   |   if wise thou art called,

36. “Ninth, answer me clearly,   |   if you're called wise,

If thou knowest it, Vafthruthnir, now:

If you know it, Vafthruthnir, now:

Whence comes the wind   |   that fares o’er the waves

Whence comes the wind   |   that travels over the waves

Yet never itself is seen?”

Yet it is never seen?

Vafthruthnir spake:

Vafthruthnir said:

37. “In an eagle’s guise   |   at the end of heaven

__A_TAG_PLACEHOLDER_0__. “In the form of an eagle | at the edge of the sky

Hræsvelg sits, they say;

Hræsvelg is said to sit;

And from his wings   |   does the wind come forth

And from his wings, the wind flows out.

To move o’er the world of men.”

To travel through the world of people.

Othin spake:

Odin spoke:

38. “Tenth answer me now,   |   if thou knowest all

__A_TAG_PLACEHOLDER_0__. “Answer me now, if you know everything.

The fate that is fixed for the gods: [79]

The destiny that is set for the gods: [__A_TAG_PLACEHOLDER_0__]

Whence came up Njorth   |   to the kin of the gods,—

Whence came Njorth   |   to the kin of the gods,—

(Rich in temples   |   and shrines he rules,—)

(Rich in temples   |   and shrines he rules,—)

Though of gods he was never begot?”

Though he was never born of gods?"

Vafthruthnir spake:

Vafthruthnir said:

39. “In the home of the Wanes   |   did the wise ones create him,

39. “In the home of the Wanes | the wise ones brought him to life,

And gave him as pledge to the gods;

And offered him as a pledge to the gods;

At the fall of the world   |   shall he fare once more

At the end of the world   |   he shall journey again

Home to the Wanes so wise.”

Home of the wise Wanes.

Othin spake:

Odin spoke:

40. “Eleventh answer me well,   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. “So, tell me your eleventh answer clearly,   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .

What men .  .  .  .  .  .   |   in .  .  .  .  .  . home

What men do at home

Each day to fight go forth?”

Each day, do we go out to fight?

Vafthruthnir spake:

Vafthruthnir spoke:

41. “The heroes all   |   in Othin’s hall

__A_TAG_PLACEHOLDER_0__. “The heroes all | in Othin’s hall

Each day to fight go forth; [80]

Each day we go out to fight; [__A_TAG_PLACEHOLDER_0__]

They fell each other,   |   and fare from the fight

They fell for each other,   |   and went far from the fight

All healed full soon to sit.”

All healed up, ready to sit soon.

Othin spake:

Othin said:

42. “Twelfth answer me now   |   how all thou knowest

42. “Answer me this, Twelfth, | How much do you really know?”

Of the fate that is fixed for the gods;

Of the destiny that is set for the gods;

Of the runes of the gods   |   and the giants’ race

Of the runes of the gods   |   and the race of giants

The truth indeed dost thou tell,

The truth you speak is indeed true,

(And wide is thy wisdom, giant!)”

(And wide is your wisdom, giant!)”

Vafthruthnir spake:

Vafthruthnir said:

43. “Of the runes of the gods   |   and the giants’ race

__A_TAG_PLACEHOLDER_0__. “About the runes of the gods   |   and the giants’ lineage

The truth indeed can I tell,

The truth I can definitely share,

(For to every world have I won;)

(For I've conquered every realm;)

To nine worlds came I,   |   to Niflhel beneath,

To nine worlds I arrived, | to Niflhel below,

The home where dead men dwell.”

The place where the dead reside.

Othin spake:

Odin spoke:

44. “Much have I fared,   |   much have I found,

__A_TAG_PLACEHOLDER_0__. “I've experienced a lot, | I've discovered even more,

Much have I got of the gods:

Much have I received from the gods:

What shall live of mankind   |   when at last there comes

What will remain of humanity when the end finally arrives

The mighty winter to men?”

The harsh winter to humans?

Vafthruthnir spake:

Vafthruthnir spoke:

45. “In Hoddmimir’s wood   |   shall hide themselves

__A_TAG_PLACEHOLDER_0__. “In Hoddmimir’s forest   |   will hide themselves

Lif and Lifthrasir then; [81]

Lif and Lifthrasir then; [__A_TAG_PLACEHOLDER_0__]

The morning dews   |   for meat shall they have,

The morning dews | they will have for food,

Such food shall men then find.”

Such food will men then find.

Othin spake:

Odin spoke:

46. “Much have I fared,   |   much have I found,

__A_TAG_PLACEHOLDER_0__. “I've experienced a lot,   |   I've discovered a lot,

Much have I got of the gods:

Much have I received from the gods:

Whence comes the sun   |   to the smooth sky back,

Whence comes the sun   |   to the smooth sky back,

When Fenrir has snatched it forth?”

When Fenrir has pulled it out?”

Vafthruthnir spake:

Vafthruthnir said:

47. “A daughter bright   |   Alfrothul bears

__A_TAG_PLACEHOLDER_0__. “A bright daughter   |   Alfrothul carries

Ere Fenrir snatches her forth;

Before Fenrir snatches her away;

Her mother’s paths   |   shall the maiden tread

Her mother's paths | shall the young woman follow

When the gods to death have gone.”

When the gods have passed away.

Othin spake:

Odin spoke:

48. “Much have I fared,   |   much have I found,

48. “I’ve been through a lot, | I’ve discovered a lot,

Much have I got of the gods:

Much have I received from the gods:

What maidens are they,   |   so wise of mind,

What maidens are they,   |   so smart in their thinking,

That forth o’er the sea shall fare?”

That will go over the sea?

[82]

[__A_TAG_PLACEHOLDER_0__]

Vafthruthnir spake:

Vafthruthnir said

49. “O’er Mogthrasir’s hill   |   shall the maidens pass,

__A_TAG_PLACEHOLDER_0__. “Across Mogthrasir’s hill   |   the maidens will pass,

And three are their throngs that come;

And three are their crowds that come;

They all shall protect   |   the dwellers on earth,

They will all protect the people on earth,

Though they come of the giants’ kin.”

Though they come from the giants' family.

Othin spake:

Othin said:

50. “Much have I fared,   |   much have I found,

__A_TAG_PLACEHOLDER_0__. “I have experienced a lot, | I have discovered much,

Much have I got of the gods:

Much have I received from the gods:

Who then shall rule   |   the realm of the gods,

Who then will rule   |   the realm of the gods,

When the fires of Surt have sunk?”

When have Surt's fires gone out?

Vafthruthnir spake:

Vafthruthnir said:

51. “In the gods’ home Vithar   |   and Vali shall dwell,

__A_TAG_PLACEHOLDER_0__. “In the gods’ home, Vithar and Vali will live,

When the fires of Surt have sunk;

When the fires of Surt have gone out;

Mothi and Magni   |   shall Mjollnir have

Mothi and Magni   |   may Mjollnir be granted

When Vingnir falls in fight.”

“When Vingnir falls in battle.”

Othin spake:

Othin spoke:

52. “Much have I fared,   |   much have I found,

52. “I’ve been through a lot, | I’ve discovered many things,

Much have I got of the gods: [83]

Much have I received from the gods: [__A_TAG_PLACEHOLDER_0__]

What shall bring the doom   |   of death to Othin,

What will bring death to Othin,

When the gods to destruction go?”

When do the gods head for destruction?

Vafthruthnir spake:

Vafthruthnir said

53. “The wolf shall fell   |   the father of men,

__A_TAG_PLACEHOLDER_0__. “The wolf will bring down   |   the father of men,

And this shall Vithar avenge;

And Vithar will avenge this;

The terrible jaws   |   shall he tear apart,

The terrible jaws shall he tear apart,

And so the wolf shall he slay.”

And so he will slay the wolf."

Othin spake:

Odin spoke:

54. “Much have I fared,   |   much have I found,

__A_TAG_PLACEHOLDER_0__. “I’ve been through a lot, | I’ve discovered so much,

Much have I got from the gods:

Much have I received from the gods:

What spake Othin himself   |   in the ears of his son,

What Odin himself said in the ears of his son,

Ere in the bale-fire he burned?”

Ere in the bonfire he burned?

Vafthruthnir spake:

Vafthruthnir said

55. “No man can tell   |   what in olden time

__A_TAG_PLACEHOLDER_0__. “No one can say what happened in the past.

Thou spak’st in the ears of thy son;

You spoke in your son’s ears;

With fated mouth   |   the fall of the gods

With destined words   |   the downfall of the gods

And mine olden tales have I told;

And I have shared my old stories;

With Othin in knowledge   |   now have I striven,

With Othin in mind   |   now I have tried,

And ever the wiser thou art.”

And the smarter you are.

[68]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[69]

[__A_TAG_PLACEHOLDER_0__]

1. The phrases “Othin spake,” “Frigg spake,” etc., appear in abbreviated form in both manuscripts. Frigg: Othin’s wife; cf. Voluspo, 34 and note. Vafthruthnir (“the Mighty in Riddles”): nothing is known of this giant beyond what is told in this poem.

__A_TAG_PLACEHOLDER_0__. The phrases "Othin said," "Frigg said," etc., show up in shortened form in both manuscripts. Frigg: Othin’s wife; see Voluspo, 34 and note. Vafthruthnir (“the Mighty in Riddles”): we only know what this giant is about from this poem.

2. Heerfather (“Father of the Host”): Othin.

__A_TAG_PLACEHOLDER_0__. Heerfather (“Father of the Host”): Odin.

5. This single narrative stanza is presumably a later interpolation. [70]Im: the name appears to be corrupt, but we know nothing of any son of Vafthruthnir. Ygg (“the Terrible”): Othin.

__A_TAG_PLACEHOLDER_0__. This single narrative stanza is probably a later addition. [__A_TAG_PLACEHOLDER_0__]Im: the name seems to be messed up, but we don't know anything about any son of Vafthruthnir. Ygg (“the Terrible”): Othin.

8. Gagnrath (“the Gain-Counsellor”): Othin on his travels always assumes a name other than his own. [71]

__A_TAG_PLACEHOLDER_0__. Gagnrath (“the Gain-Counsellor”): Othin, while traveling, always goes by a different name. [__A_TAG_PLACEHOLDER_0__]

10. This stanza sounds very much like many of those in the first part of the Hovamol, and may have been introduced here from some such source.

__A_TAG_PLACEHOLDER_0__. This stanza resembles many from the first part of the Hovamol, and it might have been brought in from a similar source.

12. Skinfaxi: “Shining-Mane.” [72]

__A_TAG_PLACEHOLDER_0__. Skinfaxi: “Shining Mane.” [__A_TAG_PLACEHOLDER_1__]

13. Here, and in general throughout the poem, the two-line introductory formulæ are abbreviated in the manuscripts.

__A_TAG_PLACEHOLDER_0__. Here, and generally throughout the poem, the two-line introductory formulas are shortened in the manuscripts.

14. Hrimfaxi: “Frosty-Mane.”

__A_TAG_PLACEHOLDER_0__. Hrimfaxi: “Frosty Mane.”

16. Ifing: there is no other reference to this river, which never freezes, so that the giants cannot cross it. [73]

__A_TAG_PLACEHOLDER_0__. Ifing: there’s no other mention of this river, which never freezes, making it impossible for the giants to cross it. [__A_TAG_PLACEHOLDER_0__]

17. Surt: the ruler of the fire-world (Muspellsheim), who comes to attack the gods in the last battle; cf. Voluspo, 52.

__A_TAG_PLACEHOLDER_0__. Surt: the leader of the fire realm (Muspellsheim), who arrives to confront the gods in the final battle; see Voluspo, 52.

18. Vigrith: “the Field of Battle.” Snorri quotes this stanza. A hundred miles: a general phrase for a vast distance.

__A_TAG_PLACEHOLDER_0__. Vigrith: “the Field of Battle.” Snorri cites this stanza. A hundred miles: a common expression for a great distance.

19. With this stanza Vafthruthnir, sufficiently impressed with his guest’s wisdom to invite him to share his own seat, resigns the questioning to Othin.

__A_TAG_PLACEHOLDER_0__. With this stanza, Vafthruthnir, clearly impressed by his guest’s wisdom, invites him to take a seat beside him and hands over the questioning to Othin.

20. The fragmentary version of this poem in the Arnamagnæan Codex begins in the middle of the first line of this stanza. [74]

__A_TAG_PLACEHOLDER_0__. The incomplete version of this poem in the Arnamagnæan Codex starts in the midst of the first line of this stanza. [__A_TAG_PLACEHOLDER_0__]

21. Ymir: the giant out of whose body the gods made the world; cf. Voluspo, 3 and note.

__A_TAG_PLACEHOLDER_0__. Ymir: the giant from whose body the gods created the world; see Voluspo, 3 and note.

22. In this and in Othin’s following questions, both manuscripts replace the words “next,” “third,” “fourth,” etc., by Roman numerals.

__A_TAG_PLACEHOLDER_0__. In this and in Othin’s subsequent questions, both manuscripts replace the words “next,” “third,” “fourth,” etc., with Roman numerals.

23. Mundilferi (“the Turner”?): known only as the father of Mani (the Moon) and Sol (the Sun). Note that, curiously [75]enough, Mani is the boy and Sol the girl. According to Snorri, Sol drove the horses of the sun, and Mani those of the moon, for the gods, indignant that they should have been given such imposing names, took them from their father to perform these tasks. Cf. Grimnismol, 37.

__A_TAG_PLACEHOLDER_0__. Mundilferi (“the Turner”?): known only as the father of Mani (the Moon) and Sol (the Sun). Interestingly, [__A_TAG_PLACEHOLDER_0__] Mani is the boy and Sol is the girl. According to Snorri, Sol drove the sun's horses, and Mani drove the moon's, because the gods, upset that they were given such grand names, took them from their father to fulfill these roles. Cf. Grimnismol, 37.

25. Delling (“the Dayspring”? Probably another form of the name, Dogling, meaning “Son of the Dew” is more correct): the husband of Not (Night); their son was Dag (Day); cf. Hovamol, 161. Nor: Snorri calls the father of Night Norvi or Narfi, and puts him among the giants. Lines 3–4: cf. Voluspo, 6.

__A_TAG_PLACEHOLDER_0__. Delling (“the Dayspring”? Probably another version of the name, Dogling, meaning “Son of the Dew” is more accurate): he was the partner of Not (Night); their child was Dag (Day); see Hovamol, 161. Nor: Snorri refers to the father of Night as Norvi or Narfi, placing him among the giants. Lines 3–4: see Voluspo, 6.

27. Neither the Regius nor the Arnamagnæan Codex indicates a lacuna. Most editors have filled out the stanza with two lines from late paper manuscripts: “And both of these   |   shall ever be, / Till the gods to destruction go.” Bugge ingeniously paraphrases Snorri’s prose: “Vindsval’s father   |   was Vosuth called, / And rough is all his race.” Vindsval: “the Wind-Cold,” also called Vindljoni, “the Wind-Man.” Svosuth: “the Gentle.” [76]

__A_TAG_PLACEHOLDER_0__. Neither the Regius nor the Arnamagnæan Codex shows a gap. Most editors have completed the stanza with two lines from later paper manuscripts: “And both of these   |   shall always be, / Until the gods are destroyed.” Bugge cleverly paraphrases Snorri’s prose: “Vindsval’s father   |   was called Vosuth, / And his whole lineage is rough.” Vindsval: “the Wind-Cold,” also known as Vindljoni, “the Wind-Man.” Svosuth: “the Gentle.” [__A_TAG_PLACEHOLDER_0__]

28. Ymir’s kin: the giants.

__A_TAG_PLACEHOLDER_0__. Ymir's family: the giants.

29. Bergelmir: when the gods slew Ymir in order to make the world out of his body, so much blood flowed from him that all the frost-giants were drowned except Bergelmir and his wife, who escaped in a boat; cf. stanza 35. Of Thruthgelmir (“the Mightily Burning”) we know nothing, but Aurgelmir was the frost-giants’ name for Ymir himself. Thus Ymir was the first of the giants, and so Othin’s question is answered.

__A_TAG_PLACEHOLDER_0__. Bergelmir: when the gods killed Ymir to create the world from his body, so much blood poured out that all the frost giants drowned except for Bergelmir and his wife, who escaped in a boat; see stanza 35. We don’t know anything about Thruthgelmir (“the Mightily Burning”), but Aurgelmir was the name the frost giants used for Ymir himself. Therefore, Ymir was the first of the giants, and that answers Othin’s question.

31. Snorri quotes this stanza, and the last two lines are taken from his version, as both of the manuscripts omit them. Elivagar (“Stormy Waves”): Mogk suggests that this river may have been the Milky Way. At any rate, the venom carried in its waters [77]froze into ice-banks over Ginnunga-gap (the “yawning gap” referred to in Voluspo, 3), and then dripped down to make the giant Ymir.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza, and the last two lines come from his version, since both manuscripts leave them out. Elivagar (“Stormy Waves”): Mogk suggests that this river might have been the Milky Way. In any case, the venom in its waters [__A_TAG_PLACEHOLDER_0__] froze into ice banks over Ginnunga-gap (the “yawning gap” mentioned in Voluspo, 3), and then dripped down to create the giant Ymir.

33. Snorri gives, without materially elaborating on it, the same account of how Ymir’s son and daughter were born under his left arm, and how his feet together created a son. That this offspring should have had six heads is nothing out of the ordinary, for various giants had more than the normal number, and Hymir’s mother is credited with a little matter of nine hundred heads; cf. Hymiskvitha, 8. Of the career of Ymir’s six-headed son we know nothing; he may have been the Thruthgelmir of stanza 29. [78]

__A_TAG_PLACEHOLDER_0__. Snorri shares a similar account of how Ymir’s son and daughter were born from his left arm and how his feet produced a son. It's not unusual for this child to have had six heads, as various giants had more than the usual number; Hymir’s mother is said to have had as many as nine hundred heads; see Hymiskvitha, 8. We don’t know anything about the life of Ymir’s six-headed son; he might have been the Thruthgelmir mentioned in stanza 29. [__A_TAG_PLACEHOLDER_0__]

35. Snorri quotes this stanza. Bergelmir: on him and his boat cf. stanza 29 and note.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Bergelmir: refer to him and his boat in stanza 29 and the note.

37. Snorri quotes this stanza. Hræsvelg (“the Corpse-Eater”): on this giant in eagle’s form cf. Voluspo, 50, and Skirnismol, 27.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Hræsvelg (“the Corpse-Eater”): about this giant in the form of an eagle, see Voluspo, 50, and Skirnismol, 27.

38. With this stanza the question-formula changes, and Othin’s questions from this point on concern more or less directly the great final struggle. Line 4 is presumably spurious. Njorth: on Njorth and the Wanes, who gave him as a hostage to the gods at the end of their war, cf. Voluspo, 21 and note. [79]

__A_TAG_PLACEHOLDER_0__. With this stanza, the way questions are asked shifts, and from this point onward, Othin’s questions are more or less directly about the great final struggle. Line 4 is likely not authentic. Njorth: regarding Njorth and the Wanes, who surrendered him as a hostage to the gods at the end of their conflict, see Voluspo, 21 and note. [__A_TAG_PLACEHOLDER_0__]

40. In both manuscripts, apparently through the carelessness of some older copyist, stanzas 40 and 41 are run together: “Eleventh answer me well, what men in the home mightily battle each day? They fell each other, and fare from the fight all healed full soon to sit.” Luckily Snorri quotes stanza 41 in full, and the translation is from his version. Stanza 40 should probably run something like this: “Eleventh answer me well,   |   if thou knowest all / The fate that is fixed for the gods: / What men are they   |   who in Othin’s home / Each day to fight go forth?”

__A_TAG_PLACEHOLDER_0__. In both manuscripts, due to the oversight of some older copyist, stanzas 40 and 41 are merged: “Eleventh, answer me clearly, what men in the home fight fiercely every day? They fall against each other, and soon after the battle, they heal up quickly to sit again.” Fortunately, Snorri quotes stanza 41 in full, and this translation is based on his version. Stanza 40 should probably be something like this: “Eleventh, answer me clearly, / if you know all / The fate that is set for the gods: / Who are the men / that go forth to fight in Odin’s home each day?”

41. The heroes: those brought to Valhall by the Valkyries. After the day’s fighting they are healed of their wounds and all feast together. [80]

__A_TAG_PLACEHOLDER_0__. The heroes: those who were taken to Valhalla by the Valkyries. After the day’s battles, they are healed of their injuries and all celebrate together. [__A_TAG_PLACEHOLDER_0__]

43. Nine worlds: cf. Voluspo, 2. Niflhel: “Dark-Hell.”

__A_TAG_PLACEHOLDER_0__. Nine worlds: cf. Voluspo, 2. Niflhel: “Dark Hell.”

44. The mighty winter: Before the final destruction three winters follow one another with no intervening summers.

__A_TAG_PLACEHOLDER_0__. The mighty winter: Before the ultimate destruction, three winters occur back-to-back without any summer in between.

45. Snorri quotes this stanza. Hoddmimir’s wood: probably [81]this is the ash-tree Yggdrasil, which is sometimes referred to as “Mimir’s Tree,” because Mimir waters it from his well; cf. Voluspo, 27 and note, and Svipdagsmol, 30 and note. Hoddmimir is presumably another name for Mimir. Lif (“Life”) and Lifthrasir (“Sturdy of Life”?): nothing further is known of this pair, from whom the new race of men is to spring.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Hoddmimir’s wood: likely [__A_TAG_PLACEHOLDER_0__]this refers to the ash-tree Yggdrasil, which is sometimes called “Mimir’s Tree,” because Mimir waters it from his well; see Voluspo, 27 and note, and Svipdagsmol, 30 and note. Hoddmimir is presumably another name for Mimir. Lif (“Life”) and Lifthrasir (“Sturdy of Life”?): not much else is known about this pair, who are said to be the ancestors of the new race of men.

46. Fenrir: there appears to be a confusion between the wolf Fenrir (cf. Voluspo, 39 and note) and his son, the wolf Skoll, who steals the sun (cf. Voluspo, 40 and note).

__A_TAG_PLACEHOLDER_0__. Fenrir: it seems there's a mix-up between the wolf Fenrir (see Voluspo, 39 and note) and his son, the wolf Skoll, who takes the sun (see Voluspo, 40 and note).

47. Snorri quotes this stanza. Alfrothul (“the Elf-Beam”): the sun. [82]

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Alfrothul (“the Elf-Beam”): the sun. [__A_TAG_PLACEHOLDER_0__]

49. Mogthrasir (“Desiring Sons”): not mentioned elsewhere in the Eddic poems, or by Snorri. The maidens: apparently Norns, like the “giant-maids” in Voluspo, 8. These Norns, however, are kindly to men.

__A_TAG_PLACEHOLDER_0__. Mogthrasir (“Wanting Sons”): not referenced anywhere else in the Eddic poems or by Snorri. The maidens: likely Norns, similar to the “giant-maids” in Voluspo, 8. These Norns, however, are friendly to men.

50. Surt: cf. Voluspo, 52 and note.

__A_TAG_PLACEHOLDER_0__. Surt: see Voluspo, 52 and note.

51. Vithar: a son of Othin, who slays the wolf Fenrir; cf. Voluspo, 54 and note. Vali: the son whom Othin begot to avenge Baldr’s death; cf. Voluspo, 33 and note. Mothi (“Wrath”) and Magni (“Might”): the sons of the god Thor, who after his death inherit his famous hammer, Mjollnir. Concerning this hammer cf. especially Thrymskvitha, passim. Vingnir (“the [83]Hurler”): Thor. Concerning his death cf. Voluspo, 56. This stanza is quoted by Snorri.

__A_TAG_PLACEHOLDER_0__. Vithar: a son of Othin, who kills the wolf Fenrir; see Voluspo, 54 and note. Vali: the son Othin had to avenge Baldr’s death; see Voluspo, 33 and note. Mothi (“Wrath”) and Magni (“Might”): the sons of the god Thor, who inherit his famous hammer, Mjollnir, after his death. For more about this hammer, see especially Thrymskvitha, passim. Vingnir (“the [__A_TAG_PLACEHOLDER_0__]Hurler”): Thor. For details on his death, see Voluspo, 56. This stanza is quoted by Snorri.

53. The wolf: Fenrir; cf. Voluspo, 53 and 54.

__A_TAG_PLACEHOLDER_0__. The wolf: Fenrir; see Voluspo, 53 and 54.

54. His son: Baldr. Bugge changes lines 3–4 to run: “What did Othin speak   |   in the ear of Baldr, / When to the bale-fire they bore him?” For Baldr’s death cf. Voluspo, 32 and note. The question is, of course, unanswerable save by Othin himself, and so the giant at last recognizes his guest.

__A_TAG_PLACEHOLDER_0__. His son: Baldr. Bugge changes lines 3–4 to read: “What did Othin say   |   to Baldr, / When they carried him to the funeral pyre?” For Baldr’s death see Voluspo, 32 and note. The question is, of course, unanswerable except by Othin himself, and so the giant finally acknowledges his guest.

55. Fated: in stanza 19 Vafthruthnir was rash enough to wager his head against his guest’s on the outcome of the contest of wisdom, so he knows that his defeat means his death. [84]

__A_TAG_PLACEHOLDER_0__. Fated: in stanza 19, Vafthruthnir was bold enough to bet his head against his guest’s in the contest of wisdom, so he realizes that losing means he will die. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

GRIMNISMOL

The Ballad of Grimnir

[__A_TAG_PLACEHOLDER_0__]

Introduction

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.

The Grimnismol comes after the Vafthruthnismol in the Codex Regius and is also fully preserved in the Arnamagnæan Codex, where it also follows the Vafthruthnismol. Snorri references more than twenty of its stanzas.

Like the preceding poem, the Grimnismol is largely encyclopædic 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.

Like the previous poem, the Grimnismol is mainly encyclopedic in nature and primarily consists of proper names, with the last forty-seven stanzas containing no less than two hundred and twenty-five of them. However, it isn’t written in dialogue form. As Müllenhoff pointed out, beneath the list of mythological names lies a continuous and fully dramatic story. Othin, disguised as Grimnir, is mistakenly captured and tortured by King Geirröth. Bound between two blazing fires, he starts to share his wisdom with the king’s young son, Agnar, who has shown him kindness. Gradually, he builds up to the climactic moment when he reveals his true name, or rather names, to the frightened Geirröth, who then falls on his sword and dies.

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.

For much of this story, we don't have to rely on guesswork because both manuscripts include a lengthy prose narrative before the poem and a brief prose statement at the end about how Geirröth died. These prose notes, many of which appear in the Eddic manuscripts, are quite interesting for those studying early literary forms. They were likely written by the compiler responsible for the Eddic collection, who thought the poems needed this kind of explanation to be understood clearly. Language evidence indicates that these notes were written in the twelfth or thirteenth century since they don't contain the older word forms that help us 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 [85]themselves appear to have lived in oral prose tradition, just as in the case of the sagas; and the prose notes of the manuscripts, in so far as they contain material not simply drawn from the poems themselves, are relics of this tradition. The early Norse poets rarely conceived verse as a suitable means for direct story-telling, and in some of the poems even the simplest action is told in prose “links” between dialogue stanzas.

Without going into detail about the issues raised by these prose passages, it's important to point out, first, that the Eddic poems have relatively few stanzas of real narrative verse; and second, that all of them are based on stories that must have been fairly familiar to the audience of the poems. In other words, the poems rarely aimed to tell stories, even though most of them followed a narrative flow of ideas. The stories [__A_TAG_PLACEHOLDER_0__]themselves seem to have existed in an oral prose tradition, just like the sagas; and the prose notes in the manuscripts, as far as they include material not directly taken from the poems themselves, are remnants of this tradition. The early Norse poets didn't often see verse as a suitable way of telling stories directly, and in some of the poems, even the simplest actions are described in prose “links” between dialogue stanzas.

The applications of this fact, which has been too often overlooked, are almost limitless, for it suggests a still unwritten chapter in the history of ballad poetry and the so-called “popular” epic. It implies that narrative among early peoples may frequently have had a period of prose existence before it was made into verse, and thus puts, for example, a long series of transitional stages before such a poem as the Iliad. In any case, the prose notes accompanying the Eddic poems prove that in addition to the poems themselves there existed in the twelfth century a considerable amount of narrative tradition, presumably in prose form, on which these notes were based by the compiler.

The implications of this fact, which has often been overlooked, are nearly limitless, as it suggests a still unwritten chapter in the history of ballad poetry and what’s known as the “popular” epic. It indicates that narratives among early communities may have often existed in prose before being turned into verse, thus introducing a long series of transitional stages before a poem like the Iliad. In any case, the prose notes that accompany the Eddic poems show that, besides the poems themselves, there was a significant amount of narrative tradition in the twelfth century, likely in prose form, that these notes were based on by the compiler.

Interpolations in such a poem as the Grimnismol could have been made easily enough, and many stanzas have undoubtedly crept in from other poems, but the beginning and end of the poem are clearly marked, and presumably it has come down to us with the same essential outline it had when it was composed, probably in the first half of the tenth century.

Interpolations in a poem like the Grimnismol could have happened pretty easily, and many stanzas have likely been added from other poems, but the beginning and end of the poem are clearly defined, and it seems to have been passed down to us with the same basic structure it had when it was written, probably in the first half of the tenth century.

[__A_TAG_PLACEHOLDER_0__]

. . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . .

King Hrauthung had two sons: one was called Agnar, and the other Geirröth. Agnar was ten winters old, and Geirröth eight. Once they both rowed in a boat with their fishing-gear to catch little fish; and the wind drove them out into the sea. In the darkness of the night they were wrecked on the shore; and going up, they found a poor peasant, with whom they stayed through the winter. The housewife took care of Agnar, and the peasant cared for [86]Geirröth, and taught him wisdom. In the spring the peasant gave him a boat; and when the couple led them to the shore, the peasant spoke secretly with Geirröth. They had a fair wind, and came to their father’s landing-place. Geirröth was forward in the boat; he leaped up on land, but pushed out the boat and said, “Go thou now where evil may have thee!” The boat drifted out to sea. Geirröth, however, went up to the house, and was well received, but his father was dead. Then Geirröth was made king, and became a renowned man.

King Hrauthung had two sons: one was named Agnar, and the other Geirröth. Agnar was ten years old, and Geirröth was eight. One day, they both went out in a boat with their fishing gear to catch small fish, but the wind blew them out to sea. In the dark of night, they wrecked on the shore, and when they got ashore, they found a poor farmer, with whom they stayed for the winter. The farmer's wife took care of Agnar, while the farmer looked after Geirröth and taught him wisdom. In the spring, the farmer gave him a boat, and when the couple led them to the shore, the farmer spoke privately with Geirröth. They had a good wind and made it back to their father's landing place. Geirröth was at the front of the boat; he jumped onto the land but pushed the boat away, saying, “Now go where trouble can find you!” The boat drifted out to sea. Geirröth then went to the house, where he was warmly welcomed, but his father was dead. After that, Geirröth was made king and became a well-known man.

Othin and Frigg sat in Hlithskjolf and looked over all the worlds. Othin said: “Seest thou Agnar, thy fosterling, how he begets children with a giantess in the cave? But Geirröth, my fosterling, is a king, and now rules over his land.” Frigg said: “He is so miserly that he tortures his guests if he thinks that too many of them come to him.” Othin replied that this was the greatest of lies; and they made a wager about this matter. Frigg sent her maid-servant, Fulla, to Geirröth. She bade the king beware lest a magician who was come thither to his land should bewitch him, and told this sign concerning him, that no dog was so fierce as to leap at him. Now it was a very great slander that King Geirröth was not hospitable; but nevertheless he had them take the man whom the dogs would not attack. He wore a dark-blue mantle and called himself Grimnir, but said no more about himself, though [87]he was questioned. The king had him tortured to make him speak, and set him between two fires, and he sat there eight nights. King Geirröth had a son ten winters old, and called Agnar after his father’s brother. Agnar went to Grimnir, and gave him a full horn to drink from, and said that the king did ill in letting him be tormented without cause. Grimnir drank from the horn; the fire had come so near that the mantle burned on Grimnir’s back. He spake:

Othin and Frigg were sitting in Hlithskjolf, looking over all the worlds. Othin said, “Do you see Agnar, your foster child, having kids with a giantess in that cave? But Geirröth, my foster child, is a king and currently rules his land.” Frigg replied, “He is so stingy that he tortures his guests if he thinks too many of them are visiting him.” Othin countered that this was a total lie, and they made a bet on it. Frigg sent her maidservant, Fulla, to warn Geirröth. She told the king to be careful of a magician who had arrived in his land and warned him that no dog would be fierce enough to attack him. It was a serious insult that King Geirröth was not welcoming; however, he still had them bring in the man whom the dogs wouldn’t attack. The man wore a dark blue cloak and called himself Grimnir, but didn’t reveal anything else about himself, even when asked. The king had him tortured to make him talk and set him between two fires, where he sat for eight nights. King Geirröth had a ten-year-old son named Agnar, after his father’s brother. Agnar approached Grimnir and offered him a full horn to drink from, saying that the king was wrong for allowing him to be tormented without reason. Grimnir drank from the horn; the fire was so close that it burned the cloak on his back. He spoke:

1. Hot art thou, fire!   |   too fierce by far;

1. You are so hot, fire!   |   way too intense;

Get ye now gone, ye flames!

Get out of here, fire!

The mantle is burnt,   |   though I bear it aloft,

The mantle is burned,   |   even though I hold it high,

And the fire scorches the fur.

And the fire burns the fur.

2. ’Twixt the fires now   |   eight nights have I sat,

__A_TAG_PLACEHOLDER_0__. Between the fires now   |   I've sat for eight nights,

And no man brought meat to me,

And no one brought me food,

Save Agnar alone,   |   and alone shall rule

Save Agnar alone, and he shall rule alone

Geirröth’s son o’er the Goths.

Geirröth’s son over the Goths.

3. Hail to thee, Agnar!   |   for hailed thou art

__A_TAG_PLACEHOLDER_0__. Greetings to you, Agnar!   |   for you are praised

By the voice of Veratyr; [88]

By Veratyr's voice; [__A_TAG_PLACEHOLDER_0__]

For a single drink   |   shalt thou never receive

For just one drink   |   you shall never receive

A greater gift as reward.

A bigger gift as reward.

4. The land is holy   |   that lies hard by

__A_TAG_PLACEHOLDER_0__. The land is sacred   |   that is located nearby

The gods and the elves together;

The gods and the elves together;

And Thor shall ever   |   in Thruthheim dwell,

And Thor will always live in Thruthheim,

Till the gods to destruction go.

Until the gods are gone.

5. Ydalir call they   |   the place where Ull

__A_TAG_PLACEHOLDER_0__. They call it Ydalir     |   the place where Ull

A hall for himself hath set;

A hall for himself has been set up;

And Alfheim the gods   |   to Freyr once gave

And the gods gave Alfheim to Freyr once.

As a tooth-gift in ancient times.

As a tooth gift in ancient times.

6. A third home is there,   |   with silver thatched

__A_TAG_PLACEHOLDER_0__. There's a third home,   |   with a silver roof

By the hands of the gracious gods:

By the hands of the kind gods:

Valaskjolf is it,   |   in days of old

Valaskjolf it is, in ancient times

Set by a god for himself.

Set by a god for himself.

7. Sökkvabekk is the fourth,   |   where cool waves flow, [89]

__A_TAG_PLACEHOLDER_0__. Sökkvabekk is the fourth,   |   where refreshing waves flow, [__A_TAG_PLACEHOLDER_0__]

And amid their murmur it stands;

And among their whispers it stands;

There daily do Othin   |   and Saga drink

There daily do Othin | and Saga drink

In gladness from cups of gold.

From golden cups of joy.

8. The fifth is Glathsheim,   |   and gold-bright there

__A_TAG_PLACEHOLDER_0__. The fifth is Glathsheim,   |   and it shines with gold

Stands Valhall stretching wide;

Valhall stands wide;

And there does Othin   |   each day choose

And there does Odin   |   each day choose

The men who have fallen in fight.

The men who have died in battle.

9. Easy is it to know   |   for him who to Othin

9. It's easy to know for those who follow Othin

Comes and beholds the hall;

Come and see the hall;

Its rafters are spears,   |   with shields is it roofed,

Its rafters are like spears, | with shields as the roof,

On its benches are breastplates strewn.

On its benches are breastplates scattered.

10. Easy is it to know   |   for him who to Othin

__A_TAG_PLACEHOLDER_0__. It's easy to understand   |   for anyone who knows Othin

Comes and beholds the hall;

Come and see the hall;

There hangs a wolf   |   by the western door,

There’s a wolf hanging by the western door,

And o’er it an eagle hovers.

And above it, an eagle hovers.

11. The sixth is Thrymheim,   |   where Thjazi dwelt,

__A_TAG_PLACEHOLDER_0__. The sixth is Thrymheim, | where Thjazi lived,

The giant of marvelous might; [90]

The giant of amazing strength; [__A_TAG_PLACEHOLDER_0__]

Now Skathi abides,   |   the god’s fair bride,

Now Skathi lives,   |   the beautiful bride of the god,

In the home that her father had.

In the home that her father owned.

12. The seventh is Breithablik;   |   Baldr has there

__A_TAG_PLACEHOLDER_0__. The seventh is Breithablik;   |   Baldr is there.

For himself a dwelling set,

Set up a home for himself,

In the land I know   |   that lies so fair,

In the land I know   |   that is so beautiful,

And from evil fate is free.

And is free from bad luck.

13. Himinbjorg is the eighth,   |   and Heimdall there

__A_TAG_PLACEHOLDER_0__. Himinbjorg is the eighth,   |   and Heimdall is there

O’er men holds sway, it is said;

O'er men holds sway, it is said;

In his well-built house   |   does the warder of heaven

In his sturdy house   |   lives the guardian of heaven

The good mead gladly drink.

The good mead is gladly enjoyed.

14. The ninth is Folkvang,   |   where Freyja decrees [91]

__A_TAG_PLACEHOLDER_0__. The ninth is Folkvang,   |   where Freyja decides [__A_TAG_PLACEHOLDER_0__]

Who shall have seats in the hall;

Who will have seats in the hall;

The half of the dead   |   each day does she choose,

The half of the dead   |   each day she chooses,

And half does Othin have.

And half does Odin have.

15. The tenth is Glitnir;   |   its pillars are gold,

__A_TAG_PLACEHOLDER_0__. The tenth is Glitnir;   |   its pillars are made of gold,

And its roof with silver is set;

And its roof is covered in silver;

There most of his days   |   does Forseti dwell,

There most of his days   |   does Forseti live,

And sets all strife at end.

And ends all conflict.

16. The eleventh is Noatun;   |   there has Njorth

__A_TAG_PLACEHOLDER_0__. The eleventh is Noatun;   |   Njorth lives there.

For himself a dwelling set;

For himself a home built;

The sinless ruler   |   of men there sits

The sinless ruler   |   of people there sits

In his temple timbered high.

In his lofty temple.

17. Filled with growing trees   |   and high-standing grass

__A_TAG_PLACEHOLDER_0__. Filled with flourishing trees   |   and tall grass

Is Vithi, Vithar’s land; [92]

Is Vithi, Vithar's territory; [__A_TAG_PLACEHOLDER_0__]

But there did the son   |   from his steed leap down,

But there the son jumped down from his horse,

When his father he fain would avenge.

When he wanted to take revenge for his father.

18. In Eldhrimnir   |   Andhrimnir cooks

__A_TAG_PLACEHOLDER_0__. In Eldhrimnir | Andhrimnir cooks

Sæhrimnir’s seething flesh,—

Sæhrimnir’s bubbling flesh, —

The best of food,   |   but few men know

The best food,   |   but few people know

On what fare the warriors feast.

On what food the warriors eat.

19. Freki and Geri   |   does Heerfather feed,

__A_TAG_PLACEHOLDER_0__. Freki and Geri   |   does the Lord Father feed,

The far-famed fighter of old:

The legendary fighter of the past:

But on wine alone   |   does the weapon-decked god,

But only on wine   |   does the god armed for battle,

Othin, forever live.

Othin, live forever.

20. O’er Mithgarth Hugin   |   and Munin both

__A_TAG_PLACEHOLDER_0__. Over Mithgarth Hugin   |   and Munin both

Each day set forth to fly;

Each day set out to soar;

For Hugin I fear   |   lest he come not home,

For Hugin, I'm worried | that he might not come back home,

But for Munin my care is more.

But for Munin, I care even more.

[93]

[__A_TAG_PLACEHOLDER_0__]

21. Loud roars Thund,   |   and Thjothvitnir’s fish

__A_TAG_PLACEHOLDER_0__. Loud roars Thunder,   |   and Thjothvitnir’s fish

Joyously fares in the flood;

Joyfully goes in the flood;

Hard does it seem   |   to the host of the slain

Hard as it seems to the host of the slain

To wade the torrent wild.

To cross the raging torrent.

22. There Valgrind stands,   |   the sacred gate,

__A_TAG_PLACEHOLDER_0__. There Valgrind stands,   |   the sacred gate,

And behind are the holy doors;

And behind are the sacred doors;

Old is the gate,   |   but few there are

Old is the gate,   |   but there are few

Who can tell how it tightly is locked.

Who can say how tightly it's locked?

23. Five hundred doors   |   and forty there are,

__A_TAG_PLACEHOLDER_0__. There are five hundred and forty doors,

I ween, in Valhall’s walls;

I believe, in Valhalla’s walls;

Eight hundred fighters   |   through one door fare

Eight hundred fighters | through one door fare

When to war with the wolf they go.

When they go to war with the wolf.

24. Five hundred rooms   |   and forty there are

__A_TAG_PLACEHOLDER_0__. There are five hundred and forty rooms.

I ween, in Bilskirnir built; [94]

I believe, in Bilskirnir built; [__A_TAG_PLACEHOLDER_0__]

Of all the homes   |   whose roofs I beheld,

Of all the houses   |   whose roofs I saw,

My son’s the greatest meseemed.

My son’s the greatest, it seemed.

25. Heithrun is the goat   |   who stands by Heerfather’s hall,

__A_TAG_PLACEHOLDER_0__. Heithrun is the goat   |   who stands by Odin’s hall,

And the branches of Lærath she bites;

And she bites the branches of Lærath;

The pitcher she fills   |   with the fair, clear mead,

The pitcher she fills with the smooth, clear mead,

Ne’er fails the foaming drink.

Never fails the foaming drink.

26. Eikthyrnir is the hart   |   who stands by Heerfather’s hall

__A_TAG_PLACEHOLDER_0__. Eikthyrnir is the stag   |   who stands by the hall of the All-Father

And the branches of Lærath he bites;

And he bites the branches of Lærath;

From his horns a stream   |   into Hvergelmir drops,

From his horns, a stream pours into Hvergelmir,

Thence all the rivers run.

Then all the rivers flow.

[95]

[__A_TAG_PLACEHOLDER_0__]

27. Sith and Vith,   |   Sækin and Ækin,

__A_TAG_PLACEHOLDER_0__. Sith and Vith,   |   Sækin and Ækin,

Svol and Fimbulthul,   |   Gunnthro and Fjorm,

Svol and Fimbulthul,   |   Gunnthro and Fjorm,

Rin and Rinnandi,

Rin and Rinnandi,

Gipul and Gopul,   |   Gomul and Geirvimul,

Gipul and Gopul,   |   Gomul and Geirvimul,

That flow through the fields of the gods;

That flows through the fields of the gods;

Thyn and Vin,   |   Thol and Hol,

Thyn and Vin,   |   Thol and Hol,

Groth and Gunnthorin.

Groth and Gunnthorin.

28. Vino is one,   |   Vegsvin another,

__A_TAG_PLACEHOLDER_0__. Wine is one,   |   Vinegrove another,

And Thjothnuma a third;

And Thjothnuma a third;

Nyt and Not,   |   Non and Hron,

Nyt and Not,   |   Non and Hron,

Slith and Hrith,   |   Sylg and Ylg,

Slith and Hrith,   |   Sylg and Ylg,

Vith and Von,   |   Vond and Strond,

Vith and Von,   |   Vond and Strond,

Gjol and Leipt,   |   that go among men,

Gjol and Leipt,   |   who walk among people,

And hence they fall to Hel.

And so they fall to Hel.

[96]

[__A_TAG_PLACEHOLDER_0__]

29. Kormt and Ormt   |   and the Kerlaugs twain

__A_TAG_PLACEHOLDER_0__. Kormt and Ormt   |   and the two Kerlaugs

Shall Thor each day wade through,

Shall Thor wade through each day,

(When dooms to give   |   he forth shall go

(When doomed to give   |   he forth shall go

To the ash-tree Yggdrasil;)

To the ash tree Yggdrasil;)

For heaven’s bridge   |   burns all in flame,

For heaven's bridge | burns everything in fire,

And the sacred waters seethe.

And the sacred waters bubble.

30. Glath and Gyllir,   |   Gler and Skeithbrimir,

__A_TAG_PLACEHOLDER_0__. Glath and Gyllir, | Gler and Skeithbrimir,

Silfrintopp and Sinir,

Silfrintopp and Sinir,

Gisl and Falhofnir,   |   Golltopp and Lettfeti,

Gisl and Falhofnir,   |   Golltopp and Lettfeti,

On these steeds the gods shall go

On these horses, the gods will ride.

When dooms to give   |   each day they ride

When they're doomed to give | each day they ride

To the ash-tree Yggdrasil.

To the ash tree Yggdrasil.

[97]

[__A_TAG_PLACEHOLDER_0__]

31. Three roots there are   |   that three ways run

__A_TAG_PLACEHOLDER_0__. There are three roots | that lead in three different directions.

’Neath the ash-tree Yggdrasil;

Beneath the ash tree Yggdrasil;

’Neath the first lives Hel,   |   ’neath the second the frost-giants,

’Neath the first lives Hel,   |   ’neath the second the frost giants,

’Neath the last are the lands of men.

Beneath the last are the lands of people.

32. Ratatosk is the squirrel   |   who there shall run

__A_TAG_PLACEHOLDER_0__. Ratatosk is the squirrel   |   who will run there

On the ash-tree Yggdrasil;

On the ash tree Yggdrasil;

From above the words   |   of the eagle he bears,

From above the words of the eagle he carries,

And tells them to Nithhogg beneath.

And tells them to Nithhogg below.

33. Four harts there are,   |   that the highest twigs [98]

__A_TAG_PLACEHOLDER_0__. There are four deer,   |   that reach the highest branches [__A_TAG_PLACEHOLDER_0__]

Nibble with necks bent back;

Nibble with necks tilted back;

Dain and Dvalin,   |   .  .  .  .  .  .  .  .

Dain and Dvalin,   |   .  .  .  .  .  .  .  .

Duneyr and Dyrathror.

Duneyr and Dyrathror.

34. More serpents there are   |   beneath the ash

__A_TAG_PLACEHOLDER_0__. There are more snakes   |   hiding under the ash

Than an unwise ape would think;

Than an unwise ape would think;

Goin and Moin,   |   Grafvitnir’s sons,

Goin and Moin,   |   Grafvitnir’s sons,

Grabak and Grafvolluth,

Grabak and Grafvolluth,

Ofnir and Svafnir   |   shall ever, methinks,

Ofnir and Svafnir   |   will always, I think,

Gnaw at the twigs of the tree.

Gnaw on the branches of the tree.

35. Yggdrasil’s ash   |   great evil suffers,

__A_TAG_PLACEHOLDER_0__. Yggdrasil’s ash   |   great evil suffers,

Far more than men do know; [99]

Far more than men realize; [__A_TAG_PLACEHOLDER_0__]

The hart bites its top,   |   its trunk is rotting,

The deer bites its top,   |   its trunk is decaying,

And Nithhogg gnaws beneath.

And Nithhogg gnaws below.

36. Hrist and Mist   |   bring the horn at my will,

__A_TAG_PLACEHOLDER_0__. Hrist and Mist   |   bring the horn when I command,

Skeggjold and Skogul;

Skeggjold and Skogul;

Hild and Thruth,   |   Hlokk and Herfjotur,

Hild and Thruth, Hlokk and Herfjotur,

Gol and Geironul,

Gol and Geironul,

Randgrith and Rathgrith   |   and Reginleif

Randgrith and Rathgrith | and Reginleif

Beer to the warriors bring.

Bring beer to the warriors.

37. Arvak and Alsvith   |   up shall drag

__A_TAG_PLACEHOLDER_0__. Arvak and Alsvith   |   will pull up

Weary the weight of the sun;

Tired of the sun's heat;

But an iron cool   |   have the kindly gods

But the kind gods have an iron cool

Of yore set under their yokes.

Of old placed under their burdens.

[100]

[__A_TAG_PLACEHOLDER_0__]

38. In front of the sun   |   does Svalin stand,

__A_TAG_PLACEHOLDER_0__. In front of the sun   |   Svalin stands,

The shield for the shining god;

The shield for the bright god;

Mountains and sea   |   would be set in flames

Mountains and sea   |   would be on fire

If it fell from before the sun.

If it fell from before the sun.

39. Skoll is the wolf   |   that to Ironwood

__A_TAG_PLACEHOLDER_0__. Skoll is the wolf  |   that to Ironwood

Follows the glittering god,

Follows the shining god,

And the son of Hrothvitnir,   |   Hati, awaits

And Hrothvitnir's son, Hati, is waiting.

The burning bride of heaven.

The fiery bride of heaven.

40. Out of Ymir’s flesh   |   was fashioned the earth,

__A_TAG_PLACEHOLDER_0__. From Ymir’s flesh   |   the earth was created,

And the ocean out of his blood;

And the ocean out of his blood;

Of his bones the hills,   |   of his hair the trees,

Of his bones, the hills,   |   of his hair, the trees,

Of his skull the heavens high.

Of his skull, the heavens are high.

[101]

[__A_TAG_PLACEHOLDER_0__]

41. Mithgarth the gods   |   from his eyebrows made,

41. Mithgarth the gods   |   created from his eyebrows,

And set for the sons of men;

And ready for humanity;

And out of his brain   |   the baleful clouds

And from his mind   |   the ominous clouds

They made to move on high.

They were about to move up high.

42. His the favor of Ull   |   and of all the gods

__A_TAG_PLACEHOLDER_0__. His the favor of Ull   |   and of all the gods

Who first in the flames will reach;

Who will be the first to reach the flames;

For the house can be seen   |   by the sons of the gods

For the house can be seen by the sons of the gods

If the kettle aside were cast.

If the kettle were set aside.

43. In days of old   |   did Ivaldi’s sons

__A_TAG_PLACEHOLDER_0__. In ancient times   |   did Ivaldi’s sons

Skithblathnir fashion fair,

Skithblathnir fashion show,

The best of ships   |   for the bright god Freyr,

The finest of ships   |   for the radiant god Freyr,

The noble son of Njorth.

The noble son of Njorth.

[102]

[__A_TAG_PLACEHOLDER_0__]

44. The best of trees   |   must Yggdrasil be,

__A_TAG_PLACEHOLDER_0__. Yggdrasil must be the best of trees,

Skithblathnir best of boats;

Skithblathnir, the best boat;

Of all the gods   |   is Othin the greatest,

Of all the gods, Othin is the greatest,

And Sleipnir the best of steeds;

And Sleipnir, the best of horses;

Bilrost of bridges,   |   Bragi of skalds,

Bilrost of bridges,   |   Bragi of poets,

Hobrok of hawks,   |   and Garm of hounds.

Hobrok of hawks,   |   and Garm of hounds.

45. To the race of the gods   |   my face have I raised,

__A_TAG_PLACEHOLDER_0__. To the lineage of the gods   |   I have lifted my face,

And the wished-for aid have I waked;

And I have awakened the help I hoped for;

For to all the gods   |   has the message gone

For all the gods, the message has been delivered.

That sit in Ægir’s seats,

That sit in Ægir's chairs,

That drink within Ægir’s doors.

That drink inside Ægir’s doors.

[103]

[__A_TAG_PLACEHOLDER_0__]

46. Grim is my name,   |   Gangleri am I,

__A_TAG_PLACEHOLDER_0__. Grim is my name,   |   I am Gangleri,

Herjan and Hjalmberi,

Herjan and Hjalmberi,

Thekk and Thrithi,   |   Thuth and Uth,

Thekk and Thrithi,   |   Thuth and Uth,

Helblindi and Hor;

Helblindi and Hor;

47. Sath and Svipal   |   and Sanngetal,

__A_TAG_PLACEHOLDER_0__. Sath and Svipal   |   and Sanngetal,

Herteit and Hnikar,

Herteit and Hnikar,

Bileyg, Baleyg,   |   Bolverk, Fjolnir,

Bileyg, Baleyg, | Bolverk, Fjolnir,

Grim and Grimnir,   |   Glapsvith, Fjolsvith.

Grim and Grimnir,   |   Glapsvith, Fjolsvith.

48. Sithhott, Sithskegg,   |   Sigfather, Hnikuth, [104]

__A_TAG_PLACEHOLDER_0__. Sithhott, Sithskegg,   |   Sigfather, Hnikuth, [__A_TAG_PLACEHOLDER_1__]

Allfather, Valfather,   |   Atrith, Farmatyr:

Allfather, Valfather, | Atrith, Farmatyr:

A single name   |   have I never had

A single name   |   I have never had

Since first among men I fared.

Since I was the first among men.

49. Grimnir they call me   |   in Geirröth’s hall,

__A_TAG_PLACEHOLDER_0__. They call me Grimnir in Geirröth’s hall,

With Asmund Jalk am I;

I’m with Asmund Jalk;

Kjalar I was   |   when I went in a sledge,

Kjalar I was | when I rode in a sleigh,

At the council Thror am I called,

At the council, they call me Thror,

As Vithur I fare to the fight;

As Vithur I go to battle;

Oski, Biflindi,   |   Jafnhor and Omi,

Oski, Biflindi, | Jafnhor and Omi,

Gondlir and Harbarth midst gods.

Gondlir and Harbarth among gods.

50. I deceived the giant   |   Sokkmimir old

__A_TAG_PLACEHOLDER_0__. I tricked the giant   |   Sokkmimir old

As Svithur and Svithrir of yore;

As Svithur and Svithrir from long ago;

Of Mithvitnir’s son   |   the slayer I was

Of Mithvitnir’s son   |   the slayer I was

When the famed one found his doom.

When the famous one met his end.

[105]

[__A_TAG_PLACEHOLDER_0__]

51. Drunk art thou, Geirröth,   |   too much didst thou drink,

__A_TAG_PLACEHOLDER_0__. You're drunk, Geirröth,   |   you've had too much to drink,

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

Much hast thou lost,   |   for help no more

Much have you lost, | for help no more

From me or my heroes thou hast.

From me or my heroes you have.

52. Small heed didst thou take   |   to all that I told,

52. You paid little attention to everything I said,

And false were the words of thy friends;

And the words of your friends were false;

For now the sword   |   of my friend I see,

For now, I see the sword of my friend,

That waits all wet with blood.

That waits all soaked with blood.

53. Thy sword-pierced body   |   shall Ygg have soon,

__A_TAG_PLACEHOLDER_0__. Your sword-pierced body   |   will soon belong to Ygg,

For thy life is ended at last;

For your life is finally over;

The maids are hostile;   |   now Othin behold!

The maids are unfriendly;   |   now Othin see!

Now come to me if thou canst!

Now come to me if you can!

54. Now am I Othin,   |   Ygg was I once,

__A_TAG_PLACEHOLDER_0__. Now I am Odin,   |   I was Ygg once,

Ere that did they call me Thund;

Ere that did they call me Thund;

Vak and Skilfing,   |   Vofuth and Hroptatyr,

Vak and Skilfing,   |   Vofuth and Hroptatyr,

Gaut and Jalk midst the gods;

Gaut and Jalk among the gods;

Ofnir and Svafnir,   |   and all, methinks,

Ofnir and Svafnir, and everyone, I think,

Are names for none but me.

Are names for no one but me.

[106]

[__A_TAG_PLACEHOLDER_0__]

King Geirröth sat and had his sword on his knee, half drawn from its sheath. But when he heard that Othin was come thither, then he rose up and sought to take Othin from the fire. The sword slipped from his hand, and fell with the hilt down. The king stumbled and fell forward, and the sword pierced him through, and slew him. Then Othin vanished, but Agnar long ruled there as king. [84]

King Geirröth sat with his sword resting on his knee, partly drawn from its sheath. But when he heard that Odin had arrived, he stood up to try to pull Odin from the fire. The sword slipped from his grip and fell hilt-first. The king stumbled and fell forward, and the sword pierced him, killing him. Then Odin vanished, but Agnar ruled there as king for a long time. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

Prose. The texts of the two manuscripts differ in many minor details. Hrauthung: this mythical king is not mentioned elsewhere. Geirröth: the manuscripts spell his name in various ways. [86]Frigg: Othin’s wife. She and Othin nearly always disagreed in some such way as the one outlined in this story. Hlithskjolf (“Gate-Shelf”): Othin’s watch-tower in heaven, whence he can overlook all the nine worlds; cf. Skirnismol, introductory prose. Grimnir: “the Hooded One.” [87]

Prose. The texts of the two manuscripts have many small differences. Hrauthung: this legendary king isn’t mentioned anywhere else. Geirröth: the manuscripts spell his name in different ways. [__A_TAG_PLACEHOLDER_0__]Frigg: Othin’s wife. She and Othin often disagreed in a manner similar to what is described in this story. Hlithskjolf (“Gate-Shelf”): Othin’s watchtower in heaven, from which he can see all nine worlds; see Skirnismol, introductory prose. Grimnir: “the Hooded One.” [__A_TAG_PLACEHOLDER_0__]

2. In the original lines 2 and 4 are both too long for the meter, and thus the true form of the stanza is doubtful. For line 4 both manuscripts have “the land of the Goths” instead of simply “the Goths.” The word “Goths” apparently was applied indiscriminately to any South-Germanic people, including the Burgundians as well as the actual Goths, and thus here has no specific application; cf. Gripisspo, 35 and note. [88]

__A_TAG_PLACEHOLDER_0__. In the original, lines 2 and 4 are both too long for the meter, which raises doubts about the correct structure of the stanza. For line 4, both manuscripts say “the land of the Goths” instead of just “the Goths.” The term “Goths” seems to have been used broadly for any South-Germanic group, including the Burgundians as well as the actual Goths, so it doesn't have a specific meaning here; see Gripisspo, 35 and note. [__A_TAG_PLACEHOLDER_0__]

3. Veratyr (“Lord of Men”): Othin. The “gift” which Agnar receives is Othin’s mythological lore.

__A_TAG_PLACEHOLDER_0__. Veratyr (“Lord of Men”): Othin. The “gift” that Agnar gets is Othin’s mythical knowledge.

4. Thruthheim (“the Place of Might”): the place where Thor, the strongest of the gods, has his hall, Bilskirnir, described in stanza 24.

__A_TAG_PLACEHOLDER_0__. Thruthheim ("the Place of Might"): the location where Thor, the most powerful of the gods, has his hall, Bilskirnir, as described in stanza 24.

5. Ydalir (“Yew-Dales”): the home of Ull, the archer among the gods, a son of Thor’s wife, Sif, by another marriage. The wood of the yew-tree was used for bows in the North just as it was long afterwards in England. Alfheim: the home of the elves. Freyr: cf. Skirnismol, introductory prose and note. Tooth-gift: the custom of making a present to a child when it cuts its first tooth is, according to Vigfusson, still in vogue in Iceland.

__A_TAG_PLACEHOLDER_0__. Ydalir (“Yew-Dales”): the home of Ull, the archer god, who is a son of Thor’s wife, Sif, from a previous marriage. The yew tree was used to make bows in the North, just as it was later in England. Alfheim: the home of the elves. Freyr: see Skirnismol, introductory prose and note. Tooth-gift: the tradition of giving a gift to a child when they cut their first tooth is, according to Vigfusson, still popular in Iceland.

6. Valaskjolf (“the Shelf of the Slain”): Othin’s home, in which is his watch-tower, Hlithskjolf. Gering identifies this with Valhall, and as that is mentioned in stanza 8, he believes stanza 6 to be an interpolation. [89]

__A_TAG_PLACEHOLDER_0__. Valaskjolf (“the Shelf of the Slain”): Othin’s home, where his watchtower, Hlithskjolf, is located. Gering connects this to Valhall, and since that is mentioned in stanza 8, he thinks stanza 6 was added later. [__A_TAG_PLACEHOLDER_0__]

7. Sökkvabekk (“the Sinking Stream”): of this spot and of Saga, who is said to live there, little is known. Saga may be an hypostasis of Frigg, but Snorri calls her a distinct goddess, and the name suggests some relation to history or story-telling.

__A_TAG_PLACEHOLDER_0__. Sökkvabekk (“the Sinking Stream”): not much is known about this place and about Saga, who is said to live there. Saga might be another form of Frigg, but Snorri refers to her as a separate goddess, and the name hints at some connection to history or storytelling.

8. Glathsheim (“the Place of Joy”): Othin’s home, the greatest and most beautiful hall in the world. Valhall (“Hall of the Slain”): cf. Voluspo, 31 and note. Valhall is not only the hall whither the slain heroes are brought by the Valkyries, but also a favorite home of Othin.

__A_TAG_PLACEHOLDER_0__. Glathsheim (“the Place of Joy”): Othin’s home, the largest and most stunning hall in the world. Valhall (“Hall of the Slain”): see Voluspo, 31 and note. Valhall is not just the hall where the fallen heroes are taken by the Valkyries, but also a beloved residence of Othin.

10. The opening formula is abbreviated in both manuscripts. A wolf: probably the wolf and the eagle were carved figures above the door. [90]

__A_TAG_PLACEHOLDER_0__. The introductory formula is shortened in both copies. A wolf: likely, the wolf and the eagle were sculpted figures above the door. [__A_TAG_PLACEHOLDER_0__]

11. Thrymheim (“the Home of Clamor”): on this mountain the giant Thjazi built his home. The god, or rather Wane, Njorth (cf. Voluspo, 21, note) married Thjazi’s daughter, Skathi. She wished to live in her father’s hall among the mountains, while Njorth loved his home, Noatun, by the sea. They agreed to compromise by spending nine nights at Thrymheim and then three at Noatun, but neither could endure the surroundings of the other’s home, so Skathi returned to Thrymheim, while Njorth stayed at Noatun. Snorri quotes stanzas 11–15.

__A_TAG_PLACEHOLDER_0__. Thrymheim (“the Home of Noise”): this is the mountain where the giant Thjazi built his home. The god, or rather Wane, Njorth (see Voluspo, 21, note) married Thjazi’s daughter, Skathi. She wanted to live in her father’s hall among the mountains, while Njorth preferred his coastal home, Noatun. They agreed to compromise by spending nine nights at Thrymheim and then three at Noatun, but neither could stand the other's surroundings, so Skathi went back to Thrymheim, while Njorth stayed at Noatun. Snorri quotes stanzas 11–15.

12. Breithablik (“Wide-Shining”): the house in heaven, free from everything unclean, in which Baldr (cf. Voluspo, 32, note), the fairest and best of the gods, lived.

__A_TAG_PLACEHOLDER_0__. Breithablik (“Wide-Shining”): the heavenly home, untouched by anything impure, where Baldr (see Voluspo, 32, note), the most beautiful and virtuous of the gods, resided.

13. Himinbjorg (“Heaven’s Cliffs”): the dwelling at the end of the bridge Bifrost (the rainbow), where Heimdall (cf. Voluspo, 27) keeps watch against the coming of the giants. In this stanza the two functions of Heimdall—as father of mankind (cf. Voluspo, 1 and note, and Rigsthula, introductory prose and note) and as warder of the gods—seem both to be mentioned, but the second line in the manuscripts is apparently in bad shape, and in the editions is more or less conjectural.

__A_TAG_PLACEHOLDER_0__. Himinbjorg (“Heaven’s Cliffs”): the place at the end of the Bifrost bridge (the rainbow), where Heimdall (see Voluspo, 27) stands guard against the giants. In this stanza, Heimdall's two roles—as the father of humanity (see Voluspo, 1 and note, and Rigsthula, introductory prose and note) and as the protector of the gods—seem to be referenced, but the second line in the manuscripts is apparently in poor condition, and in the editions is largely speculative.

14. Folkvang (“Field of the Folk”): here is situated Freyja’s [91]hall, Sessrymnir (“Rich in Seats”). Freyja, the sister of Freyr, is the fairest of the goddesses, and the most kindly disposed to mankind, especially to lovers. Half of the dead: Mogk has made it clear that Freyja represents a confusion between two originally distinct divinities: the wife of Othin (Frigg) and the northern goddess of love. This passage appears to have in mind her attributes as Othin’s wife. Snorri has this same confusion, but there is no reason why the Freyja who was Freyr’s sister should share the slain with Othin.

__A_TAG_PLACEHOLDER_0__. Folkvang (“Field of the Folk”): this is where Freyja’s [__A_TAG_PLACEHOLDER_0__] hall, Sessrymnir (“Rich in Seats”), is located. Freyja, the sister of Freyr, is the most beautiful of the goddesses and the most generous towards humanity, especially to lovers. Half of the dead: Mogk has pointed out that Freyja represents a mix-up between two originally separate deities: Othin's wife (Frigg) and the northern goddess of love. This passage seems to refer to her characteristics as Othin's wife. Snorri also has this same mix-up, but there's no reason for the Freyja who was Freyr’s sister to share the fallen with Othin.

15. Glitnir (“the Shining”): the home of Forseti, a god of whom we know nothing beyond what Snorri tells us: “Forseti is the son of Baldr and Nanna, daughter of Nep. All those who come to him with hard cases to settle go away satisfied; he is the best judge among gods and men.”

__A_TAG_PLACEHOLDER_0__. Glitnir (“the Shining”): the residence of Forseti, a god about whom we only have information from Snorri, who says: “Forseti is the son of Baldr and Nanna, daughter of Nep. Anyone who brings him difficult cases leaves satisfied; he is the greatest judge among gods and humans.”

16. Noatun (“Ships’-Haven”): the home of Njorth, who calms the waves; cf. stanza 11 and Voluspo, 21.

__A_TAG_PLACEHOLDER_0__. Noatun (“Ships’-Haven”): the home of Njorth, who calms the waves; see stanza 11 and Voluspo, 21.

17. Vithi: this land is not mentioned elsewhere. Vithar avenged his father, Othin, by slaying the wolf Fenrir. [92]

__A_TAG_PLACEHOLDER_0__. Vithi: this land is not mentioned anywhere else. Vithar took revenge for his father, Othin, by killing the wolf Fenrir. [__A_TAG_PLACEHOLDER_0__]

18. Stanzas 18–20 appear also in Snorri’s Edda. Very possibly they are an interpolation here. Eldhrimnir (“Sooty with Fire”): the great kettle in Valhall, wherein the gods’ cook, Andhrimnir (“The Sooty-Faced”) daily cooks the flesh of the boar Sæhrimnir (“The Blackened”). His flesh suffices for all the heroes there gathered, and each evening he becomes whole again, to be cooked the next morning.

__A_TAG_PLACEHOLDER_0__. Stanzas 18–20 also appear in Snorri’s Edda. They are likely an addition here. Eldhrimnir (“Sooty with Fire”): the large kettle in Valhall, where the gods' cook, Andhrimnir (“The Sooty-Faced”), cooks the flesh of the boar Sæhrimnir (“The Blackened”) daily. His meat is enough for all the heroes gathered there, and every evening he becomes whole again, ready to be cooked the next morning.

19. Freki (“The Greedy”) and Geri (“The Ravenous”): the two wolves who sit by Othin’s side at the feast, and to whom he gives all the food set before him, since wine is food and drink alike for him. Heerfather: Othin.

__A_TAG_PLACEHOLDER_0__. Freki (“The Greedy”) and Geri (“The Ravenous”): the two wolves that sit beside Odin at the feast, to whom he gives all the food served to him, as wine is both food and drink for him. Heerfather: Odin.

20. Mithgarth (“The Middle Home”): the earth. Hugin (“Thought”) and Munin (“Memory”): the two ravens who sit on Othin’s shoulders, and fly forth daily to bring him news of the world. [93]

__A_TAG_PLACEHOLDER_0__. Mithgarth (“The Middle Home”): the earth. Hugin (“Thought”) and Munin (“Memory”): the two ravens who perch on Odin’s shoulders and fly out each day to bring him news from the world. [__A_TAG_PLACEHOLDER_0__]

21. Thund (“The Swollen” or “The Roaring”): the river surrounding Valhall. Thjothvitnir’s fish: presumably the sun, which was caught by the wolf Skoll (cf. Voluspo, 40), Thjothvitnir meaning “the mighty wolf.” Such a phrase, characteristic of all Skaldic poetry, is rather rare in the Edda. The last two lines refer to the attack on Valhall by the people of Hel; cf. Voluspo, 51.

__A_TAG_PLACEHOLDER_0__. Thund (“The Swollen” or “The Roaring”): the river that flows around Valhall. Thjothvitnir’s fish: likely referring to the sun, which was caught by the wolf Skoll (see Voluspo, 40), with Thjothvitnir meaning “the mighty wolf.” This type of phrase, typical in Skaldic poetry, is quite rare in the Edda. The last two lines talk about the attack on Valhall by the people of Hel; see Voluspo, 51.

22. Valgrind (“The Death-Gate”): the outer gate of Valhall; cf. Sigurtharkvitha en skamma, 68 and note.

__A_TAG_PLACEHOLDER_0__. Valgrind (“The Death-Gate”): the outer gate of Valhalla; see Sigurtharkvitha en skamma, 68 and note.

23. This and the following stanza stand in reversed order in Regius. Snorri quotes stanza 23 as a proof of the vast size of Valhall. The last two lines refer to the final battle with Fenrir and the other enemies.

__A_TAG_PLACEHOLDER_0__. This stanza and the next one are in a different order in Regius. Snorri cites stanza 23 as evidence of the immense size of Valhall. The last two lines refer to the final battle with Fenrir and the other foes.

24. This stanza is almost certainly an interpolation, brought in through a confusion of the first two lines with those of stanza 23. Its description of Thor’s house, Bilskirnir (cf. stanza 4 and [94]note) has nothing to do with that of Valhall. Snorri quotes the stanza in his account of Thor.

__A_TAG_PLACEHOLDER_0__. This stanza is likely an addition, created from a mix-up between the first two lines and those of stanza 23. Its depiction of Thor’s house, Bilskirnir (see stanza 4 and [__A_TAG_PLACEHOLDER_0__]note) has no connection to Valhall. Snorri includes this stanza in his description of Thor.

25. The first line in the original is, as indicated in the translation, too long, and various attempts to amend it have been made. Heithrun: the she-goat who lives on the twigs of the tree Lærath (presumably the ash Yggdrasil), and daily gives mead which, like the boar’s flesh, suffices for all the heroes in Valhall. In Snorri’s Edda Gangleri foolishly asks whether the heroes drink water, whereto Har replies, “Do you imagine that Othin invites kings and earls and other noble men, and then gives them water to drink?”

__A_TAG_PLACEHOLDER_0__. The first line in the original is, as noted in the translation, way too long, and various attempts have been made to fix it. Heithrun: the she-goat that lives on the twigs of the tree Lærath (likely the ash Yggdrasil), and every day provides mead that, like the boar’s flesh, is enough for all the heroes in Valhall. In Snorri’s Edda, Gangleri foolishly asks whether the heroes drink water, to which Har responds, “Do you really think that Othin invites kings and earls and other noble men, and then gives them water to drink?”

26. Eikthyrnir (“The Oak-Thorned,” i.e., with antlers, “thorns,” like an oak): this animal presumably represents the clouds. The first line, like that of stanza 25, is too long in the original. Lærath: cf. stanza 25, note. Hvergelmir: according to Snorri, this spring, “the Cauldron-Roaring,” was in the midst of Niflheim, the world of darkness and the dead, beneath the third root of the ash Yggdrasil. Snorri gives a list of the rivers flowing thence nearly identical with the one in the poem. [95]

__A_TAG_PLACEHOLDER_0__. Eikthyrnir (“The Oak-Thorned,” meaning it has antlers that resemble “thorns,” like an oak): this creature likely symbolizes the clouds. The first line, similar to that of stanza 25, is too long in the original. Lærath: see stanza 25, note. Hvergelmir: according to Snorri, this spring, “the Cauldron-Roaring,” was located in the center of Niflheim, the realm of darkness and the dead, beneath the third root of the ash Yggdrasil. Snorri provides a list of the rivers flowing from it that is nearly identical to the one in the poem. [__A_TAG_PLACEHOLDER_0__]

27. The entire passage from stanza 27 through stanza 35 is confused. The whole thing may well be an interpolation. Bugge calls stanzas 27–30 an interpolation, and editors who have accepted the passage as a whole have rejected various lines. The spelling of the names of the rivers varies greatly in the manuscripts and editions. It is needless here to point out the many attempted emendations of this list. For a passage presenting similar problems, cf. Voluspo, 10–16. Snorri virtually quotes stanzas 27–28 in his prose, though not consecutively. The name Rin, in line 3, is identical with that for the River Rhine which appears frequently in the hero poems, but the similarity is doubtless purely accidental.

__A_TAG_PLACEHOLDER_0__. The entire section from stanza 27 to stanza 35 is unclear. It might actually be an addition. Bugge refers to stanzas 27–30 as an addition, and editors who have accepted the whole passage have rejected various lines. The spelling of the river names varies widely in the manuscripts and editions. It's unnecessary to point out the many attempted corrections to this list. For a passage with similar issues, see Voluspo, 10–16. Snorri essentially quotes stanzas 27–28 in his prose, although not in order. The name Rin, in line 3, is the same as that for the River Rhine, which appears often in the hero poems, but the similarity is likely just coincidental.

28. Slith may possibly be the same river as that mentioned in Voluspo, 36, as flowing through the giants’ land. Leipt: in Helgakvitha Hundingsbana II, 29, this river is mentioned as one by which a solemn oath is sworn, and Gering points the parallel to the significance of the Styx among the Greeks. The other rivers here named are not mentioned elsewhere in the poems. [96]

__A_TAG_PLACEHOLDER_0__. Slith might be the same river mentioned in Voluspo, 36, as flowing through the giants’ land. Leipt: in Helgakvitha Hundingsbana II, 29, this river is noted as one where a serious oath is taken, and Gering highlights the connection to the significance of the Styx among the Greeks. The other rivers mentioned here aren't referenced anywhere else in the poems. [__A_TAG_PLACEHOLDER_0__]

29. This stanza looks as though it originally had had nothing to do with the two preceding it. Snorri quotes it in his description of the three roots of Yggdrasil, and the three springs beneath them. “The third root of the ash stands in heaven and beneath this root is a spring which is very holy, and is called Urth’s well.” (Cf. Voluspo, 19) “There the gods have their judgment-seat, and thither they ride each day over Bifrost, which is also called the Gods’ Bridge.” Thor has to go on foot in the last days of the destruction, when the bridge is burning. Another interpretation, however, is that when Thor leaves the heavens (i.e., when a thunder-storm is over) the rainbow-bridge becomes hot in the sun. Nothing more is known of the rivers named in this stanza. Lines 3–4 are almost certainly interpolated from stanza 30.

__A_TAG_PLACEHOLDER_0__. This stanza seems to have originally been unrelated to the two before it. Snorri mentions it in his explanation of the three roots of Yggdrasil and the three springs beneath them. “The third root of the ash tree is in heaven, and under this root is a very holy spring known as Urth’s well.” (Cf. Voluspo, 19) “There, the gods hold their court, and they ride there each day across Bifrost, also known as the Gods' Bridge.” Thor has to walk in the final days of destruction when the bridge is on fire. However, another interpretation is that when Thor leaves the heavens (i.e., after a thunderstorm), the rainbow bridge heats up in the sunlight. Nothing else is known about the rivers mentioned in this stanza. Lines 3–4 were likely added from stanza 30.

30. This stanza, again possibly an interpolation, is closely paraphrased by Snorri following the passage quoted in the previous note. Glath (“Joyous”): identified in the Skaldskaparmal with Skinfaxi, the horse of day; cf. Vafthruthnismol, 12. Gyllir: “Golden.” Gler: “Shining.” Skeithbrimir: “Swift-Going.” Silfrintopp: “Silver-Topped.” Sinir: “Sinewy.” Gisl: the meaning is doubtful; Gering suggests “Gleaming.” Falhofnir: [97]“Hollow-Hoofed.” Golltopp (“Gold-Topped”): this horse belonged to Heimdall (cf. Voluspo, 1 and 46). It is noteworthy that gold was one of the attributes of Heimdall’s belongings, and, because his teeth were of gold, he was also called Gullintanni (“Gold-Toothed”). Lettfeti: “Light-Feet.” Othin’s eight-footed horse, Sleipnir, is not mentioned in this list.

__A_TAG_PLACEHOLDER_0__. This stanza, possibly an addition, is closely paraphrased by Snorri after the passage mentioned in the previous note. Glath (“Joyous”): identified in the Skaldskaparmal with Skinfaxi, the horse of day; see Vafthruthnismol, 12. Gyllir: “Golden.” Gler: “Shining.” Skeithbrimir: “Swift-Going.” Silfrintopp: “Silver-Topped.” Sinir: “Sinewy.” Gisl: the meaning is uncertain; Gering suggests “Gleaming.” Falhofnir: [__A_TAG_PLACEHOLDER_0__]“Hollow-Hoofed.” Golltopp (“Gold-Topped”): this horse belonged to Heimdall (see Voluspo, 1 and 46). It's interesting that gold was one of Heimdall's attributes, and since his teeth were gold, he was also called Gullintanni (“Gold-Toothed”). Lettfeti: “Light-Feet.” Othin’s eight-legged horse, Sleipnir, is not included in this list.

31. The first of these roots is the one referred to in stanza 26; the second in stanza 29 (cf. notes). Of the third root there is nothing noteworthy recorded. After this stanza it is more than possible that one has been lost, paraphrased in the prose of Snorri’s Edda thus: “An eagle sits in the branches of the ash-tree, and he is very wise; and between his eyes sits the hawk who is called Vethrfolnir.”

__A_TAG_PLACEHOLDER_0__. The first of these roots is mentioned in stanza 26; the second in stanza 29 (see notes). There’s nothing significant recorded about the third root. After this stanza, it’s very likely that one has been lost, rephrased in the prose of Snorri’s Edda like this: “An eagle sits in the branches of the ash-tree, and he is very wise; and between his eyes sits the hawk called Vethrfolnir.”

32. Ratatosk (“The Swift-Tusked”): concerning this squirrel, the Prose Edda has to add only that he runs up and down the tree conveying the abusive language of the eagle (see note on stanza 31) and the dragon Nithhogg (cf. Voluspo, 39 and note) to each other. The hypothesis that Ratatosk “represents the undying hatred between the sustaining and the destroying elements—the gods and the giants,” seems a trifle far-fetched.

__A_TAG_PLACEHOLDER_0__. Ratatosk (“The Swift-Tusked”): regarding this squirrel, the Prose Edda only adds that he runs up and down the tree, relaying the insults between the eagle (see note on stanza 31) and the dragon Nithhogg (cf. Voluspo, 39 and note). The idea that Ratatosk “represents the ongoing hatred between the nurturing and destructive forces—the gods and the giants,” seems a bit far-fetched.

33. Stanzas 33–34 may well be interpolated, and are certainly in bad shape in the Mss. Bugge points out that they are probably of later origin than those surrounding them. Snorri [98]closely paraphrases stanza 33, but without elaboration, and nothing further is known of the four harts. It may be guessed, however, that they are a late multiplication of the single hart mentioned in stanza 26, just as the list of dragons in stanza 34 seems to have been expanded out of Nithhogg, the only authentic dragon under the root of the ash. Highest twigs: a guess; the Mss. words are baffling. Something has apparently been lost from lines 3–4, but there is no clue as to its nature.

__A_TAG_PLACEHOLDER_0__. Stanzas 33–34 might have been added later and are definitely in poor condition in the manuscripts. Bugge suggests that they probably come from a later date than the surrounding stanzas. Snorri [__A_TAG_PLACEHOLDER_0__] closely paraphrases stanza 33, but without any additional details, and nothing else is known about the four harts. However, it's possible that they are a later addition to the single hart mentioned in stanza 26, just as the list of dragons in stanza 34 seems to have been expanded from Nithhogg, the only genuine dragon mentioned beneath the ash tree. Highest twigs: this is just a guess; the wording in the manuscripts is confusing. It seems something has been lost from lines 3–4, but there's no indication of what that might be.

34. Cf. note on previous stanza. Nothing further is known of any of the serpents here listed, and the meanings of many of the names are conjectural. Snorri quotes this stanza. Editors have altered it in various ways in an attempt to regularize the meter. Goin and Moin: meaning obscure. Grafvitnir: “The Gnawing Wolf.” Grabak: “Gray-Back.” Grafvolluth: “The Field-Gnawer.” Ofnir and Svafnir (“The Bewilderer” and “The Sleep-Bringer”): it is noteworthy that in stanza 54 Othin gives himself these two names.

__A_TAG_PLACEHOLDER_0__. See the note on the previous stanza. Nothing else is known about any of the serpents listed here, and many of the name meanings are speculative. Snorri quotes this stanza. Editors have modified it in various ways to try to standardize the meter. Goin and Moin: meaning unclear. Grafvitnir: “The Gnawing Wolf.” Grabak: “Gray-Back.” Grafvolluth: “The Field-Gnawer.” Ofnir and Svafnir (“The Bewilderer” and “The Sleep-Bringer”): it’s interesting that in stanza 54 Othin refers to himself with these two names.

35. Snorri quotes this stanza, which concludes the passage, beginning with stanza 25, describing Yggdrasil. If we assume that stanzas 27–34 are later interpolations—possibly excepting 32—this section of the poem reads clearly enough. [99]

__A_TAG_PLACEHOLDER_0__. Snorri cites this stanza, which wraps up the section starting with stanza 25, that describes Yggdrasil. If we assume that stanzas 27–34 were added later—possibly excluding 32—this part of the poem is quite clear. [__A_TAG_PLACEHOLDER_0__]

36. Snorri quotes this list of the Valkyries, concerning whom cf. Voluspo, 31 and note, where a different list of names is given. Hrist: “Shaker.” Mist: “Mist.” Skeggjold: “Ax-Time.” Skogul: “Raging” (?). Hild: “Warrior.” Thruth: “Might.” Hlokk: “Shrieking.” Herfjotur: “Host-Fetter.” Gol: “Screaming.” Geironul: “Spear-Bearer.” Randgrith: “Shield-Bearer.” Rathgrith: Gering guesses “Plan-Destroyer.” Reginleif: “Gods’-Kin.” Manuscripts and editions vary greatly in the spelling of these names, and hence in their significance.

__A_TAG_PLACEHOLDER_0__. Snorri shares this list of the Valkyries, which you can also refer to in Voluspo, 31 and the accompanying note, where a different set of names is provided. Hrist: “Shaker.” Mist: “Mist.” Skeggjold: “Ax-Time.” Skogul: “Raging” (?). Hild: “Warrior.” Thruth: “Might.” Hlokk: “Shrieking.” Herfjotur: “Host-Fetter.” Gol: “Screaming.” Geironul: “Spear-Bearer.” Randgrith: “Shield-Bearer.” Rathgrith: Gering suggests “Plan-Destroyer.” Reginleif: “Gods’-Kin.” The spelling of these names varies widely across manuscripts and editions, which affects their meanings.

37. Müllenhoff suspects stanzas 37–41 to have been interpolated, and Edzardi thinks they may have come from the Vafthruthnismol. Snorri closely paraphrases stanzas 37–39, and quotes 40–41. Arvak (“Early Waker”) and Alsvith (“All-Swift”): the horses of the sun, named also in Sigrdrifumol, 15. According to Snorri: “There was a man called Mundilfari, who had two children; they were so fair and lovely that he called his son Mani and his daughter Sol. The gods were angry at this presumption, and took the children and set them up in heaven; and they bade Sol drive the horses that drew the car of the sun [100]which the gods had made to light the world from the sparks which flew out of Muspellsheim. The horses were called Alsvith and Arvak, and under their yokes the gods set two bellows to cool them, and in some songs these are called ‘the cold iron.’ ”

__A_TAG_PLACEHOLDER_0__. Müllenhoff thinks that stanzas 37–41 may have been added later, while Edzardi suggests they might be from the Vafthruthnismol. Snorri closely rephrases stanzas 37–39 and quotes stanzas 40–41. Arvak (“Early Waker”) and Alsvith (“All-Swift”): the sun's horses, also mentioned in Sigrdrifumol, 15. According to Snorri: “A man named Mundilfari had two children; they were so beautiful that he named his son Mani and his daughter Sol. The gods were displeased by this arrogance and took the children, placing them in the sky; and they commanded Sol to drive the horses that pulled the sun's chariot [__A_TAG_PLACEHOLDER_0__] which the gods created to illuminate the world with sparks from Muspellsheim. The horses were named Alsvith and Arvak, and under their harnesses, the gods placed two bellows to cool them, which are referred to as ‘the cold iron’ in some songs.”

38. Svalin (“The Cooling”): the only other reference to this shield is in Sigrdrifumol, 15.

__A_TAG_PLACEHOLDER_0__. Svalin (“The Cooling”): the only other mention of this shield is in Sigrdrifumol, 15.

39. Skoll and Hati: the wolves that devour respectively the sun and moon. The latter is the son of Hrothvitnir (“The Mighty Wolf,” i.e. Fenrir); cf. Voluspo, 40, and Vafthruthnismol, 46–47, in which Fenrir appears as the thief. Ironwood: a conjectural emendation of an obscure phrase; cf. Voluspo, 40.

__A_TAG_PLACEHOLDER_0__. Skoll and Hati: the wolves that consume the sun and moon, respectively. The latter is the son of Hrothvitnir (“The Mighty Wolf,” meaning Fenrir); see Voluspo, 40, and Vafthruthnismol, 46–47, where Fenrir is depicted as the thief. Ironwood: a suggested revision of an unclear phrase; see Voluspo, 40.

40. This and the following stanza are quoted by Snorri. They seem to have come from a different source from the others of this poem; Edzardi suggests an older version of the Vafthruthnismol. This stanza is closely parallel to Vafthruthnismol, 21, which see, as also Voluspo, 3. Snorri, following this account, has a few details to add. The stones were made out of Ymir’s teeth and such of his bones as were broken. Mithgarth was a mountain-wall made out of Ymir’s eyebrows, and set around the earth because of the enmity of the giants. [101]

__A_TAG_PLACEHOLDER_0__. This and the next stanza are quoted by Snorri. They appear to come from a different source than the other parts of this poem; Edzardi suggests it might be an earlier version of the Vafthruthnismol. This stanza closely parallels Vafthruthnismol, 21, which you can check, as well as Voluspo, 3. Snorri adds a few details to this account. The stones were made from Ymir’s teeth and whatever bones of his were broken. Mithgarth was a mountain wall made from Ymir’s eyebrows, surrounding the earth because of the giants' hostility. [__A_TAG_PLACEHOLDER_0__]

42. With this stanza Othin gets back to his immediate situation, bound as he is between two fires. He calls down a blessing on the man who will reach into the fire and pull aside the great kettle which, in Icelandic houses, hung directly under the smoke-vent in the roof, and thus kept any one above from looking down into the interior. On Ull, the archer-god, cf. stanza 5 and note. He is specified here apparently for no better reason than that his name fits the initial-rhyme.

__A_TAG_PLACEHOLDER_0__. In this stanza, Othin returns to his current predicament, caught between two dangers. He offers a blessing to the person who will reach into the fire and pull aside the large kettle that hung directly under the smoke vent in the roof of Icelandic houses, preventing anyone above from peering into the inside. Regarding Ull, the archer-god, see stanza 5 and the accompanying note. His name is mentioned here seemingly just because it matches the initial rhyme.

43. This and the following stanza are certainly interpolated, for they have nothing to do with the context, and stanza 45 continues the dramatic conclusion of the poem begun in stanza 42. This stanza is quoted by Snorri. Ivaldi (“The Mighty”): he is known only as the father of the craftsmen-dwarfs who made not only the ship Skithblathnir, but also Othin’s spear Gungnir, and the golden hair for Thor’s wife, Sif, after Loki had maliciously cut her own hair off. Skithblathnir: this ship (“Wooden-Bladed”) always had a fair wind, whenever the sail was set; it could be folded up at will and put in the pocket. Freyr: concerning him and his father, see Voluspo, 21, note, and Skirnismol, introductory prose and note. [102]

__A_TAG_PLACEHOLDER_0__. This stanza and the next one were definitely added later because they don’t fit with the rest of the poem, and stanza 45 picks up the dramatic conclusion that started in stanza 42. Snorri quotes this stanza. Ivaldi (“The Mighty”): he is only known as the father of the craftsman-dwarfs who created not only the ship Skithblathnir but also Odin’s spear Gungnir and the golden hair for Thor’s wife, Sif, after Loki spitefully cut off her hair. Skithblathnir: this ship (“Wooden-Bladed”) always had a fair wind whenever its sail was raised; it could be folded up and carried in your pocket. Freyr: for more on him and his father, see Voluspo, 21, note, and Skirnismol, introductory prose and note. [__A_TAG_PLACEHOLDER_0__]

44. Snorri quotes this stanza. Like stanza 43 an almost certain interpolation, it was probably drawn in by the reference to Skithblathnir in the stanza interpolated earlier. It is presumably in faulty condition. One Ms. has after the fifth line half of a sixth,—“Brimir of swords.” Yggdrasil: cf. stanzas 25–35. Skithblathnir: cf. stanza 43, note. Sleipnir: Othin’s eight-legged horse, one of Loki’s numerous progeny, borne by him to the stallion Svathilfari. This stallion belonged to the giant who built a fortress for the gods, and came so near to finishing it, with Svathilfari’s aid, as to make the gods fear he would win his promised reward—Freyja and the sun and moon. To delay the work, Loki turned himself into a mare, whereupon the stallion ran away, and the giant failed to complete his task within the stipulated time. Bilrost: probably another form of Bifrost (which Snorri has in his version of the stanza), on which cf. stanza 29. Bragi: the god of poetry. He is one of the later figures among the gods, and is mentioned only three times in the poems of the Edda. In Snorri’s Edda, however, he is of great importance. His wife is Ithun, goddess of youth. Perhaps the Norwegian skald Bragi Boddason, the oldest recorded skaldic poet, had been traditionally apotheosized as early as the tenth century. Hobrok: nothing further is known of him. Garm: cf. Voluspo, 44.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Like stanza 43, it's likely an added section, probably included because of the mention of Skithblathnir in the previously added stanza. It seems to be in poor condition. One manuscript has half of a sixth line after the fifth — “Brimir of swords.” Yggdrasil: see stanzas 25–35. Skithblathnir: see stanza 43, note. Sleipnir: Odin’s eight-legged horse, one of Loki’s many offspring, born to him by the stallion Svathilfari. This stallion belonged to the giant who was building a fortress for the gods and had gotten so close to finishing it, with Svathilfari’s help, that the gods feared he would get his promised reward — Freyja and the sun and moon. To delay the work, Loki transformed into a mare, causing the stallion to run away, and the giant couldn't complete his task on time. Bilrost: probably another version of Bifrost (which Snorri has in his version of the stanza), see stanza 29. Bragi: the god of poetry. He is one of the later figures among the gods and is mentioned only three times in the poems of the Edda. However, in Snorri’s Edda, he plays a significant role. His wife is Idun, the goddess of youth. It’s possible that the Norwegian skald Bragi Boddason, the earliest known skaldic poet, was traditionally elevated to divine status as early as the tenth century. Hobrok: nothing else is known about him. Garm: see Voluspo, 44.

45. With this stanza the narrative current of the poem is resumed. Ægir: the sea-god; cf. Lokasenna, introductory prose. [103]

__A_TAG_PLACEHOLDER_0__. With this stanza, the poem's narrative picks up again. Ægir: the sea god; see Lokasenna, introductory prose. [__A_TAG_PLACEHOLDER_0__]

46. Concerning the condition of stanzas 46–50, quoted by Snorri, nothing definite can be said. Lines and entire stanzas of this “catalogue” sort undoubtedly came and went with great freedom all through the period of oral transmission. Many of the names are not mentioned elsewhere, and often their significance is sheer guesswork. As in nearly every episode Othin appeared in disguise, the number of his names was necessarily almost limitless. Grim: “The Hooded.” Gangleri: “The Wanderer.” Herjan: “The Ruler.” Hjalmberi: “The Helmet-Bearer.” Thekk: “The Much-Loved.” Thrithi: “The Third” (in Snorri’s Edda the stories are all told in the form of answers to questions, the speakers being Har, Jafnhar and Thrithi. Just what this tripartite form of Othin signifies has been the source of endless debate. Probably this line is late enough to betray the somewhat muddled influence of early Christianity.) Thuth and Uth: both names defy guesswork. Helblindi: “Hel-Blinder” (two manuscripts have Herblindi—“Host-Blinder”). Hor: “The High One.”

__A_TAG_PLACEHOLDER_0__. Regarding the state of stanzas 46–50, cited by Snorri, nothing conclusive can be said. Lines and entire stanzas of this "catalogue" sort likely changed frequently throughout the time of oral tradition. Many of the names are not mentioned anywhere else, and often their meanings are pure speculation. As in almost every episode, Othin appeared in disguise, so the number of his names was practically endless. Grim: “The Hooded.” Gangleri: “The Wanderer.” Herjan: “The Ruler.” Hjalmberi: “The Helmet-Bearer.” Thekk: “The Much-Loved.” Thrithi: “The Third” (in Snorri’s Edda, the stories are presented as answers to questions from Har, Jafnhar, and Thrithi. The meaning of this tripartite representation of Othin has sparked endless debate. This line is probably late enough to show the somewhat confused influence of early Christianity.) Thuth and Uth: both names are impossible to interpret. Helblindi: “Hel-Blinder” (two manuscripts use Herblindi—“Host-Blinder”). Hor: “The High One.”

47. Sath: “The Truthful.” Svipal: “The Changing.” Sanngetal: “The Truth-Teller.” Herteit: “Glad of the Host.” Hnikar: “The Overthrower.” Bileyg: “The Shifty-Eyed.” Baleyg: “The Flaming-Eyed.” Bolverk: “Doer of Ill” (cf. Hovamol, 104 and note). Fjolnir: “The Many-Shaped.” Grimnir: “The Hooded.” Glapsvith: “Swift in Deceit.” Fjolsvith: “Wide of Wisdom.”

__A_TAG_PLACEHOLDER_0__. Sath: “The Truthful.” Svipal: “The Changing.” Sanngetal: “The Truth-Teller.” Herteit: “Happy with the Host.” Hnikar: “The Overthrower.” Bileyg: “The Shifty-Eyed.” Baleyg: “The Flaming-Eyed.” Bolverk: “Doer of Evil” (cf. Hovamol, 104 and note). Fjolnir: “The Many-Formed.” Grimnir: “The Hooded One.” Glapsvith: “Quick in Deceit.” Fjolsvith: “Wide of Wisdom.”

48. Sithhott: “With Broad Hat.” Sithskegg: “Long-Bearded.” [104]Sigfather: “Father of Victory.” Hnikuth: “Overthrower.” Valfather: “Father of the Slain.” Atrith: “The Rider.” Farmatyr: “Helper of Cargoes” (i.e., god of sailors).

__A_TAG_PLACEHOLDER_0__. Sithhott: “With a Broad Hat.” Sithskegg: “Long Beard.” [__A_TAG_PLACEHOLDER_0__]Sigfather: “Father of Victory.” Hnikuth: “Overthrower.” Valfather: “Father of the Fallen.” Atrith: “The Rider.” Farmatyr: “Helper of Cargo” (i.e., god of sailors).

49. Nothing is known of Asmund, of Othin’s appearance as Jalk, or of the occasion when he “went in a sledge” as Kjalar (“Ruler of Keels”?). Thror and Vithur are also of uncertain meaning. Oski: “God of Wishes.” Biflindi: the manuscripts vary widely in the form of this name. Jafnhor: “Equally High” (cf. note on stanza 46). Omi: “The Shouter.” Gondlir: “Wand-Bearer.” Harbarth: “Graybeard” (cf. Harbarthsljoth, introduction).

__A_TAG_PLACEHOLDER_0__. Nothing is known about Asmund, about Othin’s appearance as Jalk, or about the time he “went in a sledge” as Kjalar (“Ruler of Keels”?). Thror and Vithur also have uncertain meanings. Oski: “God of Wishes.” Biflindi: the manuscripts show a lot of variation in this name. Jafnhor: “Equally High” (see note on stanza 46). Omi: “The Shouter.” Gondlir: “Wand-Bearer.” Harbarth: “Graybeard” (see Harbarthsljoth, introduction).

50. Nothing further is known of the episode here mentioned. Sokkmimir is presumably Mithvitnir’s son. Snorri quotes the names Svithur and Svithrir, but omits all the remainder of the stanza. [105]

__A_TAG_PLACEHOLDER_0__. There's no additional information available about the event mentioned here. Sokkmimir is likely the son of Mithvitnir. Snorri mentions the names Svithur and Svithrir but leaves out the rest of the stanza. [__A_TAG_PLACEHOLDER_0__]

51. Again the poem returns to the direct action, Othin addressing the terrified Geirröth. The manuscripts show no lacuna. Some editors supply a second line from paper manuscripts: “Greatly by me art beguiled.”

__A_TAG_PLACEHOLDER_0__. Once more, the poem focuses on the direct action, as Othin speaks to the frightened Geirröth. The manuscripts show no gaps. Some editors add a second line from paper manuscripts: “Greatly by me art beguiled.”

53. Ygg: Othin (“The Terrible”). The maids: the three Norns.

__A_TAG_PLACEHOLDER_0__. Ygg: Odin (“The Terrible”). The maids: the three Norns.

54. Possibly out of place, and probably more or less corrupt. Thund: “The Thunderer.” Vak: “The Wakeful.” Skilfing: “The Shaker.” Vofuth: “The Wanderer.” Hroptatyr: “Crier of the Gods.” Gaut: “Father.” Ofnir and Svafnir: cf. stanza 34. [107]

__A_TAG_PLACEHOLDER_0__. Maybe out of place, and likely somewhat corrupt. Thund: “The Thunderer.” Vak: “The Wakeful.” Skilfing: “The Shaker.” Vofuth: “The Wanderer.” Hroptatyr: “Crier of the Gods.” Gaut: “Father.” Ofnir and Svafnir: see stanza 34. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

SKIRNISMOL

The Ballad of Skirnir

[__A_TAG_PLACEHOLDER_0__]

Introduction

The Skirnismol is found complete in the Codex Regius, and through stanza 27 in the Arnamagnæan Codex. Snorri quotes the concluding stanza. In Regius the poem is entitled “For Scirnis” (“Skirnir’s Journey”).

The Skirnismol is fully preserved in the Codex Regius, and it also appears through stanza 27 in the Arnamagnæan Codex. Snorri cites the last stanza. In Regius, the poem is titled “For Scirnis” (“Skirnir’s Journey”).

The Skirnismol differs sharply from the poems preceding it, in that it has a distinctly ballad quality. As a matter of fact, however, its verse is altogether dialogue, the narrative being supplied in the prose “links,” concerning which cf. introductory note to the Grimnismol. The dramatic effectiveness and vivid characterization of the poem seem to connect it with the Thrymskvitha, and the two may possibly have been put into their present form by the same man. Bugge’s guess that the Skirnismol was the work of the author of the Lokasenna is also possible, though it has less to support it.

The Skirnismol is quite different from the poems that came before it, as it has a clear ballad feel. In fact, its verses are entirely dialogue, with the story being provided in prose “links,” which you can refer to in the introductory note for the Grimnismol. The dramatic impact and vivid character portrayals in the poem seem to connect it to the Thrymskvitha, and both could have been shaped into their current form by the same author. Bugge's suggestion that the Skirnismol was created by the author of the Lokasenna is also a possibility, though it has less evidence to back it up.

Critics have generally agreed in dating the poem as we now have it as early as the first half of the tenth century; Finnur Jonsson puts it as early as 900, and claims it, as usual, for Norway. Doubtless it was current in Norway, in one form or another, before the first Icelandic settlements, but his argument that the thistle (stanza 31) is not an Icelandic plant has little weight, for such curse-formulas must have traveled freely from place to place. In view of the evidence pointing to a western origin for many or all of the Eddic poems, Jonsson’s reiterated “Digtet er sikkert norsk og ikke islandsk” is somewhat exasperating. Wherever the Skirnismol was composed, it has been preserved in exceptionally good condition, and seems to be practically devoid of interpolations or lacunæ.

Critics generally agree that the poem, as we have it now, dates back to the early part of the tenth century; Finnur Jonsson dates it as early as 900 and claims it, as usual, for Norway. It was likely known in Norway, in one form or another, before the first Icelandic settlements, but his argument that the thistle (stanza 31) is not an Icelandic plant doesn't hold much weight, since such curse formulas must have traveled easily from place to place. Given the evidence suggesting a western origin for many or all of the Eddic poems, Jonsson’s repeated assertion that “The digit is definitely Norwegian and not Icelandic.” is a bit frustrating. No matter where the Skirnismol was composed, it has been preserved in exceptionally good condition and appears to be virtually free of interpolations or gaps.

[__A_TAG_PLACEHOLDER_0__]

Freyr, the son of Njorth, had sat one day in Hlithskjolf, and looked over all the worlds. He looked into Jotunheim, and saw there a fair maiden, as she went from her father’s house to her bower. Forthwith he felt a mighty [108]love-sickness. Skirnir was the name of Freyr’s servant; Njorth bade him ask speech of Freyr. He said:

Freyr, the son of Njorth, was sitting one day in Hlithskjolf, looking over all the worlds. He gazed into Jotunheim and saw a beautiful maiden as she walked from her father’s house to her chambers. Immediately, he felt a powerful [__A_TAG_PLACEHOLDER_0__]love-sickness. Skirnir was the name of Freyr’s servant; Njorth asked him to speak to Freyr. He said:

1. “Go now, Skirnir!   |   and seek to gain

__A_TAG_PLACEHOLDER_0__. “Go now, Skirnir!   |   and try to win

Speech from my son;

Speech from my son;

And answer to win,   |   for whom the wise one

And answer to win,   |   for whom the wise one

Is mightily moved.”

Is deeply moved.”

Skirnir spake:

Skirnir spoke:

2. “Ill words do I now   |   await from thy son,

2. “I expect to hear harsh words from your son now,

If I seek to get speech with him,

If I want to talk to him,

And answer to win,   |   for whom the wise one

And respond to succeed,   |   for whom the wise person

Is mightily moved.”

Is really moved.”

[109]

[__A_TAG_PLACEHOLDER_0__]

Skirnir spake:

Skirnir spoke:

3. “Speak prithee, Freyr,   |   foremost of the gods,

3. “Please speak, Freyr,   |   the chief of the gods,

For now I fain would know;

For now, I would like to know;

Why sittest thou here   |   in the wide halls,

Why are you sitting here   |   in the wide halls,

Days long, my prince, alone?”

"Days alone, my prince?"

Freyr spake:

Freyr said:

4. “How shall I tell thee,   |   thou hero young,

__A_TAG_PLACEHOLDER_0__. “How should I tell you,   |   you young hero,

Of all my grief so great?

Of all my grief so deep?

Though every day   |   the elfbeam dawns,

Though every day  |  the elfbeam dawns,

It lights my longing never.”

It never lights my longing.

Skirnir spake:

Skirnir spoke:

5. “Thy longings, methinks,   |   are not so large

5. “I think your desires aren’t so great

That thou mayst not tell them to me;

That you may not tell them to me;

Since in days of yore   |   we were young together,

Since back in the day | we were young together,

We two might each other trust.”

We can rely on each other.

Freyr spake:

Freyr said:

6. “From Gymir’s house   |   I beheld go forth

__A_TAG_PLACEHOLDER_0__. “From Gymir’s house | I saw emerge

A maiden dear to me;

A beloved girl;

Her arms glittered,   |   and from their gleam

Her arms sparkled,   |   and from their shine

Shone all the sea and sky.

Shone all the sea and sky.

[110]

[__A_TAG_PLACEHOLDER_0__]

7. “To me more dear   |   than in days of old

__A_TAG_PLACEHOLDER_0__. “To me, you are more precious now than you were in the past.

Was ever maiden to man;

Was a maiden ever to a man;

But no one of gods   |   or elves will grant

But none of the gods or elves will grant

That we both together should be.”

That we should both be together.

Skirnir spake:

Skirnir spoke:

8. “Then give me the horse   |   that goes through the dark

__A_TAG_PLACEHOLDER_0__. “Then give me the horse   |   that goes through the dark

And magic flickering flames;

And magical flickering flames;

And the sword as well   |   that fights of itself

And the sword too   |   that fights on its own

Against the giants grim.”

"Against the grim giants."

Freyr spake:

Freyr said:

9. “The horse will I give thee   |   that goes through the dark

9. “I’ll give you the horse that can stride through the dark.”

And magic flickering flames,

And flickering magic flames,

And the sword as well   |   that will fight of itself

And the sword too | that will fight on its own

If a worthy hero wields it.”

If a worthy hero holds it.

[111]

[__A_TAG_PLACEHOLDER_0__]

Skirnir spake to the horse:

Skirnir spoke to the horse:

10. “Dark is it without,   |   and I deem it time

__A_TAG_PLACEHOLDER_0__. “It's dark outside, and I think it's time

To fare through the wild fells,

To make it through the wild hills,

(To fare through the giants’ fastness;)

(To get through the giants’ stronghold;)

We shall both come back,   |   or us both together

We will both come back,   |   or the two of us together

The terrible giant will take.”

"The terrible giant will take."

Skirnir rode into Jotunheim to Gymir’s house. There were fierce dogs bound before the gate of the fence which was around Gerth’s hall. He rode to where a herdsman sat on a hill, and said:

Skirnir rode into Jotunheim to Gymir’s house. There were fierce dogs tied up in front of the gate of the fence surrounding Gerth’s hall. He rode to where a herdsman sat on a hill and said:

11. “Tell me, herdsman,   |   sitting on the hill,

11. “Tell me, shepherd,   |   sitting on the hill,

And watching all the ways,

And seeing all the ways,

How may I win   |   a word with the maid

How can I get a moment to talk with the maid?

Past the hounds of Gymir here?”

Past the hounds of Gymir here?

The herdsman spake:

The herdsman spoke:

12. “Art thou doomed to die   |   or already dead,

__A_TAG_PLACEHOLDER_0__. “Are you doomed to die   |   or are you already dead,

Thou horseman that ridest hither?

You horseman riding here?

Barred from speech   |   shalt thou ever be

Barred from speaking   |   you will always be

With Gymir’s daughter good.”

With Gymir’s daughter, all good.

Skirnir spake:

Skirnir said:

13. “Boldness is better   |   than plaints can be

__A_TAG_PLACEHOLDER_0__. “Being bold is better than complaining.

For him whose feet must fare; [112]

For someone whose feet have to travel; [__A_TAG_PLACEHOLDER_0__]

To a destined day   |   has mine age been doomed,

To a destined day | has my time been doomed,

And my life’s span thereto laid.”

And my life’s span is tied to that.

Gerth spake:

Gerth said:

14. “What noise is that   |   which now so loud

14. “What noise is that | which is so loud now”

I hear within our house?

I hear something in our house?

The ground shakes,   |   and the home of Gymir

The ground shakes,   |   and the home of Gymir

Around me trembles too.”

"Everything around me trembles too."

The Serving-Maid spake:

The Maid said:

15. “One stands without   |   who has leapt from his steed,

__A_TAG_PLACEHOLDER_0__. “One stands outside  | who has jumped off his horse,

And lets his horse loose to graze;”

And lets his horse roam free to graze;”

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .  .  .  .  .  .  .  .

Gerth spake:

Gerth said:

16. “Bid the man come in,   |   and drink good mead

__A_TAG_PLACEHOLDER_0__. “Tell the man to come in,   |   and have some good mead

Here within our hall;

Here in our hall;

Though this I fear,   |   that there without

Though I fear this, that there without

My brother’s slayer stands.

My brother’s killer is standing.

[113]

[__A_TAG_PLACEHOLDER_0__]

17. “Art thou of the elves   |   or the offspring of gods,

__A_TAG_PLACEHOLDER_0__. “Are you one of the elves   |   or a child of the gods,

Or of the wise Wanes?

Or of the wise Wanes?

How camst thou alone   |   through the leaping flame

How can you be alone through the leaping flame

Thus to behold our home?”

So, to see our home?

Skirnir spake:

Skirnir said:

18. “I am not of the elves,   |   nor the offspring of gods,

__A_TAG_PLACEHOLDER_0__. “I am neither an elf, nor the child of gods,

Nor of the wise Wanes;

Nor of the wise Wanes;

Though I came alone   |   through the leaping flame

Though I came alone through the leaping flame

Thus to behold thy home.

Thus to see your home.

19. “Eleven apples,   |   all of gold,

__A_TAG_PLACEHOLDER_0__. “Eleven apples,   |   all made of gold,

Here will I give thee, Gerth,

Here, I’ll give you, Gerth,

To buy thy troth   |   that Freyr shall be

To buy your promise | that Freyr will be

Deemed to be dearest to you.”

Deemed to be the closest to you.

Gerth spake:

Gerth said:

20. “I will not take   |   at any man’s wish

20. “I won’t do anything just because someone asks me to.”

These eleven apples ever;

These eleven apples forever;

Nor shall Freyr and I   |   one dwelling find

Nor shall Freyr and I one dwelling find

So long as we two live.”

So long as we both live.

Skirnir spake:

Skirnir said:

21. “Then do I bring thee   |   the ring that was burned [114]

__A_TAG_PLACEHOLDER_0__. “Then I’ll bring you the ring that was burned [__A_TAG_PLACEHOLDER_0__]

Of old with Othin’s son;

From ancient times with Odin's son;

From it do eight   |   of like weight fall

From it, eight of similar weight fall.

On every ninth night.”

“Every ninth night.”

Gerth spake:

Gerth said:

22. “The ring I wish not,   |   though burned it was

22. “I don't want the ring, even though it was burned.”

Of old with Othin’s son;

Of old with Odin's son;

In Gymir’s home   |   is no lack of gold

In Gymir's home | there is plenty of gold

In the wealth my father wields.”

In the wealth my father has.

Skirnir spake:

Skirnir spoke:

23. “Seest thou, maiden,   |   this keen, bright sword

23. “Do you see this sharp, shiny sword, girl?

That I hold here in my hand?

That I'm holding in my hand?

Thy head from thy neck   |   shall I straightway hew,

Your head from your neck shall I quickly cut off,

If thou wilt not do my will.”

If you won't do what I want.

Gerth spake:

Gerth said:

24. “For no man’s sake   |   will I ever suffer

24. “I won't ever endure something for someone else's sake.”

To be thus moved by might;

To be inspired by strength;

But gladly, methinks,   |   will Gymir seek

But happily, I think, will Gymir seek

To fight if he finds thee here.”

To fight if he finds you here.

Skirnir spake:

Skirnir spoke:

25. “Seest thou, maiden,   |   this keen, bright sword

__A_TAG_PLACEHOLDER_0__. “Do you see this sharp, shining sword, girl?

That I hold here in my hand? [115]

That I have right here in my hand? [__A_TAG_PLACEHOLDER_0__]

Before its blade   |   the old giant bends,—

Before its blade, the old giant bends,—

Thy father is doomed to die.

Your father is destined to die.

26. “I strike thee, maid,   |   with my magic staff,

__A_TAG_PLACEHOLDER_0__. “I hit you, girl,   |   with my magic wand,

To tame thee to work my will;

To get you to do what I want;

There shalt thou go   |   where never again

There you will go | where never again

The sons of men shall see thee.

The sons of men will see you.

27. “On the eagle’s hill   |   shalt thou ever sit,

__A_TAG_PLACEHOLDER_0__. “On the eagle's hill   |   you will always sit,

And gaze on the gates of Hel;

And look at the gates of Hel;

More loathsome to thee   |   than the light-hued snake

More disgusting to you than the pale snake.

To men, shall thy meat become.

To men, your meat will become.

28. “Fearful to see,   |   if thou comest forth,

__A_TAG_PLACEHOLDER_0__. “Scared to see,   |   if you come out,

Hrimnir will stand and stare,

Hrimnir will stand and watch,

(Men will marvel at thee;) [116]

(Men will admire you;) [__A_TAG_PLACEHOLDER_0__]

More famed shalt thou grow   |   than the watchman of the gods!

You will become more famous than the watchman of the gods!

Peer forth, then, from thy prison.

Peer out, then, from your prison.

29. “Rage and longing,   |   fetters and wrath,

__A_TAG_PLACEHOLDER_0__. “Anger and desire, | chains and fury,

Tears and torment are thine;

Tears and torment are yours;

Where thou sittest down   |   my doom is on thee

Where you sit down | my fate is upon you

Of heavy heart

With a heavy heart

And double dole.

And double benefit.

30. “In the giants’ home   |   shall vile things harm thee

__A_TAG_PLACEHOLDER_0__. “In the giants’ home | will bad things hurt you

Each day with evil deeds;

Every day with bad actions;

Grief shalt thou get   |   instead of gladness,

Grief will come to you instead of joy,

And sorrow to suffer with tears.

And sadness to endure with tears.

31. “With three-headed giants   |   thou shalt dwell ever,

__A_TAG_PLACEHOLDER_0__. “You will always live with three-headed giants,

Or never know a husband;

Or never have a husband;

(Let longing grip thee,   |   let wasting waste thee,—) [117]

(Let longing hold you,   |   let wasting wear you down,—) [__A_TAG_PLACEHOLDER_0__]

Be like to the thistle   |   that in the loft

Be like the thistle | that in the loft

Was cast and there was crushed.

Was cast and there was crushed.

32. “I go to the wood,   |   and to the wet forest,

__A_TAG_PLACEHOLDER_0__. “I head to the woods,   |   and to the damp forest,

To win a magic wand;

To win a magic wand

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

I won a magic wand.

I won a magic wand.

33. “Othin grows angry,   |   angered is the best of the gods,

__A_TAG_PLACEHOLDER_0__. "Othin gets angry,   |   the best of the gods is enraged,

Freyr shall be thy foe,

Freyr will be your enemy,

Most evil maid,   |   who the magic wrath

Most evil maid, | who the magic wrath

Of gods hast got for thyself.

Of gods you have gotten for yourself.

34. “Give heed, frost-rulers,   |   hear it, giants,

__A_TAG_PLACEHOLDER_0__. “Listen up, frost rulers,   |   pay attention, giants,

Sons of Suttung,

Suttung's Sons,

And gods, ye too,

And gods, you too,

How I forbid   |   and how I ban

How I forbid   |   and how I ban

The meeting of men with the maid,

The meeting between the man and the maid,

(The joy of men with the maid.)

(The joy of men with the maid.)

[118]

[__A_TAG_PLACEHOLDER_0__]

35. “Hrimgrimnir is he,   |   the giant who shall have thee

__A_TAG_PLACEHOLDER_0__. “Hrimgrimnir is his name,   |   the giant who will take you

In the depth by the doors of Hel;

In the depths by the gates of Hel;

To the frost-giants’ halls   |   each day shalt thou fare,

To the frost giants' halls | each day you shall go,

Crawling and craving in vain,

Crawling and craving hopelessly,

(Crawling and having no hope.)

(Crawling and feeling hopeless.)

36. “Base wretches there   |   by the root of the tree

__A_TAG_PLACEHOLDER_0__. “Lowly scoundrels there   |   at the base of the tree

Will hold for thee horns of filth;

Will hold for you horns of filth;

A fairer drink   |   shalt thou never find,

A better drink   |   you'll never find,

Maid, to meet thy wish,

Maid, to fulfill your wish,

(Maid, to meet my wish.)

(Maid, to fulfill my wish.)

37. “I write thee a charm   |   and three runes therewith,

__A_TAG_PLACEHOLDER_0__. “I’m writing you a charm | and three runes to go with it,

Longing and madness and lust;

Desire and madness and lust;

But what I have writ   |   I may yet unwrite

But what I have written I might still erase.

If I find a need therefor.”

If I find a need for it.

[119]

[__A_TAG_PLACEHOLDER_0__]

Gerth spake:

Gerth said:

38. “Find welcome rather,   |   and with it take

38. “Instead, seek out a warm welcome, and along with it take

The frost-cup filled with mead;

The frosty cup filled with mead;

Though I did not believe   |   that I should so love

Though I didn’t think I would love this much

Ever one of the Wanes.”

"Each one of the Wanes."

Skirnir spake:

Skirnir spoke:

39. “My tidings all   |   must I truly learn

39. “I really need to hear the news.”

Ere homeward hence I ride:

Heading home now.

How soon thou wilt   |   with the mighty son

How soon you will | with the mighty son

Of Njorth a meeting make.”

"Have a meeting about Njorth."

Gerth spake:

Gerth said:

40. “Barri there is,   |   which we both know well,

__A_TAG_PLACEHOLDER_0__. “Barri is right there, | which we both know well,

A forest fair and still;

A calm and quiet forest;

And nine nights hence   |   to the son of Njorth

And nine nights later | to the son of Njorth

Will Gerth there grant delight.”

Will Gerth grant delight there.

Then Skirnir rode home. Freyr stood without, and spoke to him, and asked for tidings:

Then Skirnir rode back home. Freyr was standing outside and spoke to him, asking for news:

41. “Tell me, Skirnir,   |   ere thou take off the saddle,

41. “Tell me, Skirnir, | before you take off the saddle,

Or farest forward a step:

Or move a step forward:

What hast thou done   |   in the giants’ dwelling

What have you done   |   in the giants' home

To make glad thee or me?”

To make you or me happy?

[120]

[__A_TAG_PLACEHOLDER_0__]

Skirnir spake:

Skirnir said:

42. “Barri there is,   |   which we both know well,

__A_TAG_PLACEHOLDER_0__. “There’s Barri,   |   which we both know well,

A forest fair and still;

A calm and peaceful forest;

And nine nights hence   |   to the son of Njorth

And nine nights later | to the son of Njorth

Will Gerth there grant delight.”

Will Gerth bring joy.”

Freyr spake:

Freyr said:

43. “Long is one night,   |   longer are two;

__A_TAG_PLACEHOLDER_0__. “One night feels long,   |   two nights feel even longer;

How then shall I bear three?

How then should I handle three?

Often to me   |   has a month seemed less

Often a month has seemed less to me

Than now half a night of desire.”

Than now half a night of longing.”

[107]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[108]

[__A_TAG_PLACEHOLDER_0__]

Prose. Freyr: concerning his father, Njorth, and the race of the Wanes in general, cf. Voluspo, 21 and note. Snorri thus describes Njorth’s family: “Njorth begat two children in Noatun; the son was named Freyr, and the daughter Freyja; they were fair of aspect and mighty. Freyr is the noblest of the gods; he rules over rain and sunshine, and therewith the fruitfulness of the earth; it is well to call upon him for plenty and welfare, for he rules over wealth for mankind. Freyja is the noblest of the goddesses. When she rides to the fight, she has one-half of the slain, and Othin has half. When she goes on a journey, she drives her two cats, and sits in a cart. Love-songs please her well, and it is good to call on her in love-matters.” Hlithskjolf: Othin’s watch-tower; cf. Grimnismol, introductory prose. He said: both manuscripts have “Then Skathi said:” (Skathi was Njorth’s wife), but Bugge’s emendation, based on Snorri’s version, is doubtless correct.

Prose. Freyr: regarding his father, Njorth, and the Wanes in general, see Voluspo, 21 and note. Snorri describes Njorth’s family like this: “Njorth had two children in Noatun; the son was named Freyr, and the daughter Freyja; they were attractive and powerful. Freyr is the greatest of the gods; he governs rain and sunshine, which bring the earth’s fertility; it’s good to pray to him for abundance and well-being, as he oversees wealth for humanity. Freyja is the greatest of the goddesses. When she rides into battle, she takes half of the slain, while Othin takes the other half. When she travels, she drives her two cats and rides in a cart. She enjoys love songs, and it’s wise to call on her for matters of love.” Hlithskjolf: Othin’s watchtower; see Grimnismol, introductory prose. He said: both manuscripts say “Then Skathi said:” (Skathi was Njorth’s wife), but Bugge’s correction, based on Snorri’s version, is likely accurate.

1. My son: both manuscripts, and many editors, have “our son,” which, of course, goes with the introduction of Skathi in the prose. As the stanza is clearly addressed to Skirnir, the change of pronouns seems justified. The same confusion occurs in stanza 2, where Skirnir in the manuscripts is made to speak of Freyr as [109]“your son” (plural). The plural pronoun in the original involves a metrical error, which is corrected by the emendation.

__A_TAG_PLACEHOLDER_0__. My son: both manuscripts and many editors have “our son,” which fits with the introduction of Skathi in the prose. Since the stanza is clearly directed at Skirnir, the shift in pronouns seems appropriate. The same confusion happens in stanza 2, where Skirnir in the manuscripts refers to Freyr as [__A_TAG_PLACEHOLDER_0__]“your son” (plural). The use of the plural pronoun in the original causes a metrical mistake, which is corrected by the revision.

4. Elfbeam: the sun, so called because its rays were fatal to elves and dwarfs; cf. Alvissmol, 35.

__A_TAG_PLACEHOLDER_0__. Elfbeam: the sun, named for its deadly rays to elves and dwarfs; cf. Alvissmol, 35.

6. Gymir: a mountain-giant, husband of Aurbotha, and father of Gerth, fairest among women. This is all Snorri tells of him in his paraphrase of the story.

__A_TAG_PLACEHOLDER_0__. Gymir: a mountain giant, husband of Aurbotha, and father of Gerth, the most beautiful of women. This is all Snorri says about him in his version of the story.

7. Snorri’s paraphrase of the poem is sufficiently close so that his addition of another sentence to Freyr’s speech makes it probable [110]that a stanza has dropped out between 7 and 8. This has been tentatively reconstructed, thus: “Hither to me   |   shalt thou bring the maid, / And home shalt thou lead her here, / If her father wills it   |   or wills it not, / And good reward shalt thou get.” Finn Magnusen detected the probable omission of a stanza here as early as 1821.

__A_TAG_PLACEHOLDER_0__. Snorri’s version of the poem is close enough that his addition of another sentence to Freyr’s speech suggests that a stanza is likely missing between 7 and 8. This has been tentatively reconstructed as follows: “Bring the maid to me, | And take her home, | Whether her father wants it | Or doesn’t want it, | And you shall receive a good reward.” Finn Magnusen identified the likely missing stanza as early as 1821.

8. The sword: Freyr’s gift of his sword to Skirnir eventually proves fatal, for at the last battle, when Freyr is attacked by Beli, whom he kills bare-handed, and later when the fire-demon, Surt, slays him in turn, he is weaponless; cf. Voluspo, 53 and note. Against the giants grim: the condition of this line makes it seem like an error in copying, and it is possible that it should be identical with the fourth line of the next stanza. [111]

__A_TAG_PLACEHOLDER_0__. The sword: Freyr’s gift of his sword to Skirnir ultimately leads to his downfall, because in the final battle, when Freyr is attacked by Beli—who he defeats bare-handed—and later is killed by the fire-demon Surt, he finds himself without a weapon; cf. Voluspo, 53 and note. Against the giants grim: this line seems to be a copying mistake, and it’s possible that it should match the fourth line of the next stanza. [__A_TAG_PLACEHOLDER_0__]

10. Some editors reject line 3 as spurious.

__A_TAG_PLACEHOLDER_0__. Some editors dismiss line 3 as false.

12. Line 2 is in neither manuscript, and no gap is indicated. I have followed Grundtvig’s conjectural emendation.

__A_TAG_PLACEHOLDER_0__. Line 2 is not found in either manuscript, and there's no indication of a gap. I've followed Grundtvig’s suggested correction.

13. This stanza is almost exactly like many in the first part of [112]the Hovamol, and may well have been a separate proverb. After this stanza the scene shifts to the interior of the house.

__A_TAG_PLACEHOLDER_0__. This stanza is quite similar to many in the first part of [__A_TAG_PLACEHOLDER_0__]the Hovamol, and it could have originally been a standalone proverb. After this stanza, the focus moves to the inside of the house.

15. No gap indicated in either manuscript. Bugge and Niedner have attempted emendations, while Hildebrand suggests that the last two lines of stanza 14 are spurious, 14, 1–2, and 15 thus forming a single stanza, which seems doubtful.

__A_TAG_PLACEHOLDER_0__. There’s no gap shown in either manuscript. Bugge and Niedner have tried to make corrections, while Hildebrand proposes that the last two lines of stanza 14 are not genuine, with 14, 1–2, and 15 combined into a single stanza, which seems unlikely.

16. Brother’s slayer: perhaps the brother is Beli, slain by Freyr; the only other references are in Voluspo, 53, and in Snorri’s paraphrase of the Skirnismol, which merely says that Freyr’s gift of his sword to Skirnir “was the reason why he was weaponless when he met Beli, and he killed him bare-handed.” Skirnir himself seems never to have killed anybody. [113]

__A_TAG_PLACEHOLDER_0__. Brother’s slayer: possibly the brother is Beli, who was killed by Freyr; the only other mentions are in Voluspo, 53, and in Snorri’s summary of the Skirnismol, which simply states that Freyr’s gift of his sword to Skirnir “was the reason he was unarmed when he encountered Beli, and he killed him with his bare hands.” It appears that Skirnir never killed anyone. [__A_TAG_PLACEHOLDER_0__]

17. Wise Wanes: cf. Voluspo, 21 and note.

__A_TAG_PLACEHOLDER_0__. Wise Wanes: see Voluspo, 21 and note.

18. The Arnamagnæan Codex omits this stanza.

__A_TAG_PLACEHOLDER_0__. The Arnamagnæan Codex skips this stanza.

19. Apples: the apple was the symbol of fruitfulness, and also of eternal youth. According to Snorri, the goddess Ithun had charge of the apples which the gods ate whenever they felt themselves growing old. [114]

__A_TAG_PLACEHOLDER_0__. Apples: the apple symbolized abundance and eternal youth. According to Snorri, the goddess Ithun was responsible for the apples that the gods consumed whenever they began to feel old. [__A_TAG_PLACEHOLDER_0__]

21. Ring: the ring Draupnir (“Dropper”) was made by the dwarfs for Othin, who laid it on Baldr’s pyre when the latter’s corpse was burned (cf. Voluspo, 32 and note, and Baldrs Draumar). Baldr, however, sent the ring back to Othin from hell. How Freyr obtained it is nowhere stated. Andvari’s ring (Andvaranaut) had a similar power of creating gold; cf. Reginsmol, prose [115]after stanza 4 and note. Lines 3 and 4 of this stanza, and the first two of stanza 22, are missing in the Arnamagnæan Codex.

__A_TAG_PLACEHOLDER_0__. Ring: the ring Draupnir (“Dropper”) was created by the dwarfs for Odin, who placed it on Baldr’s funeral pyre when Baldr’s body was burned (see Voluspo, 32 and note, and Baldrs Draumar). However, Baldr returned the ring to Odin from the afterlife. How Freyr came to possess it isn’t mentioned anywhere. Andvari’s ring (Andvaranaut) had a similar ability to produce gold; see Reginsmol, prose [__A_TAG_PLACEHOLDER_0__] after stanza 4 and note. Lines 3 and 4 of this stanza, along with the first two of stanza 22, are missing in the Arnamagnæan Codex.

25. The first two lines are abbreviated in both manuscripts.

__A_TAG_PLACEHOLDER_0__. The first two lines are shortened in both manuscripts.

26. With this stanza, bribes and threats having failed, Skirnir begins a curse which, by the power of his magic staff, is to fall on Gerth if she refuses Freyr.

__A_TAG_PLACEHOLDER_0__. With this stanza, after bribes and threats have failed, Skirnir starts a curse that, using the power of his magical staff, will be placed on Gerth if she rejects Freyr.

27. Eagle’s hill: the hill at the end of heaven, and consequently overlooking hell, where the giant Hræsvelg sits “in an eagle’s guise,” and makes the winds with his wings; cf. Vafthruthnismol, 37, also Voluspo, 50. The second line is faulty in both manuscripts; Hildebrand’s emendation corrects the error, but omits an effective touch; the manuscript line may be rendered “And look and hanker for hell.” The Arnamagnæan Codex breaks off with the fourth line of this stanza.

__A_TAG_PLACEHOLDER_0__. Eagle’s hill: the hill at the edge of heaven, which overlooks hell, where the giant Hræsvelg sits “in the form of an eagle” and creates the winds with his wings; see Vafthruthnismol, 37, and Voluspo, 50. The second line has errors in both manuscripts; Hildebrand’s revision fixes the mistake but loses a powerful touch; the manuscript line could be interpreted as “And look and long for hell.” The Arnamagnæan Codex ends with the fourth line of this stanza.

28. Hrimnir: a frost-giant, mentioned elsewhere only in Hyndluljoth, 33. Line 3 is probably spurious. Watchman of the gods: Heimdall; cf. Voluspo, 46. [116]

__A_TAG_PLACEHOLDER_0__. Hrimnir: a frost giant, mentioned only in Hyndluljoth, 33. Line 3 is likely added later. Watchman of the gods: Heimdall; see Voluspo, 46. [__A_TAG_PLACEHOLDER_0__]

29. Three nouns of doubtful meaning, which I have rendered rage, longing, and heart respectively, make the precise force of this stanza obscure. Niedner and Sijmons mark the entire stanza as interpolated, and Jonsson rejects line 5.

__A_TAG_PLACEHOLDER_0__. Three nouns with unclear meanings, which I’ve translated as rage, longing, and heart, make the exact impact of this stanza unclear. Niedner and Sijmons consider the whole stanza as added later, and Jonsson dismisses line 5.

30. In Regius and in nearly all the editions the first two lines of this stanza are followed by lines 3–5 of stanza 35. I have followed Niedner, Sijmons, and Gering. The two words here translated vile things are obscure; Gering renders the phrase simply “Kobolde.”

__A_TAG_PLACEHOLDER_0__. In Regius and in almost all the editions, the first two lines of this stanza are followed by lines 3–5 of stanza 35. I have followed Niedner, Sijmons, and Gering. The two words translated here as vile things are unclear; Gering translates the phrase simply as “Kobolde.”

31. The confusion noted as to the preceding stanza, and a metrical error in the third line, have led to various rearrangements and emendations; line 3 certainly looks like an interpolation. Three-headed giants: concerning giants with numerous heads, cf. Vafthruthnismol, 33, and Hymiskvitha, 8. [117]

__A_TAG_PLACEHOLDER_0__. The confusion noted about the previous stanza and a metrical mistake in the third line have led to various rearrangements and corrections; line 3 definitely seems like it was added later. Three-headed giants: regarding giants with multiple heads, see Vafthruthnismol, 33, and Hymiskvitha, 8. [__A_TAG_PLACEHOLDER_0__]

32. No gap indicated in the manuscript; Niedner makes the line here given as 4 the first half of line 3, and fills out the stanza thus: “with which I will tame you, / Maid, to work my will.” The whole stanza seems to be either interpolated or out of place; it would fit better after stanza 25.

__A_TAG_PLACEHOLDER_0__. There’s no gap shown in the manuscript; Niedner presents the line given here as 4 as the first half of line 3, and completes the stanza like this: “with which I will tame you, / Maid, to do my bidding.” The entire stanza feels like it’s either been added in later or is out of sequence; it would make more sense after stanza 25.

33. Jonsson marks this stanza as interpolated. The word translated most evil is another case of guesswork.

__A_TAG_PLACEHOLDER_0__. Jonsson points out that this stanza is added later. The term translated as most evil is another instance of speculation.

34. Most editors reject line 3 as spurious, and some also reject line 6. Lines 2 and 3 may have been expanded out of a single line running approximately “Ye gods and Suttung’s sons.” Suttung: concerning this giant cf. Hovamol, 104 and note. [118]

__A_TAG_PLACEHOLDER_0__. Most editors dismiss line 3 as unnecessary, and some also disregard line 6. Lines 2 and 3 might have been lengthened from a single line that roughly says “Oh gods and Suttung’s sons.” Suttung: regarding this giant see Hovamol, 104 and note. [__A_TAG_PLACEHOLDER_0__]

35. Most editors combine lines 1–2 with stanza 36 (either with the first two lines thereof or the whole stanza), as lines 3–5 stand in the manuscript after line 2 of stanza 30. Hrimgrimnir (“The Frost-Shrouded”): a giant not elsewhere mentioned. Line 5, as a repetition of line 4, is probably a later addition.

__A_TAG_PLACEHOLDER_0__. Most editors merge lines 1–2 with stanza 36 (either with the first two lines or the entire stanza), as lines 3–5 appear in the manuscript after line 2 of stanza 30. Hrimgrimnir (“The Frost-Shrouded”): a giant mentioned nowhere else. Line 5, being a repeat of line 4, is likely a later addition.

36. For the combination of this stanza with the preceding one, cf. note on stanza 35. The scribe clearly did not consider that the stanza began with line 1, as the first word thereof in the manuscript does not begin with a capital letter and has no period before it. The first word of line 3, however, is so marked. Line 5 may well be spurious.

__A_TAG_PLACEHOLDER_0__. For the combination of this stanza with the previous one, see the note on stanza 35. The scribe clearly didn't think that the stanza started with line 1, as the first word in the manuscript doesn't start with a capital letter and has no period before it. However, the first word of line 3 is marked that way. Line 5 might be inauthentic.

37. Again the scribe seems to have been uncertain as to the stanza divisions. This time the first line is preceded by a period, but begins with a small letter. Many editors have made line 2 [119]into two half-lines. A charm: literally, the rune Thurs (þ); the runic letters all had magic attributes; cf. Sigrdrifumol, 6–7 and notes.

__A_TAG_PLACEHOLDER_0__. Once again, the scribe seems unsure about how to divide the stanzas. This time, the first line has a period before it but starts with a lowercase letter. Many editors have split line 2 [__A_TAG_PLACEHOLDER_0__] into two half-lines. A charm: specifically, the rune Thurs (þ); the runic letters were believed to have magical properties; see Sigrdrifumol, 6–7 and notes.

40. Barri: “The Leafy.” [120]

__A_TAG_PLACEHOLDER_0__. Barri: “The Leafy.” [__A_TAG_PLACEHOLDER_1__]

42. Abbreviated to initial letters in the manuscript.

__A_TAG_PLACEHOLDER_0__. Shortened to initials in the manuscript.

43. The superscription is lacking in Regius. Snorri quotes this one stanza in his prose paraphrase, Gylfaginning, chapter 37. The two versions are substantially the same, except that Snorri makes the first line read, “Long is one night,   |   long is the second.” [121]

__A_TAG_PLACEHOLDER_0__. The title is missing in Regius. Snorri cites this stanza in his prose version, Gylfaginning, chapter 37. The two versions are pretty much the same, except that Snorri changes the first line to read, “Long is one night,   |   long is the second.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HARBARTHSLJOTH

The Poem of Harbarth

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Harbarthsljoth is found complete in the Codex Regius, where it follows the Skirnismol, and from the fourth line of stanza 19 to the end of the poem in the Arnamagnæan Codex, of which it occupies the first page and a half.

The Harbarthsljoth is fully preserved in the Codex Regius, where it comes after the Skirnismol, and from the fourth line of verse 19 to the end of the poem in the Arnamagnæan Codex, which takes up the first page and a half.

The poem differs sharply from those which precede it in the Codex Regius, both in metrical form and in spirit. It is, indeed, the most nearly formless of all the Eddic poems. The normal metre is the Malahattr (cf. Introduction, where an example is given). The name of this verse-form means “in the manner of conversation,” and the Harbarthsljoth’s verse fully justifies the term. The Atli poems exemplify the conventional use of Malahattr, but in the Harbarthsljoth the form is used with extraordinary freedom, and other metrical forms are frequently employed. A few of the speeches of which the poem is composed cannot be twisted into any known Old Norse metre, and appear to be simply prose.

The poem stands out sharply from those that come before it in the Codex Regius, both in structure and in tone. It is, in fact, the most freeform of all the Eddic poems. The standard meter is the Malahattr (see Introduction for an example). This verse form is named “in the manner of conversation,” and the verse of Harbarthsljoth fully supports that description. The Atli poems show the traditional use of Malahattr, but in the Harbarthsljoth, the form is employed with remarkable flexibility, often incorporating other metrical styles. Some of the speeches that make up the poem can’t be shaped into any known Old Norse meter and seem to be purely prose.

How far this confusion is due to interpolations and faulty transmission of the original poem is uncertain. Finnur Jonsson has attempted a wholesale purification of the poem, but his arbitrary condemnation of words, lines, and entire stanzas as spurious is quite unjustified by any positive evidence. I have accepted Mogk’s theory that the author was “a first-rate psychologist, but a poor poet,” and have translated the poem as it stands in the manuscripts. I have preserved the metrical confusion of the original by keeping throughout so far as possible to the metres found in the poem; if the rhythm of the translation is often hard to catch, the difficulty is no less with the original Norse.

How much of this confusion comes from changes and errors in passing down the original poem is unclear. Finnur Jonsson has tried to completely clean up the poem, but his random rejection of words, lines, and whole stanzas as fake is not backed up by any solid evidence. I have gone with Mogk’s idea that the author was “a top-notch psychologist, but a poor poet,” and have translated the poem as it appears in the manuscripts. I’ve kept the metrical issues of the original by sticking to the forms found in the poem as much as possible; if the rhythm of the translation is often tricky to grasp, the same is true for the original Norse.

The poem is simply a contest of abuse, such as the early Norwegian and Icelander delighted in, the opposing figures being Thor and Othin, the latter appearing in the disguise of the ferryman Harbarth. Such billingsgate lent itself readily to changes, interpolations and omissions, and it is little wonder that the poem is chaotic. It consists mainly of boasting and of references, often luckily obscure, to disreputable events in the life of one or the other of the disputants. Some editors have sought to read a complex symbolism into it, particularly by representing [122]it as a contest between the noble or warrior class (Othin) and the peasant (Thor). But it seems a pity to take such a vigorous piece of broad farce too seriously.

The poem is just a competition of insults, like what early Norwegians and Icelanders enjoyed, with Thor and Othin as the main characters, the latter appearing as the ferryman Harbarth. This kind of trash talk easily allowed for changes, additions, and deletions, which explains why the poem feels chaotic. It mainly consists of boasting and often fortunate, vague references to shady events in the lives of the two contenders. Some editors have tried to read a complex symbolism into it, especially by portraying it as a clash between the noble or warrior class (Othin) and the peasant (Thor). But it seems a shame to take such a lively piece of broad comedy too seriously.

Verse-form, substance, and certain linguistic peculiarities, notably the suffixed articles, point to a relatively late date (eleventh century) for the poem in its present form. Probably it had its origin in the early days, but its colloquial nature and its vulgarity made it readily susceptible to changes.

Verse form, substance, and some unique language features, especially the suffixed articles, indicate that the poem in its current version dates from a relatively late period (the eleventh century). It likely originated in earlier times, but its conversational style and vulgarity made it easily open to modifications.

Owing to the chaotic state of the text, and the fact that none of the editors or commentators have succeeded in improving it much, I have not in this case attempted to give all the important emendations and suggestions. The stanza-divisions are largely arbitrary.

Due to the disorganized state of the text, and the reality that none of the editors or commentators have managed to enhance it significantly, I have not attempted to include all the key revisions and recommendations in this instance. The stanza divisions are mostly arbitrary.

[__A_TAG_PLACEHOLDER_0__]

Thor was on his way back from a journey in the East, and came to a sound; on the other side of the sound was a ferryman with a boat. Thor called out:

Thor was returning from a trip to the East when he reached a sound. On the other side of the sound, there was a ferryman with a boat. Thor called out:

1. “Who is the fellow yonder,   |   on the farther shore of the sound?”

1. “Who is that guy over there,   |   on the other side of the bay?”

[123]

[__A_TAG_PLACEHOLDER_0__]

The ferryman spake:

The ferryman said:

2. “What kind of a peasant is yon,   |   that calls o’er the bay?”

__A_TAG_PLACEHOLDER_0__. “What kind of peasant is that,   |   who calls across the bay?”

Thor spake:

Thor said:

3. “Ferry me over the sound;   |   I will feed thee therefor in the morning;

__A_TAG_PLACEHOLDER_0__. “Take me across the bay;   |   I’ll give you food in the morning in return;

A basket I have on my back,   |   and food therein, none better;

A basket on my back, and food inside, nothing compares.

At leisure I ate,   |   ere the house I left,

At my leisure, I ate, before I left the house,

Of herrings and porridge,   |   so plenty I had.”

Of herring and porridge, so much I had.

The ferryman spake:

The ferryman said:

4. “Of thy morning feats art thou proud,   |   but the future thou knowest not wholly;

__A_TAG_PLACEHOLDER_0__. “You take pride in your accomplishments of the morning,   |   but you don’t know the future completely;

Doleful thine home-coming is:   |   thy mother, methinks, is dead.”

Your homecoming is sad: I think your mother is dead.

Thor spake:

Thor said:

5. “Now hast thou said   |   what to each must seem

__A_TAG_PLACEHOLDER_0__. “Now you have said   |   what everyone must think

The mightiest grief,   |   that my mother is dead.”

The greatest sadness is that my mom is gone.

[124]

[__A_TAG_PLACEHOLDER_0__]

The ferryman spake:

The ferryman said:

6. “Three good dwellings,   |   methinks, thou hast not;

__A_TAG_PLACEHOLDER_0__. “I don’t think you have three good homes;

Barefoot thou standest,   |   and wearest a beggar’s dress;

Barefoot you stand, | and you're wearing a beggar's outfit;

Not even hose dost thou have.”

Not even shoes do you have.

Thor spake:

Thor said:

7. “Steer thou hither the boat;   |   the landing here shall I show thee;

7. “Bring the boat here; I’ll show you where to land;

But whose the craft   |   that thou keepest on the shore?”

But whose craft is it that you keep on the shore?

The ferryman spake:

The ferryman spoke:

8. “Hildolf is he   |   who bade me have it,

__A_TAG_PLACEHOLDER_0__. “Hildolf is the one who told me to have it,

A hero wise;   |   his home is at Rathsey’s sound.

A wise hero; his home is at Rathsey’s sound.

He bade me no robbers to steer,   |   nor stealers of steeds,

He didn't want me to encounter any robbers or horse thieves.

But worthy men,   |   and those whom well do I know.

But deserving people,   |   and those I know well.

Say now thy name,   |   if over the sound thou wilt fare.”

Say your name now,   |   if you want to cross over the sound.”

Thor spake:

Thor said:

9. “My name indeed shall I tell,   |   though in danger I am, [125]

__A_TAG_PLACEHOLDER_0__. “I will definitely share my name,   |   even though I'm in danger, [__A_TAG_PLACEHOLDER_0__]

And all my race;   |   I am Othin’s son,

And all my people;   |   I am Odin’s son,

Meili’s brother,   |   and Magni’s father,

Meili's brother, | and Magni's father,

The strong one of the gods;   |   with Thor now speech canst thou get.

The powerful one among the gods;   |   with Thor, now you can speak.

And now would I know   |   what name thou hast.”

And now I would like to know what your name is.

The ferryman spake:

The ferryman said:

10. “Harbarth am I,   |   and seldom I hide my name.”

10. “I am Harbarth, and I rarely hide my name.”

Thor spake:

Thor said:

11. “Why shouldst thou hide thy name,   |   if quarrel thou hast not?”

11. “Why are you hiding your name if you have no argument?”

Harbarth spake:

Harbarth said:

12. “And though I had a quarrel,   |   from such as thou art

__A_TAG_PLACEHOLDER_0__. “And even though I had a disagreement, | from people like you”

Yet none the less   |   my life would I guard,

Yet still, I would protect my life,

Unless I be doomed to die.”

Unless I am doomed to die.

[126]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

13. “Great trouble, methinks,   |   would it be to come to thee,

__A_TAG_PLACEHOLDER_0__. “It seems to me that it would be a big hassle to come to you,

To wade the waters across,   |   and wet my middle;

To wade across the water and get wet in the middle;

Weakling, well shall I pay   |   thy mocking words,

Weakling, I will pay you back for your mocking words,

If across the sound I come.”

If I come across the sound.

Harbarth spake:

Harbarth said:

14. “Here shall I stand   |   and await thee here;

__A_TAG_PLACEHOLDER_0__. “I will stand here and wait for you;

Thou hast found since Hrungnir died   |   no fiercer man.”

You haven’t found a fiercer man since Hrungnir died.

Thor spake:

Thor said:

15. “Fain art thou to tell   |   how with Hrungnir I fought,

15. “You’re eager to share   |   how I fought Hrungnir,

The haughty giant,   |   whose head of stone was made;

The arrogant giant,   |   whose head was made of stone;

And yet I felled him,   |   and stretched him before me.

And yet I brought him down,   |   and laid him out in front of me.

What, Harbarth, didst thou the while?”

What were you doing the whole time, Harbarth?

[127]

[__A_TAG_PLACEHOLDER_0__]

Harbarth spake:

Harbarth said

16. “Five full winters   |   with Fjolvar was I,

__A_TAG_PLACEHOLDER_0__. “I spent five complete winters with Fjolvar,

And dwelt in the isle   |   that is Algrön called;

And lived on the island called Algrön;

There could we fight,   |   and fell the slain,

There we could fight,   |   and bring down the slain,

Much could we seek,   |   and maids could master.”

Much could we seek, and girls could master.

Thor spake:

Thor said:

17. “How won ye success with your women?”

__A_TAG_PLACEHOLDER_0__. “How did you succeed with your women?”

Harbarth spake:

Harbarth said:

18. “Lively women we had,   |   if they wise for us were;

__A_TAG_PLACEHOLDER_0__. “We had lively women, | if they were wise for us;

Wise were the women we had,   |   if they kind for us were;

Wise were the women we had,   |   if they were kind to us;

For ropes of sand   |   they would seek to wind,

For ropes of sand   |   they would try to twist,

And the bottom to dig   |   from the deepest dale.

And the bottom to dig   |   from the deepest valley.

Wiser than all   |   in counsel I was,

Wiser than everyone else in advice I was,

And there I slept   |   by the sisters seven,

And there I slept   |   by the seven sisters,

And joy full great   |   did I get from each.

And I felt immense joy from each one.

What, Thor, didst thou the while?”

What were you up to, Thor?

[128]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

19. “Thjazi I felled,   |   the giant fierce,

__A_TAG_PLACEHOLDER_0__. “I took down Thjazi,   |   the fierce giant,

And I hurled the eyes   |   of Alvaldi’s son

And I threw the eyes of Alvaldi's son

To the heavens hot above;

To the hot heavens above;

Of my deeds the mightiest   |   marks are these,

Of all the things I've done, these are the most significant:

That all men since can see.

That everyone can see since then.

What, Harbarth, didst thou the while?”

What were you doing during that time, Harbarth?

Harbarth spake:

Harbarth said:

20. “Much love-craft I wrought   |   with them who ride by night,

__A_TAG_PLACEHOLDER_0__. “I created a lot of love magic with those who ride at night,

When I stole them by stealth from their husbands;

When I secretly took them from their husbands;

A giant hard   |   was Hlebarth, methinks:

A giant hard | was Hlebarth, I think:

His wand he gave me as gift,

His wand, he gave me as a gift,

And I stole his wits away.”

And I took away his cleverness.”

[129]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

21. “Thou didst repay good gifts with evil mind.”

21. “You returned good gifts with a bad attitude.”

Harbarth spake:

Harbarth said:

22. “The oak must have   |   what it shaves from another;

__A_TAG_PLACEHOLDER_0__. “The oak must take what it cuts from another;

In such things each for himself.

In situations like these, everyone is on their own.

What, Thor, didst thou the while?”

What were you doing all this time, Thor?

Thor spake:

Thor said:

23. “Eastward I fared,   |   of the giants I felled

__A_TAG_PLACEHOLDER_0__. “I traveled eastward, | taking down the giants

Their ill-working women   |   who went to the mountain;

Their unhelpful women | who went to the mountain;

And large were the giants’ throng   |   if all were

And the crowd of giants was huge | if everyone was

alive;

living

No men would there be   |   in Mithgarth more.

No more men would be in Mithgarth.

What, Harbarth, didst thou the while?”

What were you doing the whole time, Harbarth?

Harbarth spake:

Harbarth said

24. “In Valland I was,   |   and wars I raised,

__A_TAG_PLACEHOLDER_0__. “I was in Valland, and I started wars,

Princes I angered,   |   and peace brought never;

Princes I upset,   |   and peace was never brought;

The noble who fall   |   in the fight hath Othin,

The noble who falls in the fight has Odin,

And Thor hath the race of the thralls.”

And Thor has the lineage of the servants.

[130]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

25. “Unequal gifts   |   of men wouldst thou give to the gods,

25. “Would you give unequal gifts of men to the gods,

If might too much thou shouldst have.”

If you have an excess.

Harbarth spake:

Harbarth said:

26. “Thor has might enough,   |   but never a heart;

__A_TAG_PLACEHOLDER_0__. “Thor is strong,   |   but lacks a heart;

For cowardly fear   |   in a glove wast thou fain to crawl,

For cowardly fear   |   you were eager to crawl in a glove,

And there forgot thou wast Thor;

And there you forgot that you were Thor;

Afraid there thou wast,   |   thy fear was such,

Afraid there you were,   |   your fear was so intense,

To fart or sneeze   |   lest Fjalar should hear.”

To fart or sneeze   |   so that Fjalar doesn't hear.”

Thor spake:

Thor said:

27. “Thou womanish Harbarth,   |   to hell would I smite thee straight,

27. “You womanly Harbarth, | I would strike you down to hell right away,

Could mine arm reach over the sound.”

Could my arm reach over the sound?

[131]

[__A_TAG_PLACEHOLDER_0__]

Harbarth spake:

Harbarth said:

28. “Wherefore reach over the sound,   |   since strife we have none?

28. “So why not cross over the water,   |   since we have no conflict?”

What, Thor, didst thou do then?”

What, Thor, did you do then?

Thor spake:

Thor said:

29. “Eastward I was,   |   and the river I guarded well,

__A_TAG_PLACEHOLDER_0__. “I was to the east, and I kept a close watch on the river,

Where the sons of Svarang   |   sought me there;

Where the sons of Svarang | sought me there;

Stones did they hurl;   |   small joy did they have of winning;

They threw stones; | they had little joy in winning;

Before me there   |   to ask for peace did they fare.

Before me they came to ask for peace.

What, Harbarth, didst thou the while?”

What, Harbarth, were you doing all this time?

Harbarth spake:

Harbarth said:

30. “Eastward I was,   |   and spake with a certain one,

__A_TAG_PLACEHOLDER_0__. “I was in the east, and I talked with someone,

I played with the linen-white maid,   |   and met her by stealth;

I secretly met up with the linen-white maid and spent time with her.

I gladdened the gold-decked one,   |   and she granted me joy.”

I made the golden one happy, and she brought me joy.

Thor spake:

Thor said:

31. “Full fair was thy woman-finding.”

“Your matchmaking was really great.”

[132]

[__A_TAG_PLACEHOLDER_0__]

Harbarth spake:

Harbarth said:

32. “Thy help did I need then, Thor,   |   to hold the white maid fast.”

32. “I needed your help then, Thor,   |   to keep the white girl safe.”

Thor spake:

Thor said:

33. “Gladly, had I been there,   |   my help to thee had been given.”

33. “I would have happily been there, and I would have helped you.”

Harbarth spake:

Harbarth said:

34. “I might have trusted thee then,   |   didst thou not betray thy troth.”

34. “I could have trusted you back then, if you hadn't betrayed your promise.”

Thor spake:

Thor said:

35. “No heel-biter am I, in truth,   |   like an old leather shoe in spring.”

__A_TAG_PLACEHOLDER_0__. “I'm not a nag, really,   |   like an old leather shoe in spring.”

Harbarth spake:

Harbarth said:

36. “What, Thor, didst thou the while?”

36. “What were you up to, Thor?”

Thor spake:

Thor said:

37. “In Hlesey the brides   |   of the Berserkers slew I;

__A_TAG_PLACEHOLDER_0__. “In Hlesey, I killed the Berserker brides;

Most evil they were,   |   and all they betrayed.”

Most were evil, and all betrayed.

[133]

[__A_TAG_PLACEHOLDER_0__]

Harbarth spake:

Harbarth said:

38. “Shame didst thou win,   |   that women thou slewest, Thor.”

38. “You earned shame by killing those women, Thor.”

Thor spake:

Thor said:

39. “She-wolves they were like,   |   and women but little;

__A_TAG_PLACEHOLDER_0__. “They were like she-wolves, and the women were just a bit less fierce;

My ship, which well   |   I had trimmed, did they shake;

My ship, which I had prepared well, did they shake;

With clubs of iron they threatened,   |   and Thjalfi they drove off.

With iron clubs, they threatened, and drove Thjalfi away.

What, Harbarth, didst thou the while?”

What were you doing the whole time, Harbarth?

Harbarth spake:

Harbarth said:

40. “In the host I was   |   that hither fared,

__A_TAG_PLACEHOLDER_0__. “In the group I was | that came here,

The banners to raise,   |   and the spear to redden.”

The banners to raise,   |   and the spear to stain red.”

Thor spake:

Thor said:

41. “Wilt thou now say   |   that hatred thou soughtest to bring us?”

__A_TAG_PLACEHOLDER_0__. “Are you really going to say that you tried to bring us hatred?”

Harbarth spake:

Harbarth said:

42. “A ring for thy hand   |   shall make all right for thee,

__A_TAG_PLACEHOLDER_0__. “A ring for your hand   |   will make everything right for you,

As the judge decides   |   who sets us two at peace.”

As the judge decides who brings us both to peace.

[134]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

43. “Where foundest thou   |   so foul and scornful a speech?

43. “Where did you come across such a nasty and disrespectful comment?

More foul a speech   |   I never before have heard.”

More offensive a speech   |   I have never heard before.”

Harbarth spake:

Harbarth said

44. “I learned it from men,   |   the men so old,

__A_TAG_PLACEHOLDER_0__. “I learned it from men,   |   the men who were so old,

Who dwell in the hills of home.”

Who live in the hills of home.”

Thor spake:

Thor said:

45. “A name full good   |   to heaps of stones thou givest

45. “You give a name that's great to piles of stones.

When thou callest them hills of home.”

When you call them hills of home.

Harbarth spake:

Harbarth said:

46. “Of such things speak I so.”

"That's what I'm saying."

Thor spake:

Thor said:

47. “Ill for thee comes   |   thy keenness of tongue,

47. "Your sharp tongue brings you nothing but trouble,"

If the water I choose to wade;

If the water I decide to walk through;

Louder, I ween,   |   than a wolf thou cryest,

Louder, I think,   |   than a wolf you cry,

If a blow of my hammer thou hast.”

If you've felt a hit from my hammer.

Harbarth spake:

Harbarth said:

48. “Sif has a lover at home,   |   and him shouldst thou meet;

__A_TAG_PLACEHOLDER_0__. “Sif has a partner at home,   |   and you should meet him;

More fitting it were   |   on him to put forth thy strength.”

More appropriate it would be for him to show your strength.

[135]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

49. “Thy tongue still makes thee say   |   what seems most ill to me,

49. “Your words still lead you to say   |   what sounds the worst to me,

Thou witless man! Thou liest, I ween.”

You clueless man! You're lying, I believe.

Harbarth spake:

Harbarth said:

50. “Truth do I speak,   |   but slow on thy way thou art;

50. "I speak the truth, | but you're moving slowly on your path;

Far hadst thou gone   |   if now in the boat thou hadst fared.”

Far you would have gone   |   if now in the boat you had traveled.

Thor spake:

Thor said:

51. “Thou womanish Harbarth!   |   here hast thou held me too long.”

51. “You feminine Harbarth! | you have kept me here too long.”

Harbarth spake:

Harbarth spoke

52. “I thought not ever   |   that Asathor would be hindered

__A_TAG_PLACEHOLDER_0__. “I never thought that Asathor would be stopped

By a ferryman thus from faring.”

By a ferryman thus from going.

Thor spake:

Thor said:

53. “One counsel I bring thee now:   |   row hither thy boat;

__A_TAG_PLACEHOLDER_0__. “I have one piece of advice for you: | bring your boat over here;

No more of scoffing;   |   set Magni’s father across.”

No more scoffing; | set Magni’s dad across.

Harbarth spake:

Harbarth said

54. “From the sound go hence;   |   the passage thou hast not.”

54. “Get out from here; you don't have the way.”

[136]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

55. “The way now show me,   |   since thou takest me not o’er the water.”

55. “Show me the way now, since you won't take me across the water.”

Harbarth spake:

Harbarth said:

56. “To refuse it is little,   |   to fare it is long;

__A_TAG_PLACEHOLDER_0__. “Rejecting it is minor,   |   dealing with it takes a while;

A while to the stock,   |   and a while to the stone;

A while for the stock,   |   and a while for the stone;

Then the road to thy left,   |   till Verland thou reachest;

Then take the road on your left, until you reach Verland;

And there shall Fjorgyn   |   her son Thor find,

And there Fjorgyn will find her son Thor,

And the road of her children   |   she shows him to Othin’s realm.”

And she shows him the way to Othin’s realm through the path of her children.

Thor spake:

Thor said:

57. “May I come so far in a day?”

57. “Can I travel that far in one day?”

Harbarth spake:

Harbarth said:

58. “With toil and trouble perchance,

__A_TAG_PLACEHOLDER_0__. "With hard work and struggle,

While the sun still shines,   |   or so I think.”

While the sun is still shining,   |   or at least that's what I believe."

Thor spake:

Thor said:

59. “Short now shall be our speech,   |   for thou speakest in mockery only; [137]

59. “Let’s keep this brief,   |   because you’re just teasing us; [__A_TAG_PLACEHOLDER_0__]

The passage thou gavest me not   |   I shall pay thee if ever we meet.”

"The passage you gave me not | I'll pay you if we ever meet."

Harbarth spake:

Harbarth said

60. “Get hence where every evil thing shall have thee!”

__A_TAG_PLACEHOLDER_0__. “Get out of here where every bad thing will find you!”

[121]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[122]

[__A_TAG_PLACEHOLDER_0__]

Prose. Harbarth (“Gray-Beard”): Othin. On the nature of the prose notes found in the manuscripts, cf. Grimnismol, introduction. Thor: the journeys of the thunder-god were almost as numerous as those of Othin; cf. Thrymskvitha and Hymiskvitha. Like the Robin Hood of the British ballads, Thor was often temporarily worsted, but always managed to come out ahead in the end. His “Journey in the East” is presumably the famous episode, related in full by Snorri, in the course of which he encountered the giant Skrymir, and in the house of Utgartha-Loki lifted the cat which turned out to be Mithgarthsorm. The Hymiskvitha relates a further incident of this journey. [123]

Prose. Harbarth (“Gray-Beard”): Othin. For information on the prose notes found in the manuscripts, see Grimnismol, introduction. Thor: the journeys of the thunder god were nearly as many as those of Othin; see Thrymskvitha and Hymiskvitha. Like the Robin Hood of British ballads, Thor faced setbacks but always managed to come out on top in the end. His “Journey in the East” likely refers to the famous episode fully described by Snorri, during which he encounters the giant Skrymir and, in the house of Utgartha-Loki, lifts the cat that turns out to be Mithgarthsorm. The Hymiskvitha recounts another incident from this journey. [__A_TAG_PLACEHOLDER_0__]

2. The superscriptions to the speeches are badly confused in the manuscripts, but editors have agreed fairly well as to where they belong.

__A_TAG_PLACEHOLDER_0__. The titles for the speeches are pretty jumbled in the manuscripts, but editors have mostly agreed on their proper placement.

3. From the fact that in Regius line 3 begins with a capital letter, it is possible that lines 3–4 constitute the ferryman’s reply, with something lost before stanza 4.

__A_TAG_PLACEHOLDER_0__. Since line 3 in Regius starts with a capital letter, it seems that lines 3–4 could be the ferryman’s response, suggesting that something is missing before stanza 4.

4. Thy mother: Jorth (Earth).

__A_TAG_PLACEHOLDER_0__. Your mother: Jorth (Earth).

5. Some editors assume a lacuna after this stanza.

__A_TAG_PLACEHOLDER_0__. Some editors think there’s a gap after this stanza.

6. Three good dwellings: this has been generally assumed to mean three separate establishments, but it may refer simply to [124]the three parts of a single farm, the dwelling proper, the cattle-barn and the storehouse; i.e., Thor is not even a respectable peasant.

__A_TAG_PLACEHOLDER_0__. Three good dwellings: this has usually been taken to mean three separate buildings, but it could just refer to [__A_TAG_PLACEHOLDER_0__]the three sections of one farm: the main house, the barn for cattle, and the storage shed; in other words, Thor isn't even an upstanding farmer.

8. Hildolf (“slaughtering wolf”): not elsewhere mentioned in the Edda. Rathsey (“Isle of Counsel”): likewise not mentioned elsewhere.

__A_TAG_PLACEHOLDER_0__. Hildolf (“slaughtering wolf”): not mentioned anywhere else in the Edda. Rathsey (“Isle of Counsel”): also not mentioned anywhere else.

9. In danger: Thor is “sekr,” i.e., without the protection of any law, so long as he is in the territory of his enemies, the [125]giants. Meili: a practically unknown son of Othin, mentioned here only in the Edda. Magni: son of Thor and the giantess Jarnsaxa; after Thor’s fight with Hrungnir (cf. stanza 14, note) Magni, though but three days old, was the only one of the gods strong enough to lift the dead giant’s foot from Thor’s neck. After rescuing his father, Magni said to him: “There would have been little trouble, father, had I but come sooner; I think I should have sent this giant to hell with my fist if I had met him first.” Magni and his brother, Mothi, inherit Thor’s hammer.

__A_TAG_PLACEHOLDER_0__. In danger: Thor is “sekr,” meaning he is without any legal protection while he’s in the land of his enemies, the [__A_TAG_PLACEHOLDER_0__]giants. Meili: a largely unknown son of Othin, mentioned here only in the Edda. Magni: son of Thor and the giantess Jarnsaxa; after Thor’s battle with Hrungnir (see stanza 14, note), Magni, even though he was just three days old, was the only god strong enough to lift the dead giant’s foot off Thor’s neck. After saving his father, Magni said to him: “Things would have been a lot easier, dad, if I had come sooner; I think I could have sent that giant to hell with my fist if I had faced him first.” Magni and his brother, Mothi, inherit Thor’s hammer.

12. This stanza is hopelessly confused as to form, but none of the editorial rearrangements have materially altered the meaning. Doomed to die: the word “feigr” occurs constantly in the Old Norse poems and sagas; the idea of an inevitable but unknown fate seems to have been practically universal throughout the pre-Christian period. On the concealment of names from enemies, cf. Fafnismol, prose after stanza 1. [126]

__A_TAG_PLACEHOLDER_0__. This stanza is really confusing in its structure, but none of the editorial changes have significantly changed the meaning. Doomed to die: the word “feigr” appears frequently in the Old Norse poems and sagas; the concept of an unavoidable yet unknown fate seems to have been fairly common throughout the pre-Christian era. For the concealment of names from enemies, see Fafnismol, prose after stanza 1. [__A_TAG_PLACEHOLDER_0__]

13. This stanza, like the preceding one, is peculiarly chaotic in the manuscript, and has been variously emended.

__A_TAG_PLACEHOLDER_0__. This stanza, similar to the previous one, is quite chaotic in the manuscript and has been edited in various ways.

14. Hrungnir: this giant rashly wagered his head that his horse, Gullfaxi, was swifter than Othin’s Sleipnir. In the race, which Hrungnir lost, he managed to dash uninvited into the home of the gods, where he became very drunk. Thor ejected him, and accepted his challenge to a duel. Hrungnir, terrified, had a helper made for him in the form of a dummy giant nine miles high and three miles broad. Hrungnir himself had a three-horned heart of stone and a head of stone; his shield was of stone and his weapon was a grindstone. But Thjalfi, Thor’s servant, told him the god would attack him out of the ground, wherefore Hrungnir laid down his shield and stood on it. The hammer Mjollnir shattered both the grindstone and Hrungnir’s [127]head, but part of the grindstone knocked Thor down, and the giant fell with his foot on Thor’s neck (cf. note on stanza 9). Meanwhile Thjalfi dispatched the dummy giant without trouble.

__A_TAG_PLACEHOLDER_0__. Hrungnir: this giant foolishly bet his head that his horse, Gullfaxi, was faster than Othin’s Sleipnir. In the race, which Hrungnir lost, he barged uninvited into the home of the gods, where he got very drunk. Thor kicked him out and accepted his challenge to a duel. Hrungnir, scared, had a helper made for him in the form of a dummy giant nine miles tall and three miles wide. Hrungnir himself had a three-horned heart of stone and a head of stone; his shield was made of stone and his weapon was a grindstone. But Thjalfi, Thor’s servant, warned him that the god would attack him from the ground, so Hrungnir laid down his shield and stood on it. The hammer Mjollnir shattered both the grindstone and Hrungnir’s [__A_TAG_PLACEHOLDER_0__]head, but part of the grindstone knocked Thor down, and the giant fell with his foot on Thor’s neck (cf. note on stanza 9). Meanwhile, Thjalfi took out the dummy giant without a problem.

16. Fjolvar: not elsewhere mentioned in the poems; perhaps the father of the “seven sisters” referred to in stanza 18. Algrön “The All-Green”: not mentioned elsewhere in the Edda.

__A_TAG_PLACEHOLDER_0__. Fjolvar: not mentioned anywhere else in the poems; possibly the father of the “seven sisters” referenced in stanza 18. Algrön “The All-Green”: not mentioned anywhere else in the Edda.

17. Thor is always eager for stories of this sort; cf. stanzas 31 and 33.

__A_TAG_PLACEHOLDER_0__. Thor is always keen on stories like this; see stanzas 31 and 33.

18. Lines 1–2 are obscure, but apparently Harbarth means that the women were wise to give in to him cheerfully, resistance to his power being as impossible as (lines 3–4) making ropes of sand or digging the bottoms out of the valleys. Nothing further is known of these unlucky “seven sisters.” [128]

__A_TAG_PLACEHOLDER_0__. Lines 1–2 are unclear, but it seems that Harbarth suggests the women were smart to happily give in to him, as resisting his power is as pointless as (lines 3–4) making ropes out of sand or trying to dig the bottoms out of the valleys. No more is known about these unfortunate “seven sisters.” [__A_TAG_PLACEHOLDER_0__]

19. Thjazi: this giant, by a trick, secured possession of the goddess Ithun and her apples (cf. Skirnismol, 19, note), and carried her off into Jotunheim. Loki, through whose fault she had been betrayed, was sent after her by the gods. He went in Freyja’s “hawk’s-dress” (cf. Thrymskvitha, 3), turned Ithun into a nut, and flew back with her. Thjazi, in the shape of an eagle, gave chase. But the gods kindled a fire which burnt the eagle’s wings, and then they killed him. Snorri’s prose version does not attribute this feat particularly to Thor. Thjazi’s daughter was Skathi, whom the gods permitted to marry Njorth as a recompense for her father’s death. Alvaldi: of him we know only that he was the father of Thjazi, Ithi and Gang, who divided his wealth, each taking a mouthful of gold. The name is variously spelled. It is not known which stars were called “Thjazi’s Eyes.” In the middle of line 4 begins the fragmentary version of the poem found in the Arnamagnæan Codex.

__A_TAG_PLACEHOLDER_0__. Thjazi: this giant, through a trick, captured the goddess Ithun and her apples (cf. Skirnismol, 19, note), and took her to Jotunheim. Loki, who was responsible for her being betrayed, was sent after her by the gods. He put on Freyja’s “hawk’s-dress” (cf. Thrymskvitha, 3), turned Ithun into a nut, and flew back with her. Thjazi, in the form of an eagle, gave chase. But the gods lit a fire that burned the eagle’s wings, and then they killed him. Snorri’s prose version does not specifically credit this feat to Thor. Thjazi’s daughter was Skathi, whom the gods allowed to marry Njorth as compensation for her father’s death. Alvaldi: we only know that he was the father of Thjazi, Ithi, and Gang, who split his wealth, each taking a mouthful of gold. The name has various spellings. It is unclear which stars were referred to as “Thjazi’s Eyes.” In the middle of line 4 begins the fragmentary version of the poem found in the Arnamagnæan Codex.

20. Riders by night: witches, who were supposed to ride on wolves in the dark. Nothing further is known of this adventure. [129]

__A_TAG_PLACEHOLDER_0__. Riders by night: witches who were said to ride on wolves in the dark. There’s nothing more known about this adventure. [__A_TAG_PLACEHOLDER_0__]

22. The oak, etc.: this proverb is found elsewhere (e.g., Grettissaga) in approximately the same words. Its force is much like our “to the victor belong the spoils.”

__A_TAG_PLACEHOLDER_0__. The oak, etc: this saying appears in other places (e.g., Grettissaga) using similar wording. Its meaning is similar to our “to the victor belong the spoils.”

23. Thor killed no women of the giants’ race on the “journey to the East” so fully described by Snorri, his great giant-killing adventure being the one narrated in the Thrymskvitha.

__A_TAG_PLACEHOLDER_0__. Thor didn’t kill any giant women on the "journey to the East," which Snorri detailed thoroughly; his major giant-slaying adventure is the one told in the Thrymskvitha.

24. Valland: this mythical place (“Land of Slaughter”) is elsewhere mentioned, but not further characterized; cf. prose introduction to Völundarkvitha, and Helreith Brynhildar, 2. On the bringing of slain heroes to Othin, cf. Voluspo, 31 and note, [130]and, for a somewhat different version, Grimnismol, 14. Nowhere else is it indicated that Thor has an asylum for dead peasants.

__A_TAG_PLACEHOLDER_0__. Valland: this legendary place (“Land of Slaughter”) is mentioned elsewhere but not described further; see the prose introduction to Völundarkvitha and Helreith Brynhildar, 2. For the transfer of fallen heroes to Othin, refer to Voluspo, 31 and note, [__A_TAG_PLACEHOLDER_0__] and for a slightly different version, Grimnismol, 14. It is not mentioned anywhere else that Thor provides a sanctuary for deceased peasants.

26. The reference here is to one of the most familiar episodes in Thor’s eastward journey. He and his companions came to a house in the forest, and went in to spend the night. Being disturbed by an earthquake and a terrific noise, they all crawled into a smaller room opening from the main one. In the morning, however, they discovered that the earthquake had been occasioned by the giant Skrymir’s lying down near them, and the noise by his snoring. The house in which they had taken refuge was his glove, the smaller room being the thumb. Skrymir was in fact Utgartha-Loki himself. That he is in this stanza called Fjalar (the name occurs also in Hovamol, 14) is probably due to a confusion of the names by which Utgartha-Loki went. Loki taunts Thor with this adventure in Lokasenna, 60 and 62, line 3 of this stanza being perhaps interpolated from Lokasenna, 60, 4. [131]

__A_TAG_PLACEHOLDER_0__. This refers to one of the most well-known parts of Thor's journey eastward. He and his friends arrived at a house in the forest and went inside to spend the night. They were disturbed by an earthquake and a loud noise, so they all crawled into a smaller room that opened off the main one. In the morning, they found out that the earthquake was caused by the giant Skrymir lying down nearby, and the noise was from his snoring. The house they had taken refuge in was actually his glove, with the smaller room being the thumb. Skrymir was actually Utgartha-Loki himself. The fact that he is referred to as Fjalar in this stanza (a name that also appears in Hovamol, 14) is likely due to confusion over the names used for Utgartha-Loki. Loki mocks Thor about this adventure in Lokasenna, 60, and line 3 of this stanza might have been added from Lokasenna, 60, 4. [__A_TAG_PLACEHOLDER_0__]

29. The river: probably Ifing, which flows between the land of the gods and that of the giants; cf. Vafthruthnismol, 16. Sons of Svarang: presumably the giants; Svarang is not elsewhere mentioned in the poems, nor is there any other account of Thor’s defense of the passage.

__A_TAG_PLACEHOLDER_0__. The river: likely Ifing, which runs between the realm of the gods and that of the giants; cf. Vafthruthnismol, 16. Sons of Svarang: probably the giants; Svarang isn’t mentioned anywhere else in the poems, and there’s no other story of Thor protecting the crossing.

30. Othin’s adventures of this sort were too numerous to make it possible to identify this particular person. By stealth: so the Arnamagnæan Codex; Regius, followed by several editors, has “long meeting with her.” [132]

__A_TAG_PLACEHOLDER_0__. Othin had so many adventures like this that it’s impossible to pinpoint this specific person. By stealth: that’s what the Arnamagnæan Codex says; Regius, along with several editors, states “long meeting with her.” [__A_TAG_PLACEHOLDER_0__]

35. Heel-biter: this effective parallel to our “back-biter” is not found elsewhere in Old Norse.

__A_TAG_PLACEHOLDER_0__. Heel-biter: this useful comparison to our “back-biter” isn't seen anywhere else in Old Norse.

37. Hlesey: “the Island of the Sea-God” (Hler = Ægir), identified with the Danish island Läsö, in the Kattegat. It appears again, much out of place, in Oddrunargratr, 28. Berserkers: originally men who could turn themselves into bears, hence the name, “bear-shirts”; cf. the werewolf or loupgarou. Later the name was applied to men who at times became seized with a madness for bloodshed; cf. Hyndluljoth, 23 and note. The women here mentioned are obviously of the earlier type. [133]

__A_TAG_PLACEHOLDER_0__. Hlesey: “the Island of the Sea-God” (Hler = Ægir), identified with the Danish island Läsö, in the Kattegat. It appears again, quite out of context, in Oddrunargratr, 28. Berserkers: originally men who could transform into bears, which is where the name “bear-shirts” comes from; compare to the werewolf or loupgarou. Later, the term was used for men who sometimes became overwhelmed with a thirst for blood; see Hyndluljoth, 23 and note. The women mentioned here clearly belong to the earlier category. [__A_TAG_PLACEHOLDER_0__]

39. Thjalfi: Thor’s servant; cf. note on stanza 14.

__A_TAG_PLACEHOLDER_0__. Thjalfi: Thor’s helper; see note on stanza 14.

40. To what expedition this refers is unknown, but apparently Othin speaks of himself as allied to the foes of the gods.

__A_TAG_PLACEHOLDER_0__. It's unclear which expedition this is about, but it seems that Othin describes himself as being allied with the enemies of the gods.

41. Hatred: so Regius; the other manuscript has, apparently, “sickness.”

__A_TAG_PLACEHOLDER_0__. Hatred: so Regius; the other manuscript seems to have “sickness.”

42. Just what Othin means, or why his words should so have enraged Thor, is not evident, though he may imply that Thor is open to bribery. Perhaps a passage has dropped out before stanza 43. [134]

__A_TAG_PLACEHOLDER_0__. It's not clear what Othin means or why his words made Thor so furious, though he might be suggesting that Thor can be bribed. Maybe there's a part missing before stanza 43. [__A_TAG_PLACEHOLDER_0__]

44. Othin refers to the dead, from whom he seeks information through his magic power.

__A_TAG_PLACEHOLDER_0__. Othin talks to the dead, from whom he looks for information using his magical abilities.

48. Sif: Thor’s wife, the lover being presumably Loki; cf. Lokasenna, 54. [135]

__A_TAG_PLACEHOLDER_0__. Sif: Thor’s wife, and likely the lover of Loki; see Lokasenna, 54. [__A_TAG_PLACEHOLDER_0__]

52. Asathor: Thor goes by various names in the poems: e.g., Vingthor, Vingnir, Hlorrithi. Asathor means “Thor of the Gods.”

__A_TAG_PLACEHOLDER_0__. Asathor: Thor is known by different names in the poems, such as Vingthor, Vingnir, and Hlorrithi. Asathor means “Thor of the Gods.”

53. Magni: Thor’s son; cf. stanza 9 and note. [136]

__A_TAG_PLACEHOLDER_0__. Magni: Thor’s son; see stanza 9 and note. [__A_TAG_PLACEHOLDER_0__]

56. Line 2: the phrases mean simply “a long way”; cf. “over stock and stone.” Verland: the “Land of Men” to which Thor must come from the land of the giants. The Arnamagnæan Codex has “Valland” (cf. stanza 24 and note), but this is obviously an error. Fjorgyn: a feminine form of the same name, which belongs to Othin (cf. Voluspo, 56 and note); here it evidently means Jorth (Earth), Thor’s mother. The road: the rainbow bridge, Bifrost; cf. Grimnismol, 29 and note.

__A_TAG_PLACEHOLDER_0__. Line 2: the phrases simply mean “a long way”; cf. “over stock and stone.” Verland: the “Land of Men” that Thor must reach from the land of the giants. The Arnamagnæan Codex refers to it as “Valland” (see stanza 24 and note), but this is clearly a mistake. Fjorgyn: a female version of the same name, linked to Othin (see Voluspo, 56 and note); here it clearly refers to Jorth (Earth), Thor’s mother. The road: the rainbow bridge, Bifrost; cf. Grimnismol, 29 and note.

58. Line 2: so Regius; the other manuscript has “ere sunrise.” [137]

__A_TAG_PLACEHOLDER_0__. Line 2: so Regius; the other manuscript says “before sunrise.” [__A_TAG_PLACEHOLDER_0__]

60. The Arnamagnæan Codex clearly indicates Harbarth as the speaker of this line, but Regius has no superscription, and begins the line with a small letter not preceded by a period, thereby assigning it to Thor. [138]

__A_TAG_PLACEHOLDER_0__. The Arnamagnæan Codex explicitly identifies Harbarth as the speaker of this line, but Regius doesn’t have a title and starts the line with a lowercase letter that isn’t after a period, which attributes it to Thor. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HYMISKVITHA

The Lay of Hymir

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Hymiskvitha is found complete in both manuscripts; in Regius it follows the Harbarthsljoth, while in the Arnamagnæan Codex it comes after the Grimnismol. Snorri does not quote it, although he tells the main story involved.

The Hymiskvitha is fully preserved in both manuscripts; in Regius, it comes after the Harbarthsljoth, while in the Arnamagnæan Codex, it follows the Grimnismol. Snorri doesn't directly quote it, but he does narrate the main story related to it.

The poem is a distinctly inferior piece of work, obviously based on various narrative fragments, awkwardly pieced together. Some critics, Jessen and Edzardi for instance, have maintained that the compiler had before him three distinct poems, which he simply put together; others, like Finnur Jonsson and Mogk, think that the author made a new poem of his own on the basis of earlier poems, now lost. It seems probable that he took a lot of odds and ends of material concerning Thor, whether in prose or in verse, and worked them together in a perfunctory way, without much caring how well they fitted. His chief aim was probably to impress the credulous imaginations of hearers greedy for wonders.

The poem is clearly a subpar piece of work, pieced together from different narrative fragments in a clumsy way. Some critics, like Jessen and Edzardi, argue that the compiler had three separate poems that he simply combined; others, such as Finnur Jonsson and Mogk, believe the author created a new poem based on earlier, now-lost works. It’s likely that he gathered various bits of material about Thor, whether in prose or verse, and haphazardly stitched them together, not really caring how well they fit. His main goal was probably to captivate the gullible audiences eager for astonishing tales.

The poem is almost certainly one of the latest of those dealing with the gods, though Finnur Jonsson, in order to support his theory of a Norwegian origin, has to date it relatively early. If, as seems probable, it was produced in Iceland, the chances are that it was composed in the first half of the eleventh century. Jessen, rather recklessly, goes so far as to put it two hundred years later. In any case, it belongs to a period of literary decadence,—the great days of Eddic poetry would never have permitted the nine hundred headed person found in Hymir’s home—and to one in which the usual forms of diction in mythological poetry had yielded somewhat to the verbal subtleties of skaldic verse.

The poem is likely one of the latest ones about the gods, although Finnur Jonsson, to support his theory of Norwegian origins, has dated it relatively early. If, as seems likely, it was created in Iceland, it probably dates back to the first half of the eleventh century. Jessen, rather boldly, places it two hundred years later. In any case, it belongs to a period of literary decline—the golden age of Eddic poetry would never have allowed for the nine hundred-headed figure found in Hymir’s home—and to a time when the typical styles of diction in mythological poetry had somewhat given way to the verbal intricacies of skaldic verse.

While the skaldic poetry properly falls outside the limits of this book, it is necessary here to say a word about it. There is preserved, in the sagas and elsewhere, a very considerable body of lyric poetry, the authorship of each poem being nearly always definitely stated, whether correctly or otherwise. This type of poetry is marked by an extraordinary complexity of diction, with a peculiarly difficult vocabulary of its own. It was to explain some of the “kennings” which composed this special [139]vocabulary that Snorri wrote one of the sections of the Prose Edda. As an illustration, in a single stanza of one poem in the Egilssaga, a sword is called “the halo of the helm,” “the wound-hoe,” “the blood-snake” (possibly; no one is sure what the compound word means) and “the ice of the girdle,” while men appear in the same stanza as “Othin’s ash-trees,” and battle is spoken of as “the iron game.” One of the eight lines has defied translation completely.

While skaldic poetry technically isn’t the focus of this book, it’s important to mention it here. A substantial amount of lyric poetry is preserved in the sagas and other sources, typically with clear authorship, whether accurate or not. This poetry features an exceptionally complex language with a uniquely challenging vocabulary. To clarify some of the “kennings” that make up this specialized [__A_TAG_PLACEHOLDER_0__] vocabulary, Snorri wrote a section in the Prose Edda. For example, in one stanza of a poem in the Egilssaga, a sword is referred to as “the halo of the helm,” “the wound-hoe,” “the blood-snake” (possibly; the exact meaning of this compound word is uncertain), and “the ice of the girdle,” while men are described as “Othin’s ash-trees,” and battle is termed “the iron game.” One of the eight lines has proven impossible to translate entirely.

Skaldic diction made relatively few inroads into the earlier Eddic poems, but in the Hymiskvitha these circumlocutions are fairly numerous. This sets the poem somewhat apart from the rest of the mythological collection. Only the vigor of the two main stories—Thor’s expedition after Hymir’s kettle and the fishing trip in which he caught Mithgarthsorm—saves it from complete mediocrity.

Skaldic language made relatively few appearances in the earlier Eddic poems, but in the Hymiskvitha, these roundabout expressions are quite common. This distinguishes the poem somewhat from the other mythological works. Only the energy of the two main stories—Thor's journey for Hymir's kettle and the fishing trip where he caught Mithgarthsorm—keeps it from being entirely mediocre.

[__A_TAG_PLACEHOLDER_0__]

1. Of old the gods   |   made feast together,

__A_TAG_PLACEHOLDER_0__. Long ago, the gods gathered for a feast,

And drink they sought   |   ere sated they were;

And they sought drink before they were satisfied;

Twigs they shook,   |   and blood they tried:

Twigs they shook,   |   and blood they tried:

Rich fare in Ægir’s   |   hall they found.

Rich food in Ægir’s | hall they found.

[140]

[__A_TAG_PLACEHOLDER_0__]

2. The mountain-dweller   |   sat merry as boyhood,

__A_TAG_PLACEHOLDER_0__. The mountain dweller sat happily like a carefree boy,

But soon like a blinded   |   man he seemed;

But soon he seemed like a blinded man;

The son of Ygg   |   gazed in his eyes:

The son of Ygg   |   looked into his eyes:

“For the gods a feast   |   shalt thou forthwith get.”

“For the gods, you shall immediately receive a feast.”

3. The word-wielder toil   |   for the giant worked,

__A_TAG_PLACEHOLDER_0__. The wordsmith labors   |   for the giant toiled,

And so revenge   |   on the gods he sought;

And so he sought revenge on the gods;

He bade Sif’s mate   |   the kettle bring:

He told Sif's partner to bring the kettle:

“Therein for ye all   |   much ale shall I brew.”

“Therein for you all   |   I will brew a lot of ale.”

4. The far-famed ones   |   could find it not,

__A_TAG_PLACEHOLDER_0__. The famous ones   |   couldn’t find it,

And the holy gods   |   could get it nowhere;

And the holy gods couldn’t find it anywhere;

Till in truthful wise   |   did Tyr speak forth,

Till in all honesty did Tyr speak up,

And helpful counsel   |   to Hlorrithi gave.

And gave helpful advice to Hlorrithi.

5. “There dwells to the east   |   of Elivagar

__A_TAG_PLACEHOLDER_0__. “To the east of Elivagar, there is a place where...”

Hymir the wise   |   at the end of heaven;

Hymir the wise   |   at the edge of heaven;

A kettle my father   |   fierce doth own,

A kettle my dad owns,

A mighty vessel   |   a mile in depth.”

A huge ship   |   a mile deep.”

[141]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

6. “May we win, dost thou think,   |   this whirler of water?”

__A_TAG_PLACEHOLDER_0__. “Do you think we can win against this water roller?”

Tyr spake:

Tyr said:

“Aye, friend, we can,   |   if cunning we are.”

“Yeah, my friend, we can, if we're clever.”

7. Forward that day   |   with speed they fared,

__A_TAG_PLACEHOLDER_0__. Onward that day   |   they moved quickly,

From Asgarth came they   |   to Egil’s home;

From Asgarth, they came to Egil's home;

The goats with horns   |   bedecked he guarded;

The horned goats he guarded were adorned;

Then they sped to the hall   |   where Hymir dwelt.

Then they rushed to the hall where Hymir lived.

8. The youth found his grandam,   |   that greatly he loathed, [142]

__A_TAG_PLACEHOLDER_0__. The young man found his grandmother,   |   whom he really disliked, [__A_TAG_PLACEHOLDER_0__]

And full nine hundred   |   heads she had;

And she had a total of nine hundred heads;

But the other fair   |   with gold came forth,

But the other fair | with gold came forth,

And the bright-browed one   |   brought beer to her son.

And the one with the bright brow brought beer to her son.

9. “Kinsman of giants,   |   beneath the kettle

9. “Relative of giants,   |   underneath the pot

Will I set ye both,   |   ye heroes bold;

Will I set you both, | you brave heroes;

For many a time   |   my dear-loved mate

For many times | my dear loved friend

To guests is wrathful   |   and grim of mind.”

To guests is angry | and serious of mind.”

10. Late to his home   |   the misshapen Hymir,

10. Late to his home   |   the oddly shaped Hymir,

The giant harsh,   |   from his hunting came;

The giant harsh,   |   from his hunting came;

The icicles rattled   |   as in he came,

The icicles clinked as he entered,

For the fellow’s chin-forest   |   frozen was.

For the guy’s chin-forest   |   was frozen.

11. “Hail to thee, Hymir!   |   good thoughts mayst thou have;

__A_TAG_PLACEHOLDER_0__. “Greetings to you, Hymir! | May you have good thoughts;

Here has thy son   |   to thine hall now come;

Here has your son   |   come to your hall now;

(For him have we waited,   |   his way was long;)

(We have waited for him,   |   his journey was long;)

And with him fares   |   the foeman of Hroth,

And with him goes | the enemy of Hroth,

The friend of mankind,   |   and Veur they call him.

The friend of humanity, and they call him Veur.

[143]

[__A_TAG_PLACEHOLDER_0__]

12. “See where under   |   the gable they sit!

12. “Look where they’re sitting under the gable!

Behind the beam   |   do they hide themselves.”

Behind the beam   |   do they hide themselves.”

The beam at the glance   |   of the giant broke,

The beam at the glance of the giant broke,

And the mighty pillar   |   in pieces fell.

And the powerful pillar fell apart.

13. Eight fell from the ledge,   |   and one alone,

__A_TAG_PLACEHOLDER_0__. Eight fell from the ledge,   |   and one remained,

The hard-hammered kettle,   |   of all was whole;

The hard-hammered kettle,   |   of all was whole;

Forth came they then,   |   and his foes he sought,

Forth they came then, and he looked for his enemies,

The giant old,   |   and held with his eyes.

The giant was ancient, and stared with intensity.

14. Much sorrow his heart   |   foretold when he saw

__A_TAG_PLACEHOLDER_0__. He felt a deep sadness in his heart when he saw

The giantess’ foeman   |   come forth on the floor;

The giantess' enemy comes out onto the floor;

Then of the steers   |   did they bring in three;

Then they brought in three of the steers;

Their flesh to boil   |   did the giant bid.

Their flesh to boil | did the giant demand.

15. By a head was each   |   the shorter hewed,

__A_TAG_PLACEHOLDER_0__. By a head was each   |   the shorter cut,

And the beasts to the fire   |   straight they bore;

And they carried the animals to the fire.

The husband of Sif,   |   ere to sleep he went,

The husband of Sif, | before he went to sleep,

Alone two oxen   |   of Hymir’s ate.

Alone, two oxen of Hymir ate.

16. To the comrade hoary   |   of Hrungnir then

__A_TAG_PLACEHOLDER_0__. To the old buddy of Hrungnir then

Did Hlorrithi’s meal   |   full mighty seem;

Did Hlorrithi's meal seem truly grand;

“Next time at eve   |   we three must eat

“Next time in the evening, we three need to eat.”

The food we have   |   as the hunting’s spoil.”

The food we have   |   as the hunting's catch.”

[144]

[__A_TAG_PLACEHOLDER_0__]

17. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Fain to row on the sea   |   was Veur, he said,

Fain to row on the sea | was Veur, he said,

If the giant bold   |   would give him bait.

If the giant bold   |   would give him bait.

Hymir spake:

Hymir said:

18. “Go to the herd,   |   if thou hast it in mind,

__A_TAG_PLACEHOLDER_0__. “Go to the herd,   |   if you've got it in mind,

Thou slayer of giants,   |   thy bait to seek;

Thou slayer of giants,   |   your bait to seek;

For there thou soon   |   mayst find, methinks,

For there you soon | might find, I think,

Bait from the oxen   |   easy to get.”

Bait from the oxen   |   easy to get.”

19. Swift to the wood   |   the hero went,

__A_TAG_PLACEHOLDER_0__. Quick to the woods   |   the hero went,

Till before him an ox   |   all black he found;

Till before him an ox | all black he found;

From the beast the slayer   |   of giants broke

From the beast, the giant slayer broke

The fortress high   |   of his double horns.

The fortress high | of his double horns.

Hymir spake:

Hymir said:

20. “Thy works, methinks,   |   are worse by far, [145]

__A_TAG_PLACEHOLDER_0__. “Your actions, I believe,   |   are much worse, [__A_TAG_PLACEHOLDER_0__]

Thou steerer of ships,   |   than when still thou sittest.”

Thou steerer of ships,   |   than when still thou sittest.”

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

21. The lord of the goats   |   bade the ape-begotten

__A_TAG_PLACEHOLDER_0__. The lord of the goats   |   told the ape-born

Farther to steer   |   the steed of the rollers;

Farther to guide the horse of the rollers;

But the giant said   |   that his will, forsooth,

But the giant said that his will, truly,

Longer to row   |   was little enough.

Longer to row   |   was barely enough.

22. Two whales on his hook   |   did the mighty Hymir

22. Two whales on his hook   |   did the strong Hymir

Soon pull up   |   on a single cast;

Soon pull up on a single cast;

In the stern the kinsman   |   of Othin sat,

In the back, Othin's relative sat,

And Veur with cunning   |   his cast prepared.

And Veur, with cleverness, had his plan ready.

23. The warder of men,   |   the worm’s destroyer,

__A_TAG_PLACEHOLDER_0__. The guardian of people,   |   the killer of worms,

Fixed on his hook   |   the head of the ox;

Fixed on his hook   |   the head of the ox;

There gaped at the bait   |   the foe of the gods,

There stared at the bait   |   the enemy of the gods,

The girdler of all   |   the earth beneath.

The one who binds everything together | the ground below.

[146]

[__A_TAG_PLACEHOLDER_0__]

24. The venomous serpent   |   swiftly up

__A_TAG_PLACEHOLDER_0__. The poisonous snake   |   quickly up

To the boat did Thor,   |   the bold one, pull;

To the boat did Thor,   |   the bold one, pull;

With his hammer the loathly   |   hill of the hair

With his hammer the disgusting   |   hill of the hair

Of the brother of Fenrir   |   he smote from above.

Of Fenrir's brother   |   he struck down from above.

25. The monsters roared,   |   and the rocks resounded,

__A_TAG_PLACEHOLDER_0__. The monsters roared,   |   and the rocks echoed,

And all the earth   |   so old was shaken;

And the whole earth was shaken;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Then sank the fish   |   in the sea forthwith.

Then the fish sank in the sea right away.

26. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Joyless as back   |   they rowed was the giant;

Joyless as before | they rowed was the giant;

Speechless did Hymir   |   sit at the oars,

Speechless, Hymir sat at the oars,

With the rudder he sought   |   a second wind.

With the rudder, he looked for a second wind.

Hymir spake:

Hymir spoke:

27. “The half of our toil   |   wilt thou have with me, [147]

__A_TAG_PLACEHOLDER_0__. “You’ll take half of our work   |   will you join me, [__A_TAG_PLACEHOLDER_0__]

And now make fast   |   our goat of the flood;

And now secure our flood goat;

Or home wilt thou bear   |   the whales to the house,

Or home will you take the whales to the house,

Across the gorge   |   of the wooded glen?”

Across the gorge   |   of the wooded valley?”

28. Hlorrithi stood   |   and the stem he gripped,

__A_TAG_PLACEHOLDER_0__. Hlorrithi stood   |   and the stem he held,

And the sea-horse with water   |   awash he lifted;

And the seahorse with water   |   lifted he up;

Oars and bailer   |   and all he bore

Oars and a bailer   |   and everything he carried

With the surf-swine home   |   to the giant’s house.

With the surf-pig at home to the giant’s house.

29. His might the giant   |   again would match,

__A_TAG_PLACEHOLDER_0__. The giant would once more test his strength,

For stubborn he was,   |   with the strength of Thor;

For he was stubborn, with the strength of Thor;

None truly strong,   |   though stoutly he rowed,

None really strong,   |   even though he rowed with determination,

Would he call save one   |   who could break the cup.

Would he call to save one   |   who could break the cup.

30. Hlorrithi then,   |   when the cup he held,

30. Hlorrithi then,   |   when the cup he held,

Struck with the glass   |   the pillars of stone;

Struck by the glass   |   the stone pillars;

As he sat the posts   |   in pieces he shattered,

As he sat the posts | in pieces he broke,

Yet the glass to Hymir   |   whole they brought.

Yet they brought the whole glass to Hymir.

31. But the loved one fair   |   of the giant found

__A_TAG_PLACEHOLDER_0__. But the beloved one of the giant found

A counsel true,   |   and told her thought: [148]

A true advisor, and shared her thoughts: [__A_TAG_PLACEHOLDER_0__]

“Smite the skull of Hymir,   |   heavy with food,

“Smash the skull of Hymir,   |   weighed down with food,

For harder it is   |   than ever was glass.”

For it is tougher than glass has ever been.

32. The goats’ mighty ruler   |   then rose on his knee,

__A_TAG_PLACEHOLDER_0__. The powerful leader of the goats then got down on one knee,

And with all the strength   |   of a god he struck;

And with all the strength of a god, he struck;

Whole was the fellow’s   |   helmet-stem,

Whole was the guy’s helmet stem,

But shattered the wine-cup   |   rounded was.

But the wine cup was shattered.

Hymir spake:

Hymir said:

33. “Fair is the treasure   |   that from me is gone,

__A_TAG_PLACEHOLDER_0__. “Beautiful is the treasure that has left me,

Since now the cup   |   on my knees lies shattered;”

Since now the cup   |   on my knees is shattered;”

So spake the giant:   |   “No more can I say

So spoke the giant:   |   “I can't say anything more.

In days to be,   |   ‘Thou art brewed, mine ale.’

In the days to come,   |   'You are my brewed ale.'

34. “Enough shall it be   |   if out ye can bring

34. "It'll be enough if you can get out."

Forth from our house   |   the kettle here.”

Forth from our house   |   the kettle here.

Tyr then twice   |   to move it tried,

Tyr then tried to move it twice,

But before him the kettle   |   twice stood fast.

But before him, the kettle stood still twice.

35. The father of Mothi   |   the rim seized firm,

__A_TAG_PLACEHOLDER_0__. Mothi's father | the rim held tight,

And before it stood   |   on the floor below;

And in front of it stood   |   on the floor below;

Up on his head   |   Sif’s husband raised it,

Up on his head   |   Sif's husband lifted it,

And about his heels   |   the handles clattered.

And behind him, the handles clattered.

[149]

[__A_TAG_PLACEHOLDER_0__]

36. Not long had they fared,   |   ere backwards looked

__A_TAG_PLACEHOLDER_0__. They hadn't been traveling long, | before they looked back.

The son of Othin,   |   once more to see;

The son of Othin,   |   once again to see;

From their caves in the east   |   beheld he coming

From their caves in the east | they saw him coming

With Hymir the throng   |   of the many-headed.

With Hymir the crowd   |   of the many-headed.

37. He stood and cast   |   from his back the kettle,

__A_TAG_PLACEHOLDER_0__. He stood up and threw the kettle off his back,

And Mjollnir, the lover   |   of murder, he wielded;

And he wielded Mjollnir, the lover of death;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

So all the whales   |   of the waste he slew.

So all the whales of the waste he killed.

38. Not long had they fared   |   ere one there lay

__A_TAG_PLACEHOLDER_0__. It wasn't long before one of them lay there

Of Hlorrithi’s goats   |   half-dead on the ground;

Of Hlorrithi’s goats   |   half-dead on the ground;

In his leg the pole-horse   |   there was lame;

In his leg, the pole-horse was lame;

The deed the evil   |   Loki had done.

The deed that the evil Loki had done.

[150]

[__A_TAG_PLACEHOLDER_0__]

39. But ye all have heard,—   |   for of them who have

__A_TAG_PLACEHOLDER_0__. But you all have heard,— | for of them who have

The tales of the gods,   |   who better can tell?—

The stories of the gods,   |   who better to share them?—

What prize he won   |   from the wilderness-dweller,

What prize he won   |   from the person living in the wild,

Who both his children   |   gave him to boot.

Who also gave him both his children.

40. The mighty one came   |   to the council of gods,

__A_TAG_PLACEHOLDER_0__. The powerful being arrived at the gathering of gods,

And the kettle he had   |   that Hymir’s was;

And the kettle he had was Hymir’s;

So gladly their ale   |   the gods could drink

So happily the gods could drink their ale

In Ægir’s hall   |   at the autumn-time.

In Ægir's hall | at autumn.

[138]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[139]

[__A_TAG_PLACEHOLDER_0__]

1. Twigs: Vigfusson comments at some length on “the rite practised in the heathen age of inquiring into the future by dipping bunches of chips or twigs into the blood (of sacrifices) and shaking them.” But the two operations may have been separate, the twigs being simply “divining-rods” marked with runes. In either case, the gods were seeking information by magic as to where they could find plenty to drink. Ægir: a giant who is also the god of the sea; little is known of him outside of what is told here and in the introductory prose to the Lokasenna, though Snorri has a brief account of him, giving his home as Hlesey (Läsö, cf. Harbarthsljoth, 37). Grimnismol, 45, has a reference to this same feast. [140]

__A_TAG_PLACEHOLDER_0__. Twigs: Vigfusson discusses in detail “the ritual practiced in the pagan era of predicting the future by dipping bunches of sticks or twigs into the blood (of sacrifices) and shaking them.” However, these two actions might have been distinct, with the twigs merely being “divining-rods” inscribed with runes. In either scenario, the gods were using magic to uncover where they could find plenty to drink. Ægir: a giant who is also the god of the sea; not much is known about him beyond what is mentioned here and in the introductory prose to the Lokasenna, although Snorri provides a brief account of him, stating that his home is Hlesey (Läsö, cf. Harbarthsljoth, 37). Grimnismol, 45, includes a reference to this same feast. [__A_TAG_PLACEHOLDER_0__]

2. Mountain-dweller: the giant (Ægir). Line 2: the principal word in the original has defied interpretation, and any translation of the line must be largely guesswork. Ygg: Othin; his son is Thor. Some editors assume a gap after this stanza.

__A_TAG_PLACEHOLDER_0__. Mountain-dweller: the giant (Ægir). Line 2: the main word in the original is hard to interpret, so any translation of the line is mostly a guess. Ygg: Othin; his son is Thor. Some editors believe there’s a gap after this stanza.

3. Word-wielder: Thor. The giant: Ægir. Sif: Thor’s wife; cf. Harbarthsljoth, 48. The kettle: Ægir’s kettle is possibly the sea itself.

__A_TAG_PLACEHOLDER_0__. Word-wielder: Thor. The giant: Ægir. Sif: Thor’s wife; see Harbarthsljoth, 48. The kettle: Ægir’s kettle might actually refer to the sea.

4. Tyr: the god of battle; his two great achievements were thrusting his hand into the mouth of the wolf Fenrir so that the gods might bind him, whereby he lost his hand (cf. Voluspo, 39, note), and his fight with the hound Garm in the last battle, in which they kill each other. Hlorrithi: Thor.

__A_TAG_PLACEHOLDER_0__. Tyr: the god of war; his two major accomplishments were putting his hand in the mouth of the wolf Fenrir so that the gods could restrain him, which caused him to lose his hand (cf. Voluspo, 39, note), and his battle with the hound Garm in the final fight, where they end up killing each other. Hlorrithi: Thor.

5. Elivagar (“Stormy Waves”): possibly the Milky Way; [141]cf. Vafthruthnismol, 31, note. Hymir: this giant figures only in this episode. It is not clear why Tyr, who is elsewhere spoken of as a son of Othin, should here call Hymir his father. Finnur Jonsson, in an attempt to get round this difficulty, deliberately changed the word “father” to “grandfather,” but this does not help greatly.

__A_TAG_PLACEHOLDER_0__. Elivagar (“Stormy Waves”): possibly the Milky Way; [__A_TAG_PLACEHOLDER_0__]cf. Vafthruthnismol, 31, note. Hymir: this giant only appears in this episode. It's unclear why Tyr, who is referred to elsewhere as a son of Othin, calls Hymir his father here. Finnur Jonsson, trying to address this issue, changed the word “father” to “grandfather,” but this doesn't really help much.

6. Neither manuscript has any superscriptions, but most editors have supplied them as above. From this point through stanza 11 the editors have varied considerably in grouping the lines into stanzas. The manuscripts indicate the third lines of stanzas 7, 8, 9, and 10 as beginning stanzas, but this makes more complications than the present arrangement. It is possible that, as Sijmons suggests, two lines have been lost after stanza 6.

__A_TAG_PLACEHOLDER_0__. Neither manuscript has any headings, but most editors have added them as shown above. From this point to stanza 11, the editors have greatly varied in how they've arranged the lines into stanzas. The manuscripts show that the third lines of stanzas 7, 8, 9, and 10 start new stanzas, but this leads to more complications than the current arrangement. It's possible that, as Sijmons suggests, two lines were lost after stanza 6.

7. Egil: possibly, though by no means certainly, the father of Thor’s servant, Thjalfi, for, according to Snorri, Thor’s first stop on this journey was at the house of a peasant whose children, Thjalfi and Roskva, he took into his service; cf. stanza 38, note. The Arnamagnæan Codex has “Ægir” instead of “Egil,” but, aside from the fact that Thor had just left Ægir’s house, the sea-god can hardly have been spoken of as a goat-herd.

__A_TAG_PLACEHOLDER_0__. Egil: possibly, though not definitely, the father of Thor’s servant, Thjalfi. According to Snorri, Thor’s first stop on this journey was at the home of a farmer whose children, Thjalfi and Roskva, he brought into his service; see stanza 38, note. The Arnamagnæan Codex uses “Ægir” instead of “Egil,” but aside from the fact that Thor had just left Ægir’s house, the sea-god is unlikely to have been referred to as a goat-herd.

8. The youth: Tyr, whose extraordinary grandmother is Hymir’s mother. We know nothing further of her, or of the other, [142]who is Hymir’s wife and Tyr’s mother. It may be guessed, however, that she belonged rather to the race of the gods than to that of the giants.

__A_TAG_PLACEHOLDER_0__. The youth: Tyr, whose remarkable grandmother is Hymir’s mother. We don’t know anything else about her or about the other, [__A_TAG_PLACEHOLDER_0__]who is Hymir’s wife and Tyr’s mother. However, it can be assumed that she was more likely from the race of gods rather than giants.

11. Two or three editors give this stanza a superscription (“The concubine spake,” “The daughter spake”). Line 3 is commonly regarded as spurious. The foeman of Hroth: of course this means Thor, but nothing is known of any enemy of his by this name. Several editors have sought to make a single word meaning “the famous enemy” out of the phrase. Concerning Thor as the friend of man, particularly of the peasant class, cf. introduction to Harbarthsljoth. Veur: another name, of uncertain meaning, for Thor. [143]

__A_TAG_PLACEHOLDER_0__. Two or three editors label this stanza with headings (“The concubine spoke,” “The daughter spoke”). Line 3 is generally considered to be an addition. The foe of Hroth: this clearly refers to Thor, but there's no known enemy of his by that name. Some editors have tried to create a single term meaning “the famous enemy” from the phrase. Regarding Thor as a friend to humanity, especially to the peasant class, see the introduction to Harbarthsljoth. Veur: another name, whose meaning is unclear, for Thor. [__A_TAG_PLACEHOLDER_0__]

13. Eight: the giant’s glance, besides breaking the beam, knocks down all the kettles with such violence that all but the one under which Thor and Tyr are hiding are broken.

__A_TAG_PLACEHOLDER_0__. Eight: the giant’s stare shatters the beam and sends all the kettles crashing down, leaving only the one under which Thor and Tyr are hiding intact.

14. Hymir’s wrath does not permit him to ignore the duties of a host to his guests, always strongly insisted on.

__A_TAG_PLACEHOLDER_0__. Hymir’s anger doesn’t allow him to overlook the responsibilities of a host to his guests, which he always firmly insisted on.

15. Thor’s appetite figures elsewhere; cf. Thrymskvitha, 24.

__A_TAG_PLACEHOLDER_0__. Thor's appetite is discussed in another place; see Thrymskvitha, 24.

16. The comrade of Hrungnir: Hymir, presumably simply because both are giants; cf. Harbarthsljoth, 14 and note. [144]

__A_TAG_PLACEHOLDER_0__. The companion of Hrungnir: Hymir, likely just because both are giants; see Harbarthsljoth, 14 and note. [__A_TAG_PLACEHOLDER_0__]

17. The manuscripts indicate no lacuna, and many editors unite stanza 17 with lines 1 and 2 of 18. Sijmons and Gering assume a gap after these two lines, but it seems more probable that the missing passage, if any, belonged before them, supplying the connection with the previous stanza.

__A_TAG_PLACEHOLDER_0__. The manuscripts show no gaps, and many editors combine stanza 17 with lines 1 and 2 of 18. Sijmons and Gering think there’s a gap after these two lines, but it seems more likely that any missing passage actually came before them, providing the link to the previous stanza.

18. The manuscripts have no superscription. Many editors combine lines 3 and 4 with lines 1 and 2 of stanza 19. In Snorri’s extended paraphrase of the story, Hymir declines to go fishing with Thor on the ground that the latter is too small a person to be worth bothering about. “You would freeze,” he says, “if you stayed out in mid-ocean as long as I generally do.” Bait (line 4): the word literally means “chaff,” hence any small bits; Hymir means that Thor should collect dung for bait.

__A_TAG_PLACEHOLDER_0__. The manuscripts don't have a title. Many editors combine lines 3 and 4 with lines 1 and 2 of stanza 19. In Snorri’s detailed retelling of the story, Hymir refuses to go fishing with Thor, arguing that Thor is too insignificant to bother with. “You would freeze,” he says, “if you stayed out in the ocean as long as I usually do.” Bait (line 4): the term literally means “chaff,” referring to any small bits; Hymir is implying that Thor should gather dung for bait.

19. Many editors combine lines 3 and 4 with stanza 20. Fortress, etc.: the ox’s head; cf. introductory note concerning the diction of this poem. Several editors assume a lacuna after stanza 19, but this seems unnecessary. [145]

__A_TAG_PLACEHOLDER_0__. Many editors combine lines 3 and 4 with stanza 20. Fortress, etc.: the ox’s head; see the introductory note about the language of this poem. Several editors believe there's a gap after stanza 19, but this seems unnecessary. [__A_TAG_PLACEHOLDER_0__]

20. The manuscripts have no superscription. Steerer of ships: probably merely a reference to Thor’s intention to go fishing. The lacuna after stanza 20 is assumed by most editors.

__A_TAG_PLACEHOLDER_0__. The manuscripts don't have a title. Steerer of ships: likely just a reference to Thor wanting to go fishing. The gap after stanza 20 is accepted by most editors.

21. Lord of the goats: Thor, because of his goat-drawn chariot. Ape-begotten: Hymir; the word “api,” rare until relatively late times in its literal sense, is fairly common with the meaning of “fool.” Giants were generally assumed to be stupid. Steed of the rollers: a ship, because boats were pulled up on shore by means of rollers.

__A_TAG_PLACEHOLDER_0__. Lord of the goats: Thor, because he rides in a chariot pulled by goats. Ape-begotten: Hymir; the term “api,” which was rare in its literal meaning until more recently, is often used to mean “fool.” Giants were usually thought to be foolish. Steed of the rollers: a ship, as boats were pulled onto the shore using rollers.

23. Warder of men: Thor; cf. stanza 11. Worm’s destroyer: likewise Thor, who in the last battle slays, and is slain by, Mithgarthsorm; cf. Voluspo, 56. The foe of the gods: Mithgarthsorm, who lies in the sea, and surrounds the whole earth. [146]

__A_TAG_PLACEHOLDER_0__. Protector of humanity: Thor; see stanza 11. Slayer of the serpent: also Thor, who in the final battle kills and is killed by Mithgarthsorm; see Voluspo, 56. Enemy of the gods: Mithgarthsorm, who lies in the sea and encircles the entire Earth. [__A_TAG_PLACEHOLDER_0__]

24. Hill of the hair: head,—a thoroughly characteristic skaldic phrase. Brother of Fenrir: Mithgarthsorm was, like the wolf Fenrir and the goddess Hel, born to Loki and the giantess Angrbotha (cf. Voluspo, 39 and note), and I have translated this line accordingly; but the word used in the text has been guessed as meaning almost anything from “comrade” to “enemy.”

__A_TAG_PLACEHOLDER_0__. Hill of the hair: head,—a very typical skaldic phrase. Brother of Fenrir: Mithgarthsorm was, just like the wolf Fenrir and the goddess Hel, born to Loki and the giantess Angrbotha (see Voluspo, 39 and note), and I have translated this line based on that; however, the word used in the text has been speculated to mean anything from “comrade” to “enemy.”

25. No gap is indicated in the manuscripts, but that a line or more has been lost is highly probable. In Snorri’s version, Thor pulls so hard on the line that he drives both his feet through the flooring of the boat, and stands on bottom. When he pulls the serpent up, Hymir cuts the line with his bait-knife, which explains the serpent’s escape. Thor, in a rage, knocks Hymir overboard with his hammer, and then wades ashore. The lines of stanzas 25 and 26 have been variously grouped.

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscripts, but it's very likely that a line or more is missing. In Snorri’s version, Thor pulls so hard on the line that he breaks through the floor of the boat and stands on the bottom. When he brings the serpent up, Hymir cuts the line with his bait knife, which is why the serpent escapes. Thor, furious, knocks Hymir overboard with his hammer and then wades to shore. The lines of stanzas 25 and 26 have been grouped in different ways.

26. No gap is indicated in the manuscripts, but line 2 begins with a small letter. A second wind: another direction, i.e., he put about for the shore. [147]

__A_TAG_PLACEHOLDER_0__. There’s no space shown in the manuscripts, but line 2 starts with a lowercase letter. A second wind: a new direction, meaning he turned toward the shore. [__A_TAG_PLACEHOLDER_0__]

27. No superscription in the manuscripts. In its place Bugge supplies a line—“These words spake Hymir,   |   the giant wise.” The manuscripts reverse the order of lines 2 and 3, and in both of them line 4 stands after stanza 28. Goat of the flood: boat.

__A_TAG_PLACEHOLDER_0__. There are no titles in the manuscripts. In its place, Bugge adds a line—“These words were spoken by Hymir, the wise giant.” The manuscripts switch the order of lines 2 and 3, and in both versions, line 4 comes after stanza 28. Goat of the flood: boat.

28. Sea-horse: boat. Surf-swine: the whales.

__A_TAG_PLACEHOLDER_0__. Sea-horse: boat. Surf-swine: whales.

29. Snorri says nothing of this episode of Hymir’s cup. The glass which cannot be broken appears in the folklore of various races.

__A_TAG_PLACEHOLDER_0__. Snorri doesn’t mention this story about Hymir’s cup. The unbreakable glass shows up in the folklore of different cultures.

31. The loved one: Hymir’s wife and Tyr’s mother; cf. stanza 8 and note. The idea that a giant’s skull is harder than stone or anything else is characteristic of the later Norse folk-stories, and [148]in one of the so-called “mythical sagas” we find a giant actually named Hard-Skull.

__A_TAG_PLACEHOLDER_0__. The loved one: Hymir’s wife and Tyr’s mother; see stanza 8 and note. The concept that a giant’s skull is tougher than stone or anything else is typical of later Norse folk tales, and [__A_TAG_PLACEHOLDER_0__]in one of the so-called “mythical sagas,” we actually come across a giant named Hard-Skull.

32. Helmet-stem: head.

__A_TAG_PLACEHOLDER_0__. Helmet-stem: head.

33. The manuscripts have no superscription. Line 4 in the manuscripts is somewhat obscure, and Bugge, followed by some editors, suggests a reading which may be rendered (beginning with the second half of line 3): “No more can I speak / Ever again   |   as I spoke of old.”

__A_TAG_PLACEHOLDER_0__. The manuscripts don't have a title. Line 4 in the manuscripts is a bit unclear, and Bugge, along with some editors, proposes a reading that could be interpreted (starting from the second half of line 3): “I can't say anything more / Ever again   |   like I did before.”

35. The father of Mothi and Sif’s husband: Thor. [149]

__A_TAG_PLACEHOLDER_0__. The dad of Mothi and Sif’s partner: Thor. [__A_TAG_PLACEHOLDER_0__]

36. The many-headed: The giants, although rarely designated as a race in this way, sometimes had two or more heads; cf. stanza 8, Skirnismol, 31 and Vafthruthnismol, 33. Hymir’s mother is, however, the only many-headed giant actually to appear in the action of the poems, and it is safe to assume that the tradition as a whole belongs to the period of Norse folk-tales of the märchen order.

__A_TAG_PLACEHOLDER_0__. The many-headed: The giants, although not often referred to as a specific race, sometimes had two or more heads; see stanza 8, Skirnismol, 31 and Vafthruthnismol, 33. Hymir’s mother is, however, the only multi-headed giant to actually appear in the events of the poems, and it’s reasonable to assume that this tradition as a whole dates back to the era of Norse folk tales of the märchen type.

37. No gap is indicated in the manuscripts. Some editors put the missing line as 2, some as 3, and some, leaving the present three lines together, add a fourth, and metrically incorrect, one from late paper manuscripts: “Who with Hymir   |   followed after.” Whales of the waste: giants.

__A_TAG_PLACEHOLDER_0__. The manuscripts don’t show any gaps. Some editors place the missing line as 2, others as 3, and some keep the three lines together while adding a fourth one from later manuscripts, which is metrically incorrect: “Who with Hymir | followed after.” Whales of the waste: giants.

38. According to Snorri, when Thor set out with Loki (not Tyr) for the giants’ land, he stopped first at a peasant’s house (cf. stanza 7 and note). There he proceeded to cook his own goats for supper. The peasant’s son, Thjalfi, eager to get at the marrow, split one of the leg-bones with his knife. The next morning, when Thor was ready to proceed with his journey, he called the goats to life again, but one of them proved irretrievably lame. His wrath led the peasant to give him both his children as [150]servants (cf. stanza 39). Snorri does not indicate that Loki was in any way to blame.

__A_TAG_PLACEHOLDER_0__. According to Snorri, when Thor set out with Loki (not Tyr) for the giants’ land, he first stopped at a farmer’s house (cf. stanza 7 and note). There, he cooked his own goats for dinner. The farmer’s son, Thjalfi, eager to get to the marrow, cut one of the leg bones with his knife. The next morning, when Thor was ready to continue his journey, he brought the goats back to life, but one of them was permanently lame. His anger led the farmer to give him both his children as [__A_TAG_PLACEHOLDER_0__]servants (cf. stanza 39). Snorri does not suggest that Loki was to blame in any way.

39. This deliberate introduction of the story-teller is exceedingly rare in the older poetry.

__A_TAG_PLACEHOLDER_0__. The careful introduction of the storyteller is very uncommon in older poetry.

40. The translation of the last two lines is mostly guesswork, as the word rendered “gods” is uncertain, and the one rendered “at the autumn-time” is quite obscure. [151]

__A_TAG_PLACEHOLDER_0__. The translation of the last two lines is mostly speculative, as the word translated as “gods” is unclear, and the phrase translated as “at the autumn-time” is quite ambiguous. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

LOKASENNA

Loki’s Wrangling

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Lokasenna is found only in Regius, where it follows the Hymiskvitha; Snorri quotes four lines of it, grouped together as a single stanza.

The Lokasenna is only found in Regius, where it comes after the Hymiskvitha; Snorri cites four lines from it, presented as one stanza.

The poem is one of the most vigorous of the entire collection, and seems to have been preserved in exceptionally good condition. The exchange or contest of insults was dear to the Norse heart, and the Lokasenna consists chiefly of Loki’s taunts to the assembled gods and goddesses, and their largely ineffectual attempts to talk back to him. The author was evidently well versed in mythological lore, and the poem is full of references to incidents not elsewhere recorded. As to its date and origin there is the usual dispute, but the latter part of the tenth century and Iceland seem the best guesses.

The poem is one of the strongest in the whole collection and appears to be in exceptionally good shape. The exchange or contest of insults was something the Norse loved, and the Lokasenna mainly features Loki’s jabs at the gathered gods and goddesses, along with their mostly unsuccessful attempts to retort. The author clearly knew a lot about mythology, and the poem is packed with references to events not found anywhere else. As for when and where it was written, there’s the usual debate, but the consensus leans toward the later part of the tenth century and Iceland as the most likely place.

The prose notes are long and of unusual interest. The introductory one links the poem closely to the Hymiskvitha, much as the Reginsmol, Fafnismol and Sigrdrifumol are linked together; the others fill in the narrative gaps in the dialogue—very like stage directions,—and provide a conclusion by relating Loki’s punishment, which, presumably, is here connected with the wrong incident. It is likely that often when the poem was recited during the two centuries or so before it was committed to writing, the speaker inserted some such explanatory comments, and the compiler of the collection followed this example by adding such explanations as he thought necessary. The Lokasenna is certainly much older than the Hymiskvitha, the connection between them being purely one of subject-matter; and the twelfth-century compiler evidently knew a good deal less about mythology than the author whose work he was annotating.

The prose notes are lengthy and quite interesting. The introduction ties the poem closely to the Hymiskvitha, similar to how the Reginsmol, Fafnismol, and Sigrdrifumol are connected; the other notes fill in the gaps in the dialogue—much like stage directions—and provide a resolution by detailing Loki’s punishment, which seems to be related to the wrong incident. It’s likely that when the poem was recited over the two centuries or so before it was written down, the speaker included some explanatory comments, and the compiler of the collection added such explanations as he deemed necessary. The Lokasenna is definitely much older than the Hymiskvitha, with the connection between them being purely thematic; and the twelfth-century compiler clearly had a much weaker grasp of mythology than the author of the original work he was annotating.

[__A_TAG_PLACEHOLDER_0__]

Ægir, who was also called Gymir, had prepared ale for the gods, after he had got the mighty kettle, as now has been told. To this feast came Othin and Frigg, his wife. Thor came not, as he was on a journey in the East. Sif, [152]Thor’s wife, was there, and Bragi with Ithun, his wife. Tyr, who had but one hand, was there; the wolf Fenrir had bitten off his other hand when they had bound him. There were Njorth and Skathi his wife, Freyr and Freyja, and Vithar, the son of Othin. Loki was there, and Freyr’s [153]servants Byggvir and Beyla. Many were there of the gods and elves.

Ægir, also known as Gymir, had brewed ale for the gods after acquiring the powerful kettle, as has been mentioned. To this feast, Othin and his wife Frigg arrived. Thor was absent because he was on a journey in the East. Sif, Thor’s wife, was present, along with Bragi and his wife Ithun. Tyr, who had only one hand, was there; the wolf Fenrir had bitten off his other hand when they bound him. Njorth and his wife Skathi were there, along with Freyr, Freyja, and Vithar, Othin's son. Loki was also in attendance, along with Freyr’s servants Byggvir and Beyla. Many gods and elves were present.

Ægir had two serving-men, Fimafeng and Eldir. Glittering gold they had in place of firelight; the ale came in of itself; and great was the peace. The guests praised much the ability of Ægir’s serving-men. Loki might not endure that, and he slew Fimafeng. Then the gods shook their shields and howled at Loki and drove him away to the forest, and thereafter set to drinking again. Loki turned back, and outside he met Eldir. Loki spoke to him:

Ægir had two attendants, Fimafeng and Eldir. They had shimmering gold instead of firelight; the ale poured itself; and everything was very peaceful. The guests praised Ægir’s attendants a lot. Loki couldn’t stand that, so he killed Fimafeng. Then the gods shook their shields and yelled at Loki and chased him off into the forest, after which they went back to drinking. Loki turned around and outside he met Eldir. Loki spoke to him:

1. “Speak now, Eldir,   |   for not one step

1. “Speak now, Eldir,   |   for not one step

Farther shalt thou fare;

You shall go further;

What ale-talk here   |   do they have within,

What are they talking about over drinks here?

The sons of the glorious gods?”

The sons of the glorious gods?

Eldir spake:

Eldir said:

2. “Of their weapons they talk,   |   and their might in war,

2. “They talk about their weapons,   |   and their strength in battle,

The sons of the glorious gods;

The sons of the magnificent gods;

From the gods and elves   |   who are gathered here

From the gods and elves   |   who are gathered here

No friend in words shalt thou find.”

No friend in words will you find.

Loki spake:

Loki said:

3. “In shall I go   |   into Ægir’s hall,

3. "Will I go into Ægir’s hall,

For the feast I fain would see; [154]

For the feast, I would love to see; [__A_TAG_PLACEHOLDER_0__]

Bale and hatred   |   I bring to the gods,

Bale and hatred   |   I offer to the gods,

And their mead with venom I mix.”

And I mix their mead with poison.”

Eldir spake:

Eldir said:

4. “If in thou goest   |   to Ægir’s hall,

4. “If you go to Ægir’s hall,

And fain the feast wouldst see,

And gladly would you see the feast,

And with slander and spite   |   wouldst sprinkle the gods,

And with gossip and malice would you insult the gods,

Think well lest they wipe it on thee.”

Think carefully so they don't wipe it on you.

Loki spake:

Loki said:

5. “Bethink thee, Eldir,   |   if thou and I

5. “Think about it, Eldir,   |   if you and I

Shall strive with spiteful speech;

Will argue with hurtful words;

Richer I grow   |   in ready words

Richer I grow   |   in fluent words

If thou speakest too much to me.”

If you talk to me too much.

Then Loki went into the hall, but when they who were there saw who had entered, they were all silent.

Then Loki walked into the hall, but when the people inside saw who had come in, they all went quiet.

Loki spake:

Loki said:

6. “Thirsty I come   |   into this thine hall,

__A_TAG_PLACEHOLDER_0__. “Thirsty I enter   |   into this your hall,

I, Lopt, from a journey long,

I, Lopt, returning from a long journey,

To ask of the gods   |   that one should give

To ask the gods   |   to grant

Fair mead for a drink to me.

Fair mead for a drink for me.

7. “Why sit ye silent,   |   swollen with pride,

__A_TAG_PLACEHOLDER_0__. “Why are you sitting there quietly,   |   full of arrogance,

Ye gods, and no answer give? [155]

Ye gods, and no answer given? [__A_TAG_PLACEHOLDER_0__]

At your feast a place   |   and a seat prepare me,

At your feast, set a place and a seat for me,

Or bid me forth to fare.”

Or send me out to go.

Bragi spake:

Bragi said:

8. “A place and a seat   |   will the gods prepare

__A_TAG_PLACEHOLDER_0__. “The gods will provide a place and a seat.”

No more in their midst for thee;

No longer among them for you;

For the gods know well   |   what men they wish

For the gods know well what kind of people they want

To find at their mighty feasts.”

To find at their big parties.”

Loki spake:

Loki said:

9. “Remember, Othin,   |   in olden days

__A_TAG_PLACEHOLDER_0__. “Remember, Odin,   |   in ancient times

That we both our blood have mixed;

That our blood is blended;

Then didst thou promise   |   no ale to pour,

Then you promised   |   no ale to pour,

Unless it were brought for us both.”

Unless it was brought for both of us.

Othin spake:

Odin said:

10. “Stand forth then, Vithar,   |   and let the wolf’s father

__A_TAG_PLACEHOLDER_0__. “Step forward then, Vithar,   |   and let the father of the wolf

Find a seat at our feast; [156]

Find a place at our feast; [__A_TAG_PLACEHOLDER_0__]

Lest evil should Loki   |   speak aloud

Lest evil should Loki speak aloud

Here within Ægir’s hall.”

Here in Ægir’s hall.

Then Vithar arose and poured drink for Loki; but before he drank he spoke to the gods:

Then Vithar got up and poured a drink for Loki; but before he drank, he addressed the gods:

11. “Hail to you, gods!   |   ye goddesses, hail!

11. “Greetings to you, gods!   |   Goddesses, greetings!

Hail to the holy throng!

Hail to the holy group!

Save for the god   |   who yonder sits,

Save for the god   |   who sits over there,

Bragi there on the bench.”

Bragi is there on the bench.

Bragi spake:

Bragi said:

12. “A horse and a sword   |   from my hoard will I give,

12. “I will give a horse and a sword from my treasure,

And a ring gives Bragi to boot,

And Bragi also gives a ring,

That hatred thou makst not   |   among the gods;

That hatred you create not  |   among the gods;

So rouse not the great ones to wrath.”

So don't provoke the powerful to anger.

Loki spake:

Loki said:

13. “In horses and rings   |   thou shalt never be rich,

__A_TAG_PLACEHOLDER_0__. “With horses and games, you will never become wealthy,

Bragi, but both shalt thou lack;

Bragi, but you'll miss out;

Of the gods and elves   |   here together met

Of the gods and elves   |   gathered here together

Least brave in battle art thou,

Least brave in battle are you,

(And shyest thou art of the shot.)”

(And you are the shyest of the shot.)”

Bragi spake:

Bragi said:

14. “Now were I without   |   as I am within, [157]

__A_TAG_PLACEHOLDER_0__. “If I were outside as I am inside, [__A_TAG_PLACEHOLDER_0__]

And here in Ægir’s hall,

And here in Ægir's hall,

Thine head would I bear   |   in mine hands away,

Thy head I would hold in my hands and take away,

And pay thee the price of thy lies.”

And I will make you pay for your lies."

Loki spake:

Loki said

15. “In thy seat art thou bold,   |   not so are thy deeds,

__A_TAG_PLACEHOLDER_0__. “You sit there with confidence,   |   but your actions tell a different story,

Bragi, adorner of benches!

Bragi, ornament of benches!

Go out and fight   |   if angered thou feelest,

Go out and fight | if you feel angry,

No hero such forethought has.”

“No hero has such forethought.”

Ithun spake:

Ithun spoke:

16. “Well, prithee, Bragi,   |   his kinship weigh,

__A_TAG_PLACEHOLDER_0__. “Well, come on, Bragi,   |   consider his family ties,

Since chosen as wish-son he was;

Since he was chosen as the wish-son;

And speak not to Loki   |   such words of spite

And don’t say such hurtful things to Loki.

Here within Ægir’s hall.”

Here in Ægir’s hall.

Loki spake:

Loki said:

17. “Be silent, Ithun!   |   thou art, I say, [158]

__A_TAG_PLACEHOLDER_0__. “Stay quiet, Ithun! | you are, I tell you, [__A_TAG_PLACEHOLDER_0__]

Of women most lustful in love,

Of women who are most passionate in love,

Since thou thy washed-bright   |   arms didst wind

Since you wrapped your bright, clean arms

About thy brother’s slayer.”

About your brother’s killer.

Ithun spake:

Ithun said:

18. “To Loki I speak not   |   with spiteful words

18. “I won’t talk to Loki   |   with hateful words

Here within Ægir’s hall;

Here in Ægir’s hall;

And Bragi I calm,   |   who is hot with beer,

And I calm Bragi, who is fired up from beer,

For I wish not that fierce they should fight.”

For I don’t want them to fight fiercely.

Gefjun spake:

Gefjun said:

19. “Why, ye gods twain,   |   with bitter tongues

__A_TAG_PLACEHOLDER_0__. “Why, you two gods, with harsh words

Raise hate among us here?

Stir up hate among us?

Loki is famed   |   for his mockery foul,

Loki is famous for his nasty mockery,

And the dwellers in heaven he hates.”

And he hates those who live in heaven.

Loki spake:

Loki said:

20. “Be silent, Gefjun!   |   for now shall I say

__A_TAG_PLACEHOLDER_0__. “Be quiet, Gefjun!   |   for now I will say

Who led thee to evil life;

Who led you to a life of evil;

The boy so fair   |   gave a necklace bright,

The beautiful boy gave a shiny necklace,

And about him thy leg was laid.”

And that's how your leg was positioned around him."

[159]

[__A_TAG_PLACEHOLDER_0__]

Othin spake:

Odin said:

21. “Mad art thou, Loki,   |   and little of wit,

__A_TAG_PLACEHOLDER_0__. “You're crazy, Loki,   |   and not very smart,

The wrath of Gefjun to rouse;

The anger of Gefjun to awaken;

For the fate that is set   |   for all she sees,

For the fate that is destined   |   for all she observes,

Even as I, methinks.”

Even as I think.

Loki spake:

Loki said:

22. “Be silent, Othin!   |   not justly thou settest

22. “Be quiet, Othin! | you are not being fair

The fate of the fight among men;

The outcome of the battle between men;

Oft gavst thou to him   |   who deserved not the gift,

Oftentimes you gave it to him who didn't deserve the gift,

To the baser, the battle’s prize.”

To those with lower motives, the reward of the battle.

Othin spake:

Odin spoke:

23. “Though I gave to him   |   who deserved not the gift,

__A_TAG_PLACEHOLDER_0__. “Even though I gave to him   |   who didn’t deserve the gift,

To the baser, the battle’s prize;

To the lesser ones, the reward of the battle;

Winters eight   |   wast thou under the earth,

Winters eight   |   were you beneath the earth,

Milking the cows as a maid,

Milking the cows as a maid,

(Ay, and babes didst thou bear;

(Ay, and you did have babies;

Unmanly thy soul must seem.)”

Unmanly your soul must seem.)”

[160]

[__A_TAG_PLACEHOLDER_0__]

Loki spake:

Loki said:

24. “They say that with spells   |   in Samsey once

__A_TAG_PLACEHOLDER_0__. “They say that with spells   |   in Samsey once

Like witches with charms didst thou work;

Like witches with spells you worked;

And in witch’s guise   |   among men didst thou go;

And in the disguise of a witch, you walked among men;

Unmanly thy soul must seem.”

"Unmanly your soul must seem."

Frigg spake:

Frigg said:

25. “Of the deeds ye two   |   of old have done

__A_TAG_PLACEHOLDER_0__. “Regarding the actions you two   |   have done in the past

Ye should make no speech among men;

Don’t talk in public.

Whate’er ye have done   |   in days gone by,

Whate’er you have done   |   in days gone by,

Old tales should ne’er be told.”

Old tales should never be told.

Loki spake:

Loki said:

26. “Be silent, Frigg!   |   thou art Fjorgyn’s wife,

__A_TAG_PLACEHOLDER_0__. “Be quiet, Frigg! | you are Fjorgyn’s wife,

But ever lustful in love;

But always craving love;

For Vili and Ve,   |   thou wife of Vithrir,

For Vili and Ve, | you wife of Vithrir,

Both in thy bosom have lain.”

Both in your heart have lain.”

[161]

[__A_TAG_PLACEHOLDER_0__]

Frigg spake:

Frigg said:

27. “If a son like Baldr   |   were by me now,

__A_TAG_PLACEHOLDER_0__. “If I had a son like Baldr now,

Here within Ægir’s hall,

Here in Ægir’s hall,

From the sons of the gods   |   thou shouldst go not forth

From the sons of the gods   |   you should not go out

Till thy fierceness in fight were tried.”

Till your fierceness in battle was proven.”

Loki spake:

Loki said:

28. “Thou wilt then, Frigg,   |   that further I tell

28. “You will then, Frigg,   |   that I continue to share

Of the ill that now I know;

Of the pain that I now understand;

Mine is the blame   |   that Baldr no more

Mine is the blame | that Baldr no more

Thou seest ride home to the hall.”

You see, ride home to the hall.

Freyja spake:

Freyja spoke:

29. “Mad art thou, Loki,   |   that known thou makest

__A_TAG_PLACEHOLDER_0__. “You’re crazy, Loki,   |   that you know what you’re doing.”

The wrong and shame thou hast wrought;

The wrong and shame you've caused;

The fate of all   |   does Frigg know well,

The fate of all   |   does Frigg know well,

Though herself she says it not.”

Though she doesn’t say it herself.

Loki spake:

Loki said:

30. “Be silent, Freyja!   |   for fully I know thee,

__A_TAG_PLACEHOLDER_0__. “Be quiet, Freyja!   |   because I know you well,

Sinless thou art not thyself; [162]

Sinless you are not yourself; [__A_TAG_PLACEHOLDER_0__]

Of the gods and elves   |   who are gathered here,

Of the gods and elves   |   who are gathered here,

Each one as thy lover has lain.”

Each one has lain as your lover.

Freyja spake:

Freyja said:

31. “False is thy tongue,   |   and soon shalt thou find

31. “Your words are deceitful,   |   and soon you'll realize

That it sings thee an evil song;

That it sings you a bad song;

The gods are wroth,   |   and the goddesses all,

The gods are angry,   |   and all the goddesses,

And in grief shalt thou homeward go.”

And in grief, you shall go home.

Loki spake:

Loki said:

32. “Be silent, Freyja!   |   thou foulest witch,

__A_TAG_PLACEHOLDER_0__. “Be quiet, Freyja!   |   you wicked witch,

And steeped full sore in sin;

And deeply engrossed in sin;

In the arms of thy brother   |   the bright gods caught thee

In the arms of your brother   |   the bright gods caught you

When Freyja her wind set free.”

When Freyja set her wind free.

Njorth spake:

Njorth said

33. “Small ill does it work   |   though a woman may have

__A_TAG_PLACEHOLDER_0__. “It doesn’t do much harm   |   even if a woman has

A lord or a lover or both;

A lord, a lover, or maybe both;

But a wonder it is   |   that this womanish god

But it's a wonder that this feminine god

Comes hither, though babes he has borne.”

Comes here, though he has fathered children.”

[163]

[__A_TAG_PLACEHOLDER_0__]

Loki spake:

Loki said:

34. “Be silent, Njorth;   |   thou wast eastward sent,

__A_TAG_PLACEHOLDER_0__. “Be quiet, Njorth;   |   you were sent to the east,

To the gods as a hostage given;

To the gods as a hostage offered;

And the daughters of Hymir   |   their privy had

And the daughters of Hymir   |   their secret had

When use did they make of thy mouth.”

When did they make use of your mouth?

Njorth spake:

Njorth said

35. “Great was my gain,   |   though long was I gone,

__A_TAG_PLACEHOLDER_0__. “I gained a lot, even though I was gone for a long time,

To the gods as a hostage given;

To the gods as a hostage offered;

The son did I have   |   whom no man hates,

The son I have   |   whom no one hates,

And foremost of gods is found.”

And the greatest of all the gods is discovered.

Loki spake:

Loki said:

36. “Give heed now, Njorth,   |   nor boast too high,

__A_TAG_PLACEHOLDER_0__. “Listen up now, Njorth, | and don’t brag too much,

No longer I hold it hid;

No longer will I keep it a secret;

With thy sister hadst thou   |   so fair a son,

With your sister, you had such a beautiful son,

Thus hadst thou no worse a hope.”

Thus you had no worse a hope.

Tyr spake:

Tyr spoke:

37. “Of the heroes brave   |   is Freyr the best

__A_TAG_PLACEHOLDER_0__. “Among the brave heroes, Freyr is the greatest.

Here in the home of the gods; [164]

Here in the home of the gods; [__A_TAG_PLACEHOLDER_0__]

He harms not maids   |   nor the wives of men,

He doesn't hurt young women or married women,

And the bound from their fetters he frees.”

And he frees the ones bound by their chains.

Loki spake:

Loki said:

38. “Be silent, Tyr!   |   for between two men

__A_TAG_PLACEHOLDER_0__. “Be quiet, Tyr! | for between two men

Friendship thou ne’er couldst fashion;

Friendship you could never create;

Fain would I tell   |   how Fenrir once

Fain would I tell   |   how Fenrir once

Thy right hand rent from thee.”

Thy right hand is taken from you.

Tyr spake:

Tyr spoke:

39. “My hand do I lack,   |   but Hrothvitnir thou,

__A_TAG_PLACEHOLDER_0__. “I may be missing a hand, but you, Hrothvitnir,"

And the loss brings longing to both;

And the loss makes both of them long for what was.

Ill fares the wolf   |   who shall ever await

Ill fares the wolf   |   who shall ever await

In fetters the fall of the gods.”

In chains the fall of the gods.

Loki spake:

Loki said:

40. “Be silent, Tyr!   |   for a son with me

__A_TAG_PLACEHOLDER_0__. “Be quiet, Tyr!   |   for a son with me

Thy wife once chanced to win;

Thy wife once happened to win;

Not a penny, methinks,   |   wast thou paid for the wrong,

Not a penny, I think,   |   Were you paid for the wrong,

Nor wast righted an inch, poor wretch.”

Nor was he righted an inch, poor wretch.

Freyr spake:

Freyr said:

41. “By the mouth of the river   |   the wolf remains [165]

__A_TAG_PLACEHOLDER_0__. “By the river's edge   |   the wolf stays [__A_TAG_PLACEHOLDER_0__]

Till the gods to destruction go;

Until the gods are gone;

Thou too shalt soon,   |   if thy tongue is not stilled,

You too will soon,   |   if your tongue is not silenced,

Be fettered, thou forger of ill.”

Be trapped, you creator of evil.

Loki spake:

Loki said:

42. “The daughter of Gymir   |   with gold didst thou buy,

__A_TAG_PLACEHOLDER_0__. “You bought the daughter of Gymir with gold,

And sold thy sword to boot;

And sold your sword as well;

But when Muspell’s sons   |   through Myrkwood ride,

But when Muspell's sons ride through Myrkwood,

Thou shalt weaponless wait, poor wretch.”

You will wait weaponless, poor wretch.

Byggvir spake:

Byggvir spoke:

43. “Had I birth so famous   |   as Ingunar-Freyr,

__A_TAG_PLACEHOLDER_0__. “If I was born as famous as Ingunar-Freyr,

And sat in so lofty a seat, [166]

And sat in such a high seat, [__A_TAG_PLACEHOLDER_0__]

I would crush to marrow   |   this croaker of ill,

I would crush this annoying rat to the bone, | this annoying croaker,

And beat all his body to bits.”

And smashed his whole body to pieces.”

Loki spake:

Loki said:

44. “What little creature   |   goes crawling there,

__A_TAG_PLACEHOLDER_0__. “What tiny creature   |   is creeping there,

Snuffling and snapping about?

Sniffing and snapping around?

At Freyr’s ears ever   |   wilt thou be found,

At Freyr’s ears forever | will you be found,

Or muttering hard at the mill.”

Or grumbling loudly at the mill.

Byggvir spake:

Byggvir said

45. “Byggvir my name,   |   and nimble am I,

__A_TAG_PLACEHOLDER_0__. “My name is Byggvir, and I'm quick on my feet,

As gods and men do grant;

As gods and humans do allow;

And here am I proud   |   that the children of Hropt

And here I am, proud | that the children of Hropt

Together all drink ale.”

Let's all drink beer.

Loki spake:

Loki said:

46. “Be silent, Byggvir!   |   thou never couldst set

46. “Be quiet, Byggvir! You could never set

Their shares of the meat for men;

Their portions of meat for men;

Hid in straw on the floor,   |   they found thee not

Hiding in the straw on the floor, they didn’t find you.

When heroes were fain to fight.”

When heroes were eager to fight.”

Heimdall spake:

Heimdall said:

47. “Drunk art thou, Loki,   |   and mad are thy deeds,

__A_TAG_PLACEHOLDER_0__. “You’re drunk, Loki,   |   and your actions are crazy,

Why, Loki, leavst thou this not? [167]

Why, Loki, do you not leave this? [__A_TAG_PLACEHOLDER_0__]

For drink beyond measure   |   will lead all men

For drinking without limits   |   will lead everyone

No thought of their tongues to take.”

No thought of their tongues to take.

Loki spake:

Loki said:

48. “Be silent, Heimdall!   |   in days long since

48. “Be quiet, Heimdall! | in days long ago

Was an evil fate for thee fixed;

Was a wicked fate set for you;

With back held stiff   |   must thou ever stand,

With your back held stiff | must you always stand,

As warder of heaven to watch.”

As a guardian of heaven to keep watch.

Skathi spake:

Skathi said:

49. “Light art thou, Loki,   |   but longer thou mayst not

__A_TAG_PLACEHOLDER_0__. “You’re light, Loki,   |   but you can't stay any longer.

In freedom flourish thy tail;

In freedom, let your tail flourish;

On the rocks the gods bind thee   |   with bowels torn

On the rocks the gods tie you up | with your insides ripped apart

Forth from thy frost-cold son.”

"Come from your frost-cold son."

Loki spake:

Loki said:

50. “Though on rocks the gods bind me   |   with bowels torn

50. “Even though the gods tie me to the rocks, with my insides ripped apart

Forth from my frost-cold son, [168]

Out from my icy son, [__A_TAG_PLACEHOLDER_0__]

I was first and last   |   at the deadly fight

I was there from the beginning to the end of the fierce battle.

There where Thjazi we caught.”

"There, where we caught Thjazi."

Skathi spake:

Skathi said:

51. “Wert thou first and last   |   at the deadly fight

51. “Were you first and last   |   in the deadly battle?

There where Thjazi was caught,

There where Thjazi was trapped,

From my dwellings and fields   |   shall ever come forth

From my homes and fields | shall always come forth

A counsel cold for thee.”

A cold counsel for you.

Loki spake:

Loki said:

52. “More lightly thou spakest   |   with Laufey’s son,

__A_TAG_PLACEHOLDER_0__. “You spoke more lightly with Laufey's son,

When thou badst me come to thy bed;

When you asked me to come to your bed;

Such things must be known   |   if now we two

Such things must be known | if now we two

Shall seek our sins to tell.”

Shall seek to reveal our sins.

Then Sif came forward and poured mead for Loki in a crystal cup, and said:

Then Sif stepped up and filled a crystal cup with mead for Loki and said:

53. “Hail to thee, Loki,   |   and take thou here

__A_TAG_PLACEHOLDER_0__. “Hey there, Loki,   |   and take this here

The crystal cup of old mead;

The crystal cup of old mead;

For me at least,   |   alone of the gods,

For me at least,   |   only among the gods,

Blameless thou knowest to be.”

"You know you are blameless."

[169]

[__A_TAG_PLACEHOLDER_0__]

He took the horn, and drank therefrom:

He took the horn and drank from it:

54. “Alone thou wert   |   if truly thou wouldst

__A_TAG_PLACEHOLDER_0__. "You were alone | if you truly wanted to"

All men so shyly shun;

All men shy away;

But one do I know   |   full well, methinks,

But one I know   |   full well, I think,

Who had thee from Hlorrithi’s arms,—

Who took you from Hlorrithi’s arms,—

(Loki the crafty in lies.)”

(Loki the crafty in deception.)”

Beyla spake:

Beyla said:

55. “The mountains shake,   |   and surely I think

__A_TAG_PLACEHOLDER_0__. “The mountains tremble,   |   and I definitely believe

From his home comes Hlorrithi now;

From his home comes Hlorrithi now;

He will silence the man   |   who is slandering here

He will shut down the guy who is talking trash here.

Together both gods and men.”

"Together, both gods and humans."

Loki spake:

Loki said:

56. “Be silent, Beyla!   |   thou art Byggvir’s wife,

56. “Be quiet, Beyla!   |   you are Byggvir’s wife,

And deep art thou steeped in sin;

And you are deeply immersed in sin;

A greater shame   |   to the gods came ne’er,

A greater shame to the gods never came,

Befouled thou art with thy filth.”

Befouled you are with your filth.

Then came Thor forth, and spake:

Then Thor stepped forward and said:

57. “Unmanly one, cease,   |   or the mighty hammer,

__A_TAG_PLACEHOLDER_0__. “Stop being so weak,   |   or you'll feel the power of the mighty hammer,

Mjollnir, shall close thy mouth; [170]

Mjollnir, shut your mouth; [__A_TAG_PLACEHOLDER_0__]

Thy shoulder-cliff   |   shall I cleave from thy neck,

Thy shoulder-cliff   |   shall I cut from thy neck,

And so shall thy life be lost.”

And so your life will be lost.”

Loki spake:

Loki said:

58. “Lo, in has come   |   the son of Earth:

__A_TAG_PLACEHOLDER_0__. “Look, here comes the son of Earth:

Why threaten so loudly, Thor?

Why threaten so dramatically, Thor?

Less fierce thou shalt go   |   to fight with the wolf

Less fierce you shall go   |   to fight with the wolf

When he swallows Sigfather up.”

“When he swallows Sigfather.”

Thor spake:

Thor said:

59. “Unmanly one, cease,   |   or the mighty hammer,

__A_TAG_PLACEHOLDER_0__. “Quit it, you coward, | or the powerful hammer,

Mjollnir, shall close thy mouth;

Mjolnir, shut your mouth;

I shall hurl thee up   |   and out in the East,

I will throw you up and out in the East,

Where men shall see thee no more.”

Where men will see you no more.”

Loki spake:

Loki said:

60. “That thou hast fared   |   on the East-road forth

__A_TAG_PLACEHOLDER_0__. “That you have traveled on the East-road ahead

To men shouldst thou say no more; [171]

To men you should say no more; [__A_TAG_PLACEHOLDER_0__]

In the thumb of a glove   |   didst thou hide, thou great one,

In the thumb of a glove | you hid, you great one,

And there forgot thou wast Thor.”

And there you forgot that you were Thor.

Thor spake:

Thor said:

61. “Unmanly one, cease,   |   or the mighty hammer,

__A_TAG_PLACEHOLDER_0__. “Coward, stop,   |   or the powerful hammer,

Mjollnir, shall close thy mouth;

Mjollnir, shut your mouth;

My right hand shall smite thee   |   with Hrungnir’s slayer,

My right hand will strike you | with Hrungnir’s slayer,

Till all thy bones are broken.”

Till all your bones are broken.”

Loki spake:

Loki said:

62. “A long time still   |   do I think to live,

__A_TAG_PLACEHOLDER_0__. “I think I have a long time left to live,

Though thou threatenest thus with thy hammer;

Though you threaten with your hammer;

Rough seemed the straps   |   of Skrymir’s wallet,

Rough felt the straps   |   of Skrymir’s wallet,

When thy meat thou mightest not get,

When you might not be able to get your food,

(And faint from hunger didst feel.)”

(And faint from hunger did feel.)

Thor spake:

Thor said:

63. “Unmanly one, cease,   |   or the mighty hammer,

63. “Coward, stop,   |   or the powerful hammer,

Mjollnir, shall close thy mouth; [172]

Mjolnir, shut your mouth; [__A_TAG_PLACEHOLDER_0__]

The slayer of Hrungnir   |   shall send thee to hell,

The killer of Hrungnir   |   will send you to hell,

And down to the gate of death.”

And down to the gate of death.

Loki spake:

Loki said:

64. “I have said to the gods   |   and the sons of the gods

64. “I have spoken to the gods   |   and the offspring of the gods

The things that whetted my thoughts;

The things that sparked my thoughts;

But before thee alone   |   do I now go forth,

But before you alone   |   do I now go forth,

For thou fightest well, I ween.

For you fight well, I think.

65. “Ale hast thou brewed,   |   but, Ægir, now

__A_TAG_PLACEHOLDER_0__. “You’ve brewed the ale, but, Ægir, now

Such feasts shalt thou make no more;

Such feasts you will have no more;

O’er all that thou hast   |   which is here within

O'er everything you have   |   that’s here inside

Shall play the flickering flames,

Will play the flickering flames,

(And thy back shall be burnt with fire.)”

(And your back will be burned with fire.)”

And after that Loki hid himself in Franang’s waterfall in the guise of a salmon, and there the gods took him. He was bound with the bowels of his son Vali, but his son Narfi was changed to a wolf. Skathi took a poison-snake and fastened it up over Loki’s face, and the poison dropped thereon. Sigyn, Loki’s wife, sat there and held a shell under the poison, but when the shell was full she bore away the poison, and meanwhile the poison dropped on Loki. Then he struggled so hard that the whole earth shook therewith; and now that is called an earthquake. [151]

And after that, Loki hid in Franang’s waterfall as a salmon, and that’s where the gods found him. He was bound with the intestines of his son Vali, while his other son Narfi was turned into a wolf. Skathi took a poisonous snake and hung it above Loki’s face, letting the poison drip down. Sigyn, Loki’s wife, sat there holding a bowl under the poison, but when the bowl was full, she took it away to dispose of the poison, and in the meantime, the poison would drip on Loki. Then he struggled so hard that the whole earth shook, and that’s what we now call an earthquake. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[152]

[__A_TAG_PLACEHOLDER_0__]

Prose. Ægir: the sea-god; Snorri gives Hler as another of his names, but he is not elsewhere called Gymir, which is the name of the giant, Gerth’s father, in the Skirnismol. On Ægir cf. Grimnismol, 45, and Hymiskvitha, 1. Frigg: though Othin’s wife is often mentioned, she plays only a minor part in the Eddic poems; cf. Voluspo, 34, Vafthruthnismol, 1, and Grimnismol, introductory prose. Thor: the compiler is apparently a trifle confused as to Thor’s movements; the “journey in the East” here mentioned cannot be the one described in the Hymiskvitha, nor yet the one narrated by Snorri, as Loki was with Thor throughout that expedition. He probably means no more than that Thor was off killing giants. Sif: concerning Thor’s wife the chief incident is that Loki cut off her hair, and, at the command of the wrathful Thor, was compelled to have the dwarfs fashion her a new supply of hair out of gold; cf. Harbarthsljoth, 48. Bragi: the god of poetry; cf. Grimnismol, 44 and note. Ithun: the goddess of youth; cf. note on Skirnismol, 19. Ithun is not mentioned by name in any other of the Eddic poems, but Snorri tells in detail how the giant Thjazi stole her and her apples, explaining the reference in Harbarthsljoth, 19 (q. v.). Tyr: the god of battle; cf. Hymiskvitha, 4, and (concerning his dealings with the wolf Fenrir) Voluspo, 39, note. Njorth: the chief of the Wanes, and father of Freyr and Freyja; cf. (concerning the whole family) Skirnismol, introductory prose and note, also Voluspo, 21 and note. Skathi: Njorth’s wife was the daughter of the giant Thjazi; cf. Harbarthsljoth, 19, note, and Grimnismol, 11. Vithar: the silent god, the son of Othin who avenged his father by slaying the wolf Fenrir; cf. Voluspo, 54, Vafthruthnismol, 51, and Grimnismol, 17. Loki: the mischief-making fire-god; in addition to the many references to his career in the Lokasenna, cf. particularly Voluspo, 32 and 35, and notes. Byggvir and Beyla: not mentioned elsewhere in the poems; Freyr’s conspicuous servant is Skirnir, hero of the Skirnismol. Fimafeng (“The Swift Handler”) [153]and Eldir (“The Man of the Fire”): mentioned only in connection with this incident. Glittering gold: Ægir’s use of gold to light his hall, which was often thought of as under the sea, was responsible for the phrase “flame of the flood,” and sundry kindred phrases, meaning “gold.” [154]

Prose. Ægir: the sea god; Snorri refers to him as Hler too, but he isn't called Gymir anywhere else, which is the name of Gerth's father, a giant, in the Skirnismol. For more on Ægir, see Grimnismol, 45, and Hymiskvitha, 1. Frigg: although Othin's wife is often mentioned, she only has a minor role in the Eddic poems; see Voluspo, 34, Vafthruthnismol, 1, and Grimnismol, introductory prose. Thor: the compiler seems a bit confused about Thor's activities; the “journey in the East” mentioned here can't be the one described in the Hymiskvitha, nor the one told by Snorri, since Loki was with Thor the whole time. He likely just means that Thor was off fighting giants. Sif: regarding Thor's wife, the main event is that Loki cut off her hair, and, at Thor's angry demand, had to get the dwarfs to make her a new head of hair from gold; see Harbarthsljoth, 48. Bragi: the god of poetry; see Grimnismol, 44 and note. Ithun: the goddess of youth; see the note on Skirnismol, 19. Ithun isn't mentioned by name in any other Eddic poems, but Snorri goes into detail about how the giant Thjazi stole her and her apples, which explains the reference in Harbarthsljoth, 19 (see there). Tyr: the god of battle; see Hymiskvitha, 4, and (regarding his interactions with the wolf Fenrir) Voluspo, 39, note. Njorth: the chief of the Wanes and father of Freyr and Freyja; see (about the whole family) Skirnismol, introductory prose and note, and also Voluspo, 21 and note. Skathi: Njorth's wife was the daughter of the giant Thjazi; see Harbarthsljoth, 19, note, and Grimnismol, 11. Vithar: the silent god, Othin's son who avenged his father by killing the wolf Fenrir; see Voluspo, 54, Vafthruthnismol, 51, and Grimnismol, 17. Loki: the trickster fire god; in addition to many references to his exploits in Lokasenna, see especially Voluspo, 32 and 35, and notes. Byggvir and Beyla: not mentioned elsewhere in the poems; Freyr's prominent servant is Skirnir, the hero of Skirnismol. Fimafeng (“The Swift Handler”) [__A_TAG_PLACEHOLDER_0__] and Eldir (“The Man of the Fire”): only mentioned in connection with this incident. Glittering gold: Ægir's use of gold to light his hall, which was often considered to be underwater, led to the term “flame of the flood,” and various similar phrases, meaning “gold.” [__A_TAG_PLACEHOLDER_0__]

6. Lopt: like Lothur (cf. Voluspo, 18) another name for Loki; cf. Hyndluljoth, 43, and Svipdagsmol, 42.

__A_TAG_PLACEHOLDER_0__. Lopt: similar to Lothur (see Voluspo, 18), another name for Loki; see Hyndluljoth, 43, and Svipdagsmol, 42.

7. In the manuscript this stanza begins with a small letter, and Heinzel unites it with stanza 6. [155]

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza starts with a lowercase letter, and Heinzel connects it to stanza 6. [__A_TAG_PLACEHOLDER_0__]

8. Bragi: cf. note on introductory prose. Why Loki taunts him with cowardice (stanzas 11–13–15) is not clear, for poetry, of which Bragi was the patron, was generally associated in the Norse mind with peculiar valor, and most of the skaldic poets were likewise noted fighters.

__A_TAG_PLACEHOLDER_0__. Bragi: see note on introductory prose. It’s unclear why Loki mocks him for being cowardly (stanzas 11–13–15), since poetry, which Bragi represented, was typically linked to bravery in Norse culture, and most skaldic poets were also recognized as warriors.

9. There exists no account of any incident in which Othin and Loki thus swore blood-brotherhood, but they were so often allied in enterprises that the idea is wholly reasonable. The common process of “mingling blood” was carried out quite literally, and the promise of which Loki speaks is characteristic of those which, in the sagas, often accompanied the ceremony; cf. Brot af Sigurtharkvithu, 18 and note.

__A_TAG_PLACEHOLDER_0__. There’s no record of any event where Othin and Loki officially became blood brothers, but they teamed up so often in various adventures that the idea makes complete sense. The usual practice of “mingling blood” was taken quite literally, and the pledge that Loki mentions is typical of those often associated with the ceremony in the sagas; see Brot af Sigurtharkvithu, 18 and note.

10. In stanzas 10–31 the manuscript has nothing to indicate the identity of the several speakers, but these are uniformly clear [156]enough through the context. Vithar: cf. note on introductory prose. The wolf’s father: Loki; cf. Voluspo, 39 and note.

__A_TAG_PLACEHOLDER_0__. In stanzas 10–31, the manuscript doesn't provide any clues about who the various speakers are, but it's consistently clear [__A_TAG_PLACEHOLDER_0__] enough from the context. Vithar: see the note on the introductory prose. The wolf’s father: Loki; see Voluspo, 39 and note.

13. Sijmons makes one line of lines 4–5 by cutting out a part of each; Finnur Jonsson rejects 5 as spurious.

__A_TAG_PLACEHOLDER_0__. Sijmons creates one line from lines 4–5 by removing a section from each; Finnur Jonsson argues that line 5 is not genuine.

14. The text of line 4 is somewhat obscure, and has been [157]variously emended, one often adopted suggestion making the line read, “Little is that for thy lies.”

__A_TAG_PLACEHOLDER_0__. The text of line 4 is a bit unclear, and has been [__A_TAG_PLACEHOLDER_0__]changed in different ways, with one popular suggestion making the line say, “That’s little for your lies.”

15. Adorner of benches: this epithet presumably implies that Bragi is not only slothful, but also effeminate, for a very similar word, “pride of the benches,” means a bride.

__A_TAG_PLACEHOLDER_0__. Decorator of benches: this nickname suggests that Bragi is not only lazy but also feminine, since a very similar phrase, “pride of the benches,” refers to a bride.

16. Ithun: Bragi’s wife; cf. note on introductory prose. The goddesses who, finding that their husbands are getting the worst of it, take up the cudgels with Loki, all find themselves confronted with undeniable facts in their own careers; cf. stanzas 26 (Frigg), 52 (Skathi) and 54 (Sif). Gefjun and Freyja are silenced in similar fashion. Wish-son: adopted son; Loki was the son of the giant Farbauti and the giantess Laufey, and hence was not of the race of the gods, but had been virtually adopted by Othin, who subsequently had good reason to regret it. [158]

__A_TAG_PLACEHOLDER_0__. Ithun: Bragi’s wife; see note on introductory prose. The goddesses, realizing their husbands are at a disadvantage, stand up to Loki, but they all have to face undeniable truths about their own situations; see stanzas 26 (Frigg), 52 (Skathi), and 54 (Sif). Gefjun and Freyja are similarly silenced. Wish-son: adopted son; Loki was the son of the giant Farbauti and the giantess Laufey, so he was not from the race of gods, but he had been practically adopted by Othin, who later had good reasons to regret that choice. [__A_TAG_PLACEHOLDER_0__]

17. We do not even know who Ithun’s brother was, much less who slew him.

__A_TAG_PLACEHOLDER_0__. We don't even know who Ithun's brother was, let alone who killed him.

19. Gefjun: a goddess, not elsewhere mentioned in the poems, who, according to Snorri, was served by the women who died maidens. Beyond this nothing is known of her. Lines 3–4 in the manuscript are puzzling, and have been freely emended.

__A_TAG_PLACEHOLDER_0__. Gefjun: a goddess, not mentioned anywhere else in the poems, who, according to Snorri, was attended by women who died as virgins. Beyond this, nothing more is known about her. Lines 3–4 in the manuscript are confusing and have been extensively revised.

20. Nothing is known of the incident here mentioned. There is a good deal of confusion as to various of the gods and goddesses, and it has been suggested that Gefjun is really Frigg under another name, with a little of Freyja—whose attributes were frequently confused with Frigg’s—thrown in. Certainly Othin’s [159]answer (stanza 21, lines 3–4) fits Frigg perfectly, for she shared his knowledge of the future, whereas it has no relation to anything known of Gefjun. As for the necklace (line 3), it may be the Brisings’ necklace, which appears in the Thrymskvitha as Freyja’s, but which, in some mythological writings, is assigned to Frigg.

__A_TAG_PLACEHOLDER_0__. We don't know much about the incident mentioned here. There’s quite a bit of confusion regarding different gods and goddesses, and it’s been suggested that Gefjun is actually Frigg under a different name, with a bit of Freyja—whose characteristics were often mixed up with Frigg’s—added in. Othin’s [__A_TAG_PLACEHOLDER_0__] reply (stanza 21, lines 3–4) fits Frigg perfectly, since she shared his knowledge of the future, but it doesn’t relate to anything known about Gefjun. As for the necklace (line 3), it might be the Brisings' necklace, which shows up in the Thrymskvitha as belonging to Freyja, but in some mythological texts, it’s attributed to Frigg.

21. Snorri quotes line 1; cf. note on stanza 29.

__A_TAG_PLACEHOLDER_0__. Snorri cites line 1; see note on stanza 29.

23. There is no other reference to Loki’s having spent eight years underground, or to his cow-milking. On one occasion, however, he did bear offspring. A giant had undertaken to build the gods a fortress, his reward being Freyja and the sun and moon, provided the work was done by a given time. His sole helper was his horse, Svathilfari. The work being nearly done, and the gods fearing to lose Freyja and the sun and moon, Loki [160]turned himself into a mare, and so effectually distracted Svathilfari from his task that shortly afterwards Loki gave birth to Othin’s eight-legged horse, Sleipnir. In such contests of abuse a man was not infrequently taunted with having borne children; cf. Helgakvitha Hundingsbana I, 39–45. One or two of the last three lines may be spurious.

__A_TAG_PLACEHOLDER_0__. There’s no other mention of Loki spending eight years underground or milking cows. However, he did have offspring on one occasion. A giant had taken on the task of building a fortress for the gods, promising him Freyja, along with the sun and moon, if he completed the work on time. His only helper was his horse, Svathilfari. As the work was nearly finished and the gods were worried about losing Freyja, the sun, and the moon, Loki [__A_TAG_PLACEHOLDER_0__] transformed into a mare, effectively distracting Svathilfari from his work. Shortly after this, Loki gave birth to Sleipnir, Odin’s eight-legged horse. In such contests of insults, it wasn't uncommon for a man to be mocked for fathering children; cf. Helgakvitha Hundingsbana I, 39–45. One or two lines in the last three may be questionable.

24. Samsey: perhaps the Danish island of Samsö. Othin was the god of magic, but there is no other reference to his ever having disguised himself as a witch.

__A_TAG_PLACEHOLDER_0__. Samsey: maybe the Danish island of Samsö. Othin was the god of magic, but there's no other mention of him ever disguising himself as a witch.

25. Frigg: Othin’s wife; cf. note to introductory prose.

__A_TAG_PLACEHOLDER_0__. Frigg: Othin’s wife; see note to introductory prose.

26. Fjorgyn: Othin; cf. Voluspo, 56 and note. Vili and Ve: Othin’s brothers, who appear merely as, with Othin, the sons of Bur and Bestla; cf. Voluspo, 4. The Ynglingasaga says that, during one of Othin’s protracted absences, his two brothers took Frigg as their mistress. Vithrir: another name for Othin. [161]

__A_TAG_PLACEHOLDER_0__. Fjorgyn: Odin; see Voluspo, 56 and note. Vili and Ve: Odin's brothers, who are only mentioned as, along with Odin, the sons of Bur and Bestla; see Voluspo, 4. The Ynglingasaga states that, during one of Odin's long absences, his two brothers took Frigg as their partner. Vithrir: another name for Odin. [__A_TAG_PLACEHOLDER_0__]

27. On the death of Baldr, slain through Loki’s cunning by the blind Hoth, cf. Voluspo, 32 and note.

__A_TAG_PLACEHOLDER_0__. After Baldr died, killed by the blind Hoth through Loki’s trickery, see Voluspo, 32 and note.

29. Freyja: daughter of Njorth and sister of Freyr; cf. note on introductory prose. Snorri, in speaking of Frigg’s knowledge of the future, makes a stanza out of Lokasenna, 21, 1; 47, 2; 29, 3–4, thus: “Mad art thou, Loki,   |   and little of wit, / Why, Loki, leavst thou this not? / The fate of all   |   does Frigg know well, / Though herself she says it not.”

__A_TAG_PLACEHOLDER_0__. Freyja: daughter of Njorth and sister of Freyr; see note on introductory prose. Snorri, when discussing Frigg’s knowledge of the future, quotes from Lokasenna, 21, 1; 47, 2; 29, 3–4, as follows: “You’re crazy, Loki,   |   and not very clever, / Why, Loki, don't you say this? / Frigg knows the fate of all   |   even if she doesn't say it.”

30. According to Snorri, Freyja was a model of fidelity to her husband, Oth. [162]

__A_TAG_PLACEHOLDER_0__. According to Snorri, Freyja was a perfect example of loyalty to her husband, Oth. [__A_TAG_PLACEHOLDER_0__]

32. Before each of stanzas 32–42 the manuscript indicates the speaker, through the initial letter of the name written in the margin. Thy brother: Freyr; there is no other indication that such a relation existed between these two, but they themselves were the product of such a union; cf. stanza 36 and note.

__A_TAG_PLACEHOLDER_0__. Before each of stanzas 32–42, the manuscript specifies the speaker by including the first letter of their name in the margin. Your brother: Freyr; there is no further indication that this relationship existed between them, but they themselves resulted from such a union; see stanza 36 and the note.

33. Njorth: father of Freyr and Freyja, and given by the Wanes as a hostage, in exchange for Hönir, at the close of the first war; cf. Voluspo, 21 and note, also Skirnismol, introductory prose and note. Babes: cf. stanza 23 and note. Bugge suggests that this clause may have been a late insertion. [163]

__A_TAG_PLACEHOLDER_0__. Njorth: the father of Freyr and Freyja, who was given by the Vanir as a hostage in exchange for Hönir at the end of the first war; see Voluspo, 21 and note, also Skirnismol, introductory prose and note. Babes: see stanza 23 and note. Bugge suggests that this part might have been added later. [__A_TAG_PLACEHOLDER_0__]

34. Daughters of Hymir: we have no clue to who these were, though Hymir is doubtless the frost-giant of the Hymiskvitha (q.v.). Loki’s point is that Njorth is not a god, but the product of an inferior race (the Wanes).

__A_TAG_PLACEHOLDER_0__. Daughters of Hymir: we have no idea who they were, although Hymir is definitely the frost-giant from the Hymiskvitha (see that work). Loki's point is that Njorth isn't a god, but rather the offspring of a lesser race (the Wanes).

35. The son: Freyr.

__A_TAG_PLACEHOLDER_0__. Son: Freyr.

36. Thy sister: the Ynglingasaga supports this story of Njorth’s having had two children by his sister before he came among the gods. Snorri, on the other hand, specifically says that Freyr and Freyja were born after Njorth came to the gods.

__A_TAG_PLACEHOLDER_0__. Your sister: the Ynglingasaga backs up the account of Njorth having two children with his sister before he joined the gods. Snorri, however, clearly states that Freyr and Freyja were born after Njorth arrived among the gods.

37. Tyr: the god of battle; cf. notes on Hymiskvitha, 4, and Voluspo, 39. Freyr; concerning his noble qualities cf. Skirnismol, introductory prose and note. [164]

__A_TAG_PLACEHOLDER_0__. Tyr: the god of war; see notes on Hymiskvitha, 4, and Voluspo, 39. Freyr; regarding his admirable traits see Skirnismol, introductory prose and note. [__A_TAG_PLACEHOLDER_0__]

38. Snorri mentions Tyr’s incompetence as a peacemaker. Fenrir: the wolf, Loki’s son; cf. Voluspo, 39.

__A_TAG_PLACEHOLDER_0__. Snorri talks about Tyr’s lack of skill as a peacemaker. Fenrir: the wolf, Loki’s son; see Voluspo, 39.

39. Hrothvitnir (“The Mighty Wolf”): Fenrir, who awaits in chains the final battle and death at the hands of Vithar. The manuscript has a metrical error in line 3, which has led to various emendations, all with much the same meaning.

__A_TAG_PLACEHOLDER_0__. Hrothvitnir (“The Mighty Wolf”): Fenrir, who is waiting in chains for the final battle and his death at the hands of Vithar. The manuscript contains a metrical error in line 3, which has resulted in various edits, all conveying a similar meaning.

40. Thy wife: there is no other reference to Tyr’s wife, nor do we know who was the son in question. [165]

__A_TAG_PLACEHOLDER_0__. Your wife: there is no other mention of Tyr’s wife, nor do we know who the son is in question. [__A_TAG_PLACEHOLDER_0__]

41. The mouth of the river: according to Snorri, the chained Fenrir “roars horribly, and the slaver runs from his mouth, and makes the river called Vam; he lies there till the doom of the gods.” Freyr’s threat is actually carried out; cf. concluding prose.

__A_TAG_PLACEHOLDER_0__. The mouth of the river: Snorri says that the chained Fenrir “roars loudly, and the drool flows from his mouth, creating the river called Vam; he will lie there until the end of the gods.” Freyr's threat is indeed fulfilled; see the concluding prose.

42. The daughter of Gymir: Gerth, heroine of the Skirnismol, which gives the details of Freyr’s loss of his sword. Muspell’s sons: the name Muspell is not used elsewhere in the poems; Snorri uses it frequently, but only in this same phrase, “Muspell’s sons.” They are the dwellers in the fire-world, Muspellsheim, led by Surt against the gods in the last battle; cf. Voluspo, 47 and 52 and notes. Myrkwood: here the dark forest bounding the fire-world; in the Atlakvitha (stanza 3) the name is used of another boundary forest.

__A_TAG_PLACEHOLDER_0__. The daughter of Gymir: Gerth, the heroine of the Skirnismol, which describes how Freyr lost his sword. Muspell’s sons: the name Muspell doesn't appear anywhere else in the poems; Snorri uses it frequently, but only in this same phrase, “Muspell’s sons.” They are the inhabitants of the fire-world, Muspellsheim, led by Surt against the gods in the final battle; see Voluspo, 47 and 52 and notes. Myrkwood: here refers to the dark forest that borders the fire-world; in the Atlakvitha (stanza 3), the name is used for another boundary forest.

43. Byggvir: one of Freyr’s two servants; cf. introductory prose. Ingunar-Freyr: the name is not used elsewhere in the poems, or by Snorri; it may be the genitive of a woman’s name, Ingun, the unknown sister of Njorth who was Freyr’s mother (cf. stanza 36), or a corruption of the name Ingw, used for Freyr (Fro) in old German mythology. [166]

__A_TAG_PLACEHOLDER_0__. Byggvir: one of Freyr's two servants; see introductory prose. Ingunar-Freyr: this name doesn’t appear elsewhere in the poems or in Snorri’s work; it might be the genitive of a woman’s name, Ingun, who was Njorth's unknown sister and Freyr's mother (see stanza 36), or it could be a variation of the name Ingw, which was used for Freyr (Fro) in ancient German mythology. [__A_TAG_PLACEHOLDER_0__]

44. Beginning with this stanza, the names of the speakers are lacking in the manuscript. The mill: i.e., at slaves’ tasks.

__A_TAG_PLACEHOLDER_0__. Starting with this section, the names of the speakers are missing from the manuscript. The mill: meaning, at the tasks assigned to slaves.

45. Nothing further is known of either Byggvir’s swiftness or his cowardice. Hropt: Othin.

__A_TAG_PLACEHOLDER_0__. Nothing else is known about Byggvir’s speed or his fear. Hropt: Othin.

47. Heimdall: besides being the watchman of the gods (cf. Voluspo, 27), he appears also as the god of light (cf. Thrymskvitha, 14), and possibly also as a complex cultural deity in the [167]Rigsthula. He was a son of Othin, born of nine sisters; cf. Hyndluljoth, 37–40. In the last battle he and Loki slay one another. Line 2 is quoted by Snorri; cf. stanza 29, note.

__A_TAG_PLACEHOLDER_0__. Heimdall: in addition to being the watchman of the gods (see Voluspo, 27), he is also known as the god of light (see Thrymskvitha, 14), and possibly a multifaceted cultural deity in the [__A_TAG_PLACEHOLDER_0__]Rigsthula. He was a son of Othin, born of nine sisters; see Hyndluljoth, 37–40. In the final battle, he and Loki kill each other. Line 2 is cited by Snorri; see stanza 29, note.

49. Skathi: the wife of Njorth, and daughter of the giant Thjazi, concerning whose death cf. Harbarthsljoth, 19, note. Bowels, etc.: according to the prose note at the end of the Lokasenna, the gods bound Loki with the bowels of his son Vali, and changed his other son, Narfi, into a wolf. Snorri turns the story about, Vali being the wolf, who tears his brother to pieces, the gods then using Narfi’s intestines to bind Loki. Narfi—and presumably Vali—were the sons of Loki and his wife, Sigyn. They appear only in this episode, though Narfi (or Nari) is named by Snorri in his list of Loki’s children. Cf. concluding prose, and note. [168]

__A_TAG_PLACEHOLDER_0__. Skathi: the wife of Njorth and daughter of the giant Thjazi. For details about his death, see Harbarthsljoth, 19, note. Bowels, etc.: after the prose note at the end of the Lokasenna, the gods bound Loki with the intestines of his son Vali and turned his other son, Narfi, into a wolf. Snorri changes the story, saying Vali is the wolf who tears his brother apart, and the gods use Narfi’s intestines to bind Loki. Narfi—and likely Vali—were the sons of Loki and his wife, Sigyn. They only appear in this episode, though Narfi (or Nari) is listed by Snorri as one of Loki’s children. See concluding prose and note. [__A_TAG_PLACEHOLDER_0__]

52. Laufey’s son: Loki; not much is known of his parents beyond their names. His father was the giant Farbauti, his mother Laufey, sometimes called Nal. There is an elaborate but far-fetched hypothesis explaining these three on the basis of a nature-myth. There is no other reference to such a relation between Skathi and Loki as he here suggests.

__A_TAG_PLACEHOLDER_0__. Laufey’s son: Loki; not much is known about his parents other than their names. His father was the giant Farbauti, and his mother was Laufey, sometimes referred to as Nal. There is a complex yet implausible theory connecting these three through a nature myth. There are no other indications of a relationship between Skathi and Loki as suggested here.

53. Sif: Thor’s wife; cf. Harbarthsljoth, 48, where her infidelity is again mentioned. The manuscript omits the proper name [169]from the preceding prose, and a few editors have, obviously in error, attributed the speech to Beyla.

__A_TAG_PLACEHOLDER_0__. Sif: Thor’s wife; see Harbarthsljoth, 48, where her unfaithfulness is mentioned again. The manuscript leaves out the proper name [__A_TAG_PLACEHOLDER_0__]from the previous text, and some editors, clearly mistakenly, have credited the speech to Beyla.

54. Hlorrithi: Thor. Line 5 is probably spurious.

__A_TAG_PLACEHOLDER_0__. Hlorrithi: Thor. Line 5 is likely not authentic.

55. Beyla: Freyr’s servant, wife of Byggvir; cf. introductory prose and note.

__A_TAG_PLACEHOLDER_0__. Beyla: Freyr’s servant and Byggvir’s wife; see the introductory prose and note.

57. Mjollnir: concerning Thor’s famous hammer see particularly Thrymskvitha, 1 and note. Shoulder-cliff: head; concerning [170]the use of such diction in the Edda, cf. introductory note to Hymiskvitha. The manuscript indicates line 3 as the beginning of a stanza, but this is apparently a scribal error.

__A_TAG_PLACEHOLDER_0__. Mjollnir: for details about Thor’s famous hammer, see especially Thrymskvitha, 1 and the note. Shoulder-cliff: head; regarding [__A_TAG_PLACEHOLDER_0__] the use of such language in the Edda, refer to the introductory note to Hymiskvitha. The manuscript marks line 3 as the start of a stanza, but this seems to be a mistake made by the scribe.

58. Son of Earth: Thor, son of Othin and Jorth (Earth). The manuscript omits the word “son,” but all editors have agreed in supplying it. The wolf: Fenrir, Loki’s son, who slays Othin (Sigfather: “Father of Victory”) in the final battle. Thor, according to Snorri and to the Voluspo, 56, fights with Mithgarthsorm and not with Fenrir, who is killed by Vithar.

__A_TAG_PLACEHOLDER_0__. Son of Earth: Thor, the son of Othin and Jorth (Earth). The manuscript leaves out the word “son,” but all editors agree to add it. The wolf: Fenrir, Loki’s son, who kills Othin (Sigfather: “Father of Victory”) in the final battle. Thor, according to Snorri and the Voluspo, 56, fights with Mithgarthsorm and not with Fenrir, who is killed by Vithar.

59. Lines 1–2 are abbreviated in the manuscript, as also in stanzas 61 and 63.

__A_TAG_PLACEHOLDER_0__. Lines 1–2 are shortened in the manuscript, as are stanzas 61 and 63.

60. Loki’s taunt that Thor hid in the thumb of Skrymir’s glove is similar to that of Othin, Harbarthsljoth, 26, in the note to which the story is outlined. Line 4 is identical with line 3 of Harbarthsljoth, 26. [171]

__A_TAG_PLACEHOLDER_0__. Loki’s joke about Thor hiding in the thumb of Skrymir’s glove is similar to what Othin says in Harbarthsljoth, 26, which is detailed in the note to the story. Line 4 is the same as line 3 of Harbarthsljoth, 26. [__A_TAG_PLACEHOLDER_0__]

61. Hrungnir’s slayer: the hammer; the story of how Thor slew this stone-headed giant is indicated in Harbarthsljoth, 14–15, and outlined in the note to stanza 14 of that poem.

__A_TAG_PLACEHOLDER_0__. Hrungnir’s slayer: the hammer; the tale of how Thor killed this stone-headed giant is mentioned in Harbarthsljoth, 14–15, and summarized in the note to stanza 14 of that poem.

62. On the day following the adventure of the glove, Thor, Loki and Thor’s servants proceed on their way in company with Skrymir, who puts all their food in his wallet. At evening Skrymir goes to sleep, and Thor tries to get at the food, but cannot loosen the straps of the wallet. In a rage he smites Skrymir three times on the head with his hammer, but the giant—who, it subsequently appears, deftly dodges the blows—is totally undisturbed. Line 5 may well be spurious. [172]

__A_TAG_PLACEHOLDER_0__. The day after the glove adventure, Thor, Loki, and Thor’s servants continue on their journey with Skrymir, who keeps all their food in his bag. In the evening, Skrymir goes to sleep, and Thor tries to get to the food but can't loosen the straps of the bag. In his anger, he hits Skrymir three times on the head with his hammer, but the giant—who turns out to be skillfully dodging the hits—remains completely unfazed. Line 5 may well be spurious. [__A_TAG_PLACEHOLDER_0__]

65. The flames: the fire that consumes the world on the last day; cf. Voluspo, 57. Line 5 may be spurious.

__A_TAG_PLACEHOLDER_0__. The flames: the fire that engulfs the world on the final day; cf. Voluspo, 57. Line 5 might not be authentic.

Prose: Snorri tells the same story, with minor differences, but makes it the consequence of Loki’s part in the slaying of Baldr, which undoubtedly represents the correct tradition. The compiler of the poems either was confused or thought the incident was [173]useful as indicating what finally happened to Loki. Possibly he did not mean to imply that Loki’s fate was brought upon him by his abuse of the gods, but simply tried to round out the story. Franang: “Gleaming Water.” Vali and Narfi: cf. stanza 49 and note. Sigyn: cf. Voluspo, 35, the only other place where she is mentioned in the poems. Snorri omits the naive note about earthquakes, his narrative ending with the words, “And there he lies till the destruction of the gods.” [174]

Prose: Snorri shares the same story with some small differences, but attributes it to Loki's involvement in Baldr's death, which likely reflects the true tradition. The compiler of the poems might have been confused or thought the event was [__A_TAG_PLACEHOLDER_0__]useful in showing what ultimately happened to Loki. It's possible he didn't intend to suggest that Loki's downfall was caused by his mistreatment of the gods, but was just trying to complete the narrative. Franang: “Gleaming Water.” Vali and Narfi: see stanza 49 and note. Sigyn: see Voluspo, 35, the only other instance where she is mentioned in the poems. Snorri leaves out the simplistic remark about earthquakes, concluding his narrative with the statement, “And there he lies till the destruction of the gods.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

THRYMSKVITHA

The Lay of Thrym

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Thrymskvitha is found only in the Codex Regius, where it follows the Lokasenna. Snorri does not quote from it, nor, rather oddly, does the story occur in the Prose Edda.

The Thrymskvitha is only found in the Codex Regius, where it comes right after the Lokasenna. Snorri doesn’t reference it, and strangely, the story doesn’t appear in the Prose Edda.

Artistically the Thrymskvitha is one of the best, as it is, next to the Voluspo, the most famous, of the entire collection. It has, indeed, been called “the finest ballad in the world,” and not without some reason. Its swift, vigorous action, the sharpness of its characterization and the humor of the central situation combine to make it one of the most vivid short narrative poems ever composed. Of course we know nothing specific of its author, but there can be no question that he was a poet of extraordinary ability. The poem assumed its present form, most critics agree, somewhere about 900, and thus it is one of the oldest in the collection. It has been suggested, on the basis of stylistic similarity, that its author may also have composed the Skirnismol, and possibly Baldrs Draumar. There is also some resemblance between the Thrymskvitha and the Lokasenna (note, in this connection, Bugge’s suggestion that the Skirnismol and the Lokasenna may have been by the same man), and it is not impossible that all four poems have a single authorship.

Artistically, the Thrymskvitha is one of the best, and alongside the Voluspo, it’s the most famous in the entire collection. It has indeed been called “the finest ballad in the world,” and there's good reason for that. Its fast-paced action, sharp characterizations, and the humor of the central situation all come together to make it one of the most vivid short narrative poems ever written. We don’t know anything specific about its author, but it’s clear that he was an exceptionally talented poet. Most critics agree that the poem took its current form around 900, making it one of the oldest in the collection. Based on stylistic similarities, it has been suggested that the same author may have also written the Skirnismol, and possibly Baldrs Draumar. There are also some similarities between the Thrymskvitha and the Lokasenna (note, in this regard, Bugge’s suggestion that the Skirnismol and the Lokasenna may have been by the same person), and it's possible that all four poems share a single author.

The Thrymskvitha has been preserved in excellent condition, without any serious gaps or interpolations. In striking contrast to many of the poems, it contains no prose narrative links, the story being told in narrative verse—a rare phenomenon in the poems of the Edda.

The Thrymskvitha has been kept in great shape, with no major gaps or additions. Unlike many of the poems, it doesn't have any prose narrative connections; instead, the story is presented in narrative verse—a rare occurrence in the poems of the Edda.

[__A_TAG_PLACEHOLDER_0__]

1. Wild was Vingthor   |   when he awoke,

__A_TAG_PLACEHOLDER_0__. Vingthor was wild when he woke up,

And when his mighty   |   hammer he missed; [175]

And when he missed his mighty hammer; [__A_TAG_PLACEHOLDER_0__]

He shook his beard,   |   his hair was bristling,

He shook his beard,   |   his hair was standing on end,

As the son of Jorth   |   about him sought.

As the son of Jorth | about him sought.

2. Hear now the speech   |   that first he spake:

__A_TAG_PLACEHOLDER_0__. Listen to the words  |   that he said first:

“Harken, Loki,   |   and heed my words,

“Hear me, Loki,   |   and pay attention to what I say,

Nowhere on earth   |   is it known to man,

Nowhere on earth | is it known to humanity,

Nor in heaven above:   |   our hammer is stolen.”

Nor in heaven above:   |   our hammer is stolen.

3. To the dwelling fair   |   of Freyja went they,

__A_TAG_PLACEHOLDER_0__. They went to the beautiful home of Freyja,

Hear now the speech   |   that first he spake:

Hear now the speech that he first spoke:

“Wilt thou, Freyja,   |   thy feather-dress lend me,

“Will you, Freyja,   |   lend me your feather dress,

That so my hammer   |   I may seek?”

That’s why I might look for my hammer?

Freyja spake:

Freyja said:

4. “Thine should it be   |   though of silver bright,

__A_TAG_PLACEHOLDER_0__. “It should belong to you   |   even if it's shiny silver,

And I would give it   |   though ’twere of gold.”

And I would give it | though it were made of gold.

Then Loki flew,   |   and the feather-dress whirred,

Then Loki flew,   |   and the feather dress whirred,

Till he left behind him   |   the home of the gods,

Till he left behind him the home of the gods,

And reached at last   |   the realm of the giants.

And finally arrived at the land of the giants.

[176]

[__A_TAG_PLACEHOLDER_0__]

5. Thrym sat on a mound,   |   the giants’ master,

__A_TAG_PLACEHOLDER_0__. Thrym sat on a hill,   |   the king of the giants,

Leashes of gold   |   he laid for his dogs,

Leashes of gold | he made for his dogs,

And stroked and smoothed   |   the manes of his steeds.

And stroked and smoothened the manes of his horses.

Thrym spake:

Thrym said:

6. “How fare the gods,   |   how fare the elves?

__A_TAG_PLACEHOLDER_0__. “How are the gods doing,   |   how are the elves?”

Why comst thou alone   |   to the giants’ land?”

Why do you come here alone | to the land of the giants?”

Loki spake:

Loki said:

“Ill fare the gods,   |   ill fare the elves!

“Ill fare the gods, | ill fare the elves!

Hast thou hidden   |   Hlorrithi’s hammer?”

Have you hidden   |   Hlorrithi’s hammer?”

Thrym spake:

Thrym said:

7. “I have hidden   |   Hlorrithi’s hammer,

__A_TAG_PLACEHOLDER_0__. “I have hidden   |   Hlorrithi’s hammer,

Eight miles down   |   deep in the earth;

Eight miles down   |   deep in the earth;

And back again   |   shall no man bring it

And back again | no one shall bring it

If Freyja I win not   |   to be my wife.”

If Freyja won't marry me | to be my wife.

8. Then Loki flew,   |   and the feather-dress whirred,

8. Then Loki took off,   |   and the feathered cloak buzzed,

Till he left behind him   |   the home of the giants,

Till he left behind him   |   the home of the giants,

And reached at last   |   the realm of the gods.

And finally reached the realm of the gods.

There in the courtyard   |   Thor he met:

There in the courtyard   |   Thor he met:

Hear now the speech   |   that first he spake:

Hear now the speech that he first spoke:

[177]

[__A_TAG_PLACEHOLDER_0__]

9. “Hast thou found tidings   |   as well as trouble?

__A_TAG_PLACEHOLDER_0__. “Have you found news   |   along with trouble?

Thy news in the air   |   shalt thou utter now;

Your news is in the air | you shall speak it now;

Oft doth the sitter   |   his story forget,

Oftentimes, the person sitting forgets their story,

And lies he speaks   |   who lays himself down.”

And he lies when he says, “who lays himself down.”

Loki spake:

Loki said:

10. “Trouble I have,   |   and tidings as well:

__A_TAG_PLACEHOLDER_0__. “I have problems,   |   and news too:

Thrym, king of the giants,   |   keeps thy hammer,

Thrym, the giant king,   |   has your hammer,

And back again   |   shall no man bring it

And back again   |   no one shall bring it

If Freyja he wins not   |   to be his wife.”

If he doesn't win Freyja, she won't be his wife.

11. Freyja the fair   |   then went they to find;

11. Freyja the beautiful | then they set out to search;

Hear now the speech   |   that first he spake:

Hear now the words that he first spoke:

“Bind on, Freyja,   |   the bridal veil,

“Put on, Freyja,   |   the wedding veil,

For we two must haste   |   to the giants’ home.”

For the two of us need to hurry to the giants' home.

12. Wrathful was Freyja,   |   and fiercely she snorted,

__A_TAG_PLACEHOLDER_0__. Freyja was angry,   |   and she snorted fiercely,

And the dwelling great   |   of the gods was shaken,

And the great home of the gods shook,

And burst was the mighty   |   Brisings’ necklace:

And the mighty Brisings' necklace shattered:

“Most lustful indeed   |   should I look to all

“Most lustful indeed | should I look to all

If I journeyed with thee   |   to the giants’ home.”

If I traveled with you to the giants' home.

[178]

[__A_TAG_PLACEHOLDER_0__]

13. Then were the gods   |   together met,

__A_TAG_PLACEHOLDER_0__. Then the gods came together,

And the goddesses came   |   and council held,

And the goddesses gathered together and held a meeting,

And the far-famed ones   |   a plan would find,

And the famous ones | would find a plan,

How they might Hlorrithi’s   |   hammer win.

How could Hlorrithi's hammer win?

14. Then Heimdall spake,   |   whitest of the gods,

__A_TAG_PLACEHOLDER_0__. Then Heimdall spoke,   |   the whitest of the gods,

Like the Wanes he knew   |   the future well:

Like the Wanes he knew | the future well:

“Bind we on Thor   |   the bridal veil,

“Let’s place on Thor | the bridal veil,

Let him bear the mighty   |   Brisings’ necklace;

Let him wear the powerful Brisings' necklace;

15. “Keys around him   |   let there rattle,

15. “Keys around him | let them rattle,

And down to his knees   |   hang woman’s dress;

And down to his knees hangs the woman's dress;

With gems full broad   |   upon his breast,

With gems spread wide   |   across his chest,

And a pretty cap   |   to crown his head.”

And a nice cap   |   to top off his head.”

16. Then Thor the mighty   |   his answer made:

__A_TAG_PLACEHOLDER_0__. Then Thor the mighty   |   gave his reply:

“Me would the gods   |   unmanly call

“Me would the gods | unmanly call

If I let bind   |   the bridal veil.”

If I let bind   |   the bridal veil.”

17. Then Loki spake,   |   the son of Laufey:

__A_TAG_PLACEHOLDER_0__. Then Loki spoke,   |   the son of Laufey:

“Be silent, Thor,   |   and speak not thus; [179]

“Be quiet, Thor,   |   and don’t speak like that; [__A_TAG_PLACEHOLDER_0__]

Else will the giants   |   in Asgarth dwell

Else will the giants in Asgarth live.

If thy hammer is brought not   |   home to thee.”

If your hammer is not brought home to you.

18. Then bound they on Thor   |   the bridal veil,

__A_TAG_PLACEHOLDER_0__. Then they dressed Thor in the bridal veil,

And next the mighty   |   Brisings’ necklace.

And next the powerful Brisings’ necklace.

19. Keys around him   |   let they rattle,

19. Keys around him   |   let them rattle,

And down to his knees   |   hung woman’s dress;

And the woman's dress hung down to his knees;

With gems full broad   |   upon his breast,

With gems shining brightly upon his chest,

And a pretty cap   |   to crown his head.

And a nice hat to top it off.

20. Then Loki spake,   |   the son of Laufey:

20. Then Loki spoke,   |   the son of Laufey:

“As thy maid-servant thither   |   I go with thee;

“As your maidservant, I go with you;

We two shall haste   |   to the giants’ home.”

We two will hurry to the giants’ home.”

21. Then home the goats   |   to the hall were driven,

__A_TAG_PLACEHOLDER_0__. Then the goats were herded back home to the hall,

They wrenched at the halters,   |   swift were they to

They pulled at the ropes, | quick to

run;

run

The mountains burst,   |   earth burned with fire,

The mountains erupted,   |   the ground was scorched with flames,

And Othin’s son   |   sought Jotunheim.

And Odin's son | sought Jotunheim.

22. Then loud spake Thrym,   |   the giants’ leader:

__A_TAG_PLACEHOLDER_0__. Then Thrym, the leader of the giants, spoke loudly:

“Bestir ye, giants,   |   put straw on the benches; [180]

“Get moving, giants,   |   put straw on the benches; [__A_TAG_PLACEHOLDER_0__]

Now Freyja they bring   |   to be my bride,

Now they bring Freyja to be my bride,

The daughter of Njorth   |   out of Noatun.

The daughter of Njorth   |   from Noatun.

23. “Gold-horned cattle   |   go to my stables,

23. “Gold-horned cattle   |   head to my stables,

Jet-black oxen,   |   the giant’s joy;

Black oxen, the giant's pride;

Many my gems,   |   and many my jewels,

Many of my gems,   |   and many of my jewels,

Freyja alone   |   did I lack, methinks.”

Freyja alone | did I miss, I think.”

24. Early it was   |   to evening come,

__A_TAG_PLACEHOLDER_0__. It was early when evening arrived,

And forth was borne   |   the beer for the giants;

And then the beer for the giants was brought.

Thor alone ate an ox,   |   and eight salmon,

Thor alone ate an ox, and eight salmon,

All the dainties as well   |   that were set for the

All the treats that were arranged for the

women;

women

And drank Sif’s mate   |   three tuns of mead.

And drank Sif’s partner   |   three barrels of mead.

25. Then loud spake Thrym,   |   the giants’ leader:

25. Then Thrym, the leader of the giants, spoke loudly:

“Who ever saw bride   |   more keenly bite?

“Who ever saw a bride bite more eagerly?”

I ne’er saw bride   |   with a broader bite,

I never saw a bride with a bigger smile,

Nor a maiden who drank   |   more mead than this!”

Nor a girl who drank more mead than this!’’

26. Hard by there sat   |   the serving-maid wise,

Nearby sat the clever waitress,

So well she answered   |   the giant’s words:

So well she answered the giant’s words:

“From food has Freyja   |   eight nights fasted,

“From food has Freyja   |   eight nights fasted,

So hot was her longing   |   for Jotunheim.”

So intense was her longing for Jotunheim.

[181]

[__A_TAG_PLACEHOLDER_0__]

27. Thrym looked ’neath the veil,   |   for he longed to kiss,

__A_TAG_PLACEHOLDER_0__. Thrym looked beneath the veil,   |   for he wanted to kiss,

But back he leaped   |   the length of the hall:

But he jumped back the length of the hall:

“Why are so fearful   |   the eyes of Freyja?

“Why are the eyes of Freyja so fearful?”

Fire, methinks,   |   from her eyes burns forth.”

Fire, I think, from her eyes burns forth.

28. Hard by there sat   |   the serving-maid wise,

__A_TAG_PLACEHOLDER_0__. Nearby sat the smart maid,

So well she answered   |   the giant’s words:

So well she answered the giant’s words:

“No sleep has Freyja   |   for eight nights found,

“No sleep has Freyja | for eight nights found,

So hot was her longing   |   for Jotunheim.”

So intense was her desire for Jotunheim.

29. Soon came the giant’s   |   luckless sister,

__A_TAG_PLACEHOLDER_0__. Soon the giant’s unfortunate sister arrived,

Who feared not to ask   |   the bridal fee:

Who wasn't afraid to ask for the wedding payment:

“From thy hands the rings   |   of red gold take,

“Take the rings of red gold from your hands,

If thou wouldst win   |   my willing love,

If you want to win my willing love,

(My willing love   |   and welcome glad.)”

(My willing love   |   and welcome glad.)

30. Then loud spake Thrym,   |   the giants’ leader:

__A_TAG_PLACEHOLDER_0__. Then Thrym, the leader of the giants, spoke loudly:

“Bring in the hammer   |   to hallow the bride;

“Bring in the hammer   |   to honor the bride;

On the maiden’s knees   |   let Mjollnir lie,

On the girl's knees   |   let Mjollnir rest,

That us both the hand   |   of Vor may bless.”

That both of our hands may be blessed by Vor.

[182]

[__A_TAG_PLACEHOLDER_0__]

31. The heart in the breast   |   of Hlorrithi laughed

31. The heart in the chest   |   of Hlorrithi laughed

When the hard-souled one   |   his hammer beheld;

When the tough one saw his hammer;

First Thrym, the king   |   of the giants, he killed,

First, Thrym, the king of the giants, he killed,

Then all the folk   |   of the giants he felled.

Then he took down all the people of the giants.

32. The giant’s sister   |   old he slew,

32. He killed the giant's sister, old as she was,

She who had begged   |   the bridal fee;

She who had asked for the bridal fee;

A stroke she got   |   in the shilling’s stead.

A stroke she got in place of the shilling.

And for many rings   |   the might of the hammer.

And for many rings   |   the power of the hammer.

33. And so his hammer   |   got Othin’s son.

__A_TAG_PLACEHOLDER_0__. And so his hammer   |   struck Othin’s son.

[174]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

1. Vingthor (“Thor the Hurler”): another name for Thor, equivalent to Vingnir (Vafthruthnismol, 51). Concerning Thor and his hammer, Mjollnir, cf. Hymiskvitha, Lokasenna, and Harbarthsljoth, passim. Jorth: Earth, Thor’s mother, Othin being his father. [175]

__A_TAG_PLACEHOLDER_0__. Vingthor (“Thor the Hurler”): another name for Thor, similar to Vingnir (Vafthruthnismol, 51). For information on Thor and his hammer, Mjollnir, see Hymiskvitha, Lokasenna, and Harbarthsljoth, passim. Jorth: Earth, Thor’s mother, with Othin as his father. [__A_TAG_PLACEHOLDER_0__]

2. Loki: cf. Lokasenna, passim.

__A_TAG_PLACEHOLDER_0__. Loki: see Lokasenna, various places.

3. Freyja: Njorth’s daughter, and sister of Freyr; cf. Lokasenna, introductory prose and note, also Skirnismol, introductory prose. Freyja’s house was Sessrymnir (“Rich in Seats”) built in Folkvang (“Field of the Folk”); cf. Grimnismol, 14. Feather-dress: this flying equipment of Freyja’s is also used in the story of Thjazi, wherein Loki again borrows the “hawk’s dress” of Freyja, this time to rescue Ithun; cf. Harbarthsljoth, 19 and note.

__A_TAG_PLACEHOLDER_0__. Freyja: Daughter of Njorth and sister of Freyr; see Lokasenna, introductory notes, and also Skirnismol, introductory notes. Freyja’s home was Sessrymnir (“Rich in Seats”), located in Folkvang (“Field of the Folk”); see Grimnismol, 14. Feather-dress: This flying gear of Freyja’s is also featured in the tale of Thjazi, where Loki borrows Freyja's “hawk’s dress” again, this time to save Ithun; see Harbarthsljoth, 19 and notes.

4. The manuscript and most editions have lines 1–2 in inverse order. Several editors assume a lacuna before line 1, making a stanza out of the two conjectural lines (Bugge actually supplies them) and lines 1–2 of stanza 4. Thus they either make a separate stanza out of lines 3–5 or unite them in a six-line stanza with 5. The manuscript punctuation and capitalization—not [176]wholly trustworthy guides—indicate the stanza divisions as in this translation.

__A_TAG_PLACEHOLDER_0__. The manuscript and most editions have lines 1–2 in the wrong order. Several editors believe there’s a gap before line 1, creating a stanza from the two suggested lines (Bugge actually provides these) and lines 1–2 of stanza 4. As a result, they either make a separate stanza from lines 3–5 or combine them into a six-line stanza with line 5. The manuscript's punctuation and capitalization—not [__A_TAG_PLACEHOLDER_0__]entirely reliable indicators—show the stanza divisions as presented in this translation.

5. Thrym: a frost-giant. Gering declares that this story of the theft of Thor’s hammer symbolizes the fact that thunderstorms rarely occur in winter.

__A_TAG_PLACEHOLDER_0__. Thrym: a frost giant. Gering states that this tale of Thor's hammer being stolen represents the idea that thunderstorms are uncommon in winter.

6. Line 1: cf. Voluspo, 48, 1. The manuscript does not indicate Loki as the speaker of lines 3–4. Hlorrithi: Thor.

__A_TAG_PLACEHOLDER_0__. Line 1: see Voluspo, 48, 1. The manuscript doesn't show Loki as the speaker in lines 3–4. Hlorrithi: Thor.

7. No superscription in the manuscript. Vigfusson made up [177]and inserted lines like “Then spake Loki   |   the son of Laufey” whenever he thought they would be useful.

__A_TAG_PLACEHOLDER_0__. There’s no title in the manuscript. Vigfusson created [__A_TAG_PLACEHOLDER_0__] and added lines like “Then said Loki   |   the son of Laufey” whenever he felt they would be helpful.

9. The manuscript marks line 2, instead of line 1, as the beginning of a stanza, which has caused editors some confusion in grouping the lines of stanzas 8 and 9.

__A_TAG_PLACEHOLDER_0__. The manuscript highlights line 2, not line 1, as the start of a stanza, which has led to some confusion among editors when organizing the lines of stanzas 8 and 9.

10. No superscription in the manuscript.

__A_TAG_PLACEHOLDER_0__. No header in the manuscript.

12. Many editors have rejected either line 2 or line 3. Vigfusson inserts one of his own lines before line 4. Brisings’ necklace: a marvelous necklace fashioned by the dwarfs, here called Brisings (i.e., “Twiners”); cf. Lokasenna, 20 and note. [178]

__A_TAG_PLACEHOLDER_0__. Many editors have dismissed either line 2 or line 3. Vigfusson adds one of his own lines before line 4. Brisings’ necklace: an amazing necklace created by the dwarfs, referred to here as Brisings (meaning “Twiners”); see Lokasenna, 20 and note. [__A_TAG_PLACEHOLDER_0__]

13. Lines 1–3 are identical with Baldrs Draumar, 1, 1–3.

__A_TAG_PLACEHOLDER_0__. Lines 1–3 are the same as Baldrs Draumar, 1, 1–3.

14. Heimdall: the phrase “whitest of the gods” suggests that Heimdall was the god of light as well as being the watchman. His wisdom was probably connected with his sleepless watching over all the worlds; cf. Lokasenna, 47 and note. On the Wanes cf. Voluspo, 21 and note. They are not elsewhere spoken of as peculiarly gifted with knowledge of future events.

__A_TAG_PLACEHOLDER_0__. Heimdall: the term “whitest of the gods” implies that Heimdall was not only the god of light but also the watchman. His wisdom likely came from his constant vigilance over all the worlds; see Lokasenna, 47 and note. For information on the Wanes, see Voluspo, 21 and note. They are not typically described as having special insight into future events.

16. Possibly a line has been lost from this stanza.

__A_TAG_PLACEHOLDER_0__. It's possible that a line is missing from this stanza.

17. Laufey: Loki’s mother, cf. Lokasenna, 52 and note. [179]

__A_TAG_PLACEHOLDER_0__. Laufey: Loki’s mom, see Lokasenna, 52 and note. [__A_TAG_PLACEHOLDER_0__]

18–19. The manuscript abbreviates all six lines, giving only the initial letters of the words. The stanza division is thus arbitrary; some editors have made one stanza of the six lines, others have combined the last two lines of stanza 19 with stanza 20. It is possible that a couple of lines have been lost.

__A_TAG_PLACEHOLDER_0__. The manuscript shortens all six lines, providing only the first letters of the words. The division into stanzas is therefore random; some editors have created one stanza from the six lines, while others have merged the last two lines of stanza 19 with stanza 20. It's possible that a few lines are missing.

21. Goats: Thor’s wagon was always drawn by goats; cf. Hymiskvitha, 38 and note. Jotunheim: the world of the giants.

__A_TAG_PLACEHOLDER_0__. Goats: Thor's chariot was always pulled by goats; see Hymiskvitha, 38 and note. Jotunheim: the realm of the giants.

22. Njorth: cf. Voluspo, 21, and Grimnismol, 11 and 16. Noatun [180](“Ships’-Haven”): Njorth’s home, where his wife, Skathi, found it impossible to stay; cf. Grimnismol, 11 and note.

__A_TAG_PLACEHOLDER_0__. Njorth: see Voluspo, 21, and Grimnismol, 11 and 16. Noatun [__A_TAG_PLACEHOLDER_0__] (“Ships’-Haven”): Njorth’s home, where his wife, Skathi, found it impossible to stay; see Grimnismol, 11 and note.

24. Grundtvig thinks this is all that is left of two stanzas describing Thor’s supper. Some editors reject line 4. In line 3 the manuscript has “he,” the reference being, of course, to Thor, on whose appetite cf. Hymiskvitha, 15. Sif: Thor’s wife; cf. Lokasenna, note to introductory prose and stanza 53. [181]

__A_TAG_PLACEHOLDER_0__. Grundtvig believes this is all that remains of two stanzas describing Thor's feast. Some editors discard line 4. In line 3, the manuscript states "he," referring, of course, to Thor, whose appetite is mentioned in Hymiskvitha, 15. Sif: Thor's wife; see Lokasenna, note to introductory prose and stanza 53. [__A_TAG_PLACEHOLDER_0__]

27. For clearness I have inserted Thrym’s name in place of the pronoun of the original. Fire: the noun is lacking in the manuscript; most editors have inserted it, however, following a late paper manuscript.

__A_TAG_PLACEHOLDER_0__. To clarify, I've put Thrym's name in place of the pronoun from the original. Fire: the noun is missing from the manuscript; however, most editors have added it based on a later paper manuscript.

28. In the manuscript the whole stanza is abbreviated to initial letters, except for “sleep,” “Freyja,” and “found.”

__A_TAG_PLACEHOLDER_0__. In the manuscript, the entire stanza is shortened to just the initial letters, except for “sleep,” “Freyja,” and “found.”

29. Luckless: so the manuscript, but many editors have altered the word “arma” to “aldna,” meaning “old,” to correspond with line 1 of stanza 32. Line 5 may well be spurious.

__A_TAG_PLACEHOLDER_0__. Luckless: that’s how the manuscript reads, but many editors have changed the word “arma” to “aldna,” which means “old,” to match line 1 of stanza 32. Line 5 might actually be a fabrication.

30. Hallow: just what this means is not clear, but there are [182]references to other kinds of consecration, though not of a bride, with the “sign of the hammer.” According to Vigfusson, “the hammer was the holy sign with the heathens, answering to the cross of the Christians.” In Snorri’s story of Thor’s resuscitation of his cooked goat (cf. Hymiskvitha, 38, note) the god “hallows” the goat with his hammer. One of the oldest runic signs, supposed to have magic power, was named Thor’s-hammer. Vor: the goddess of vows, particularly between men and women; Snorri lists a number of little-known goddesses similar to Vor, all of them apparently little more than names for Frigg.

__A_TAG_PLACEHOLDER_0__. Hallow: the exact meaning of this is unclear, but there are [__A_TAG_PLACEHOLDER_0__]references to other types of consecration that don’t involve a bride, associated with the “sign of the hammer.” According to Vigfusson, “the hammer was the holy sign for the pagans, similar to the cross for Christians.” In Snorri’s tale of Thor bringing his cooked goat back to life (see Hymiskvitha, 38, note), the god “hallows” the goat using his hammer. One of the oldest runic symbols, believed to have magical power, was called Thor’s-hammer. Vor: the goddess of vows, especially between men and women; Snorri mentions several little-known goddesses like Vor, who are mostly just names for Frigg.

33. Some editors reject this line, which, from a dramatic standpoint, is certainly a pity. In the manuscript it begins with a capital letter, like the opening of a new stanza. [183]

__A_TAG_PLACEHOLDER_0__. Some editors dismiss this line, which is definitely a shame from a dramatic perspective. In the manuscript, it starts with a capital letter, just like the beginning of a new stanza. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

ALVISSMOL

The Ballad of Alvis

[__A_TAG_PLACEHOLDER_0__]

Intro Note

No better summary of the Alvissmol can be given than Gering’s statement that “it is a versified chapter from the skaldic Poetics.” The narrative skeleton, contained solely in stanzas 1–8 and in 35, is of the slightest; the dwarf Alvis, desirous of marrying Thor’s daughter, is compelled by the god to answer a number of questions to test his knowledge. That all his answers are quite satisfactory makes no difference whatever to the outcome. The questions and answers differ radically from those of the Vafthruthnismol. Instead of being essentially mythological, they all concern synonyms. Thor asks what the earth, the sky, the moon, and so on, are called “in each of all the worlds,” but there is no apparent significance in the fact that the gods call the earth one thing and the giants call it another; the answers are simply strings of poetic circumlocutions, or “kennings.” Concerning the use of these “kennings” in skaldic poetry, cf. introductory note to the Hymiskvitha.

No better summary of the Alvissmol can be given than Gering’s statement that “it is a versified chapter from the skaldic Poetics.” The basic plot, found only in stanzas 1–8 and 35, is minimal; the dwarf Alvis, wanting to marry Thor’s daughter, is forced by the god to answer a series of questions to prove his knowledge. The fact that all his answers are completely satisfactory doesn't change the outcome at all. The questions and answers are very different from those in the Vafthruthnismol. Instead of being mainly mythological, all of them focus on synonyms. Thor asks what the earth, the sky, the moon, and so on, are called “in each of all the worlds,” but there’s no real significance in the fact that the gods have one name for the earth and the giants have another; the answers are just collections of poetic circumlocutions, or “kennings.” For more on the use of these “kennings” in skaldic poetry, see the introductory note to the Hymiskvitha.

Mogk is presumably right in dating the poem as late as the twelfth century, assigning it to the period of “the Icelandic renaissance of skaldic poetry.” It appears to have been the work of a man skilled in poetic construction,—Thor’s questions, for instance, are neatly balanced in pairs,—and fully familiar with the intricacies of skaldic diction, but distinctly weak in his mythology. In other words, it is learned rather than spontaneous poetry. Finnur Jonsson’s attempt to make it a tenth century Norwegian poem baffles logic. Vigfusson is pretty sure the poem shows marked traces of Celtic influence, which is by no means incompatible with Mogk’s theory (cf. introductory note to the Rigsthula).

Mogk is probably correct in dating the poem to the twelfth century, linking it to the time of “the Icelandic renaissance of skaldic poetry.” It seems to have been created by someone who was skilled in crafting poetry—Thor’s questions, for example, are neatly paired—and was well-versed in the complexities of skaldic language, but clearly lacking in mythology. In other words, it is more scholarly than spontaneous poetry. Finnur Jonsson’s attempt to classify it as a tenth-century Norwegian poem doesn't make sense. Vigfusson is quite certain that the poem shows clear signs of Celtic influence, which definitely aligns with Mogk’s theory (cf. introductory note to the Rigsthula).

The poem is found only in Regius, where it follows the Thrymskvitha. Snorri quotes stanzas 20 and 30, the manuscripts of the Prose Edda giving the name of the poem as Alvissmol, Alsvinnsmol or Olvismol. It is apparently in excellent condition, without serious errors of transmission, although interpolations or omissions in such a poem might have been made so easily as to defy detection.

The poem is only found in Regius, where it comes after the Thrymskvitha. Snorri cites stanzas 20 and 30, and the manuscripts of the Prose Edda refer to the poem as Alvissmol, Alsvinnsmol, or Olvismol. It seems to be in great condition, with no major transmission errors, though it’s possible that changes or omissions in the poem could have been made subtly enough to go unnoticed.

The translation of the many synonyms presents, of course, [184]unusual difficulties, particularly as many of the Norse words can be properly rendered in English only by more or less extended phrases. I have kept to the original meanings as closely as I could without utterly destroying the metrical structure.

The translation of the many synonyms certainly presents [__A_TAG_PLACEHOLDER_0__]unique challenges, especially since many of the Norse words can really only be expressed in English with somewhat longer phrases. I've tried to stick to the original meanings as much as possible without completely ruining the meter.

[__A_TAG_PLACEHOLDER_0__]

Alvis spake:

Alvis said:

1. “Now shall the bride   |   my benches adorn,

__A_TAG_PLACEHOLDER_0__. “Now the bride will \t\t\t my benches decorate,

And homeward haste forthwith;

And head home quickly;

Eager for wedlock   |   to all shall I seem,

Eager for marriage to everyone, I will appear,

Nor at home shall they rob me of rest.”

Nor at home will they take away my peace.

Thor spake:

Thor said:

2. “What, pray, art thou?   |   Why so pale round the nose?

__A_TAG_PLACEHOLDER_0__. “What are you?   |   Why so pale around the nose?"

By the dead hast thou lain of late?

By the dead have you been lying lately?

To a giant like   |   dost thou look, methinks;

To a giant like you, I think?

Thou wast not born for the bride.”

You weren't born to be the bride.

Alvis spake:

Alvis said:

3. “Alvis am I,   |   and under the earth

__A_TAG_PLACEHOLDER_0__. “I’m Alvis,   |   and beneath the ground

My home ’neath the rocks I have; [185]

My home under the rocks I have; [__A_TAG_PLACEHOLDER_0__]

With the wagon-guider   |   a word do I seek;

With the wagon guide  |  a word do I seek;

Let the gods their bond not break.”

Let the gods not break their bond.

Thor spake:

Thor said:

4. “Break it shall I,   |   for over the bride

__A_TAG_PLACEHOLDER_0__. “I will break it, | for the bride

Her father has foremost right;

Her father has primary rights;

At home was I not   |   when the promise thou hadst,

At home was I not   |   when the promise you made,

And I give her alone of the gods.”

And I give her alone among the gods.

Alvis spake:

Alvis said:

5. “What hero claims   |   such right to hold

__A_TAG_PLACEHOLDER_0__. “What hero has the right to hold

O’er the bride that shines so bright?

O'er the bride that shines so brightly?

Not many will know thee,   |   thou wandering man!

Not many will know you,   |   you wandering man!

Who was bought with rings to bear thee?”

Who was bought with rings to carry you?

Thor spake:

Thor said:

6. “Vingthor, the wanderer   |   wide, am I,

__A_TAG_PLACEHOLDER_0__. “Vingthor, the traveler | I'm wide-ranging,

And I am Sithgrani’s son;

And I am Sithgrani's child;

Against my will   |   shalt thou get the maid,

Against my will   |   you shall have the girl,

And win the marriage word.”

And win the marriage game.

[186]

[__A_TAG_PLACEHOLDER_0__]

Alvis spake:

Alvis said:

7. “Thy good-will now   |   shall I quickly get,

7. “I’ll quickly gain your goodwill now,

And win the marriage word;

And win the marriage game;

I long to have,   |   and I would not lack,

I long to have,   |   and I wouldn’t want to be without,

This snow-white maid for mine.”

This snow-white maid of mine.

Thor spake:

Thor said:

8. “The love of the maid   |   I may not keep thee

__A_TAG_PLACEHOLDER_0__. “I can’t hold onto the maid’s love.

From winning, thou guest so wise,

From winning, you guest so wise,

If of every world   |   thou canst tell me all

If you can tell me everything about every world

That now I wish to know.

That’s what I want to know now.

9. “Answer me, Alvis!   |   thou knowest all,

9. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humankind:

What call they the earth,   |   that lies before all,

What do they call the earth, | that lies before all,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

10. “ ‘Earth’ to men, ‘Field’   |   to the gods it is,

__A_TAG_PLACEHOLDER_0__. “‘Earth’ for humans, ‘Field’ for the gods,

‘The Ways’ is it called by the Wanes; [187]

‘The Ways’ is what the Wanes call it; [__A_TAG_PLACEHOLDER_0__]

‘Ever Green’ by the giants,   |   ‘The Grower’ by elves,

‘Ever Green’ by the giants,   |   ‘The Grower’ by elves,

‘The Moist’ by the holy ones high.”

‘The Moist’ by the holy ones high.

Thor spake:

Thor said:

11. “Answer me, Alvis!   |   thou knowest all,

__A_TAG_PLACEHOLDER_0__. “Answer me, Alvis! | you know everything,

Dwarf, of the doom of men:

Dwarf, about the fate of men:

What call they the heaven,   |   beheld of the high one,

What do they call the heaven, | seen by the Most High,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

12. “ ‘Heaven’ men call it,   |   ‘The Height’ the gods,

12. “They call it ‘Heaven,’ while the gods refer to it as ‘The Height,’

The Wanes ‘The Weaver of Winds’;

The Wanes ‘The Weaver of Winds’;

Giants ‘The Up-World,’   |   elves ‘The Fair-Roof,’

Giants 'The Up-World,'   |   elves 'The Fair-Roof,'

The dwarfs ‘The Dripping Hall.’ ”

The dwarfs "The Dripping Hall."

[188]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

13. “Answer me, Alvis!   |   thou knowest all,

13. “Answer me, Alvis! | you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of mankind:

What call they the moon,   |   that men behold,

What do they call the moon that people see,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

14. “ ‘Moon’ with men, ‘Flame’   |   the gods among,

__A_TAG_PLACEHOLDER_0__. “'Moon' with humans, 'Flame' | the gods among,

‘The Wheel’ in the house of hell;

‘The Wheel’ in the house of hell;

‘The Goer’ the giants,   |   ‘The Gleamer’ the dwarfs,

‘The Goer’ the giants,   |   ‘The Gleamer’ the dwarfs,

The elves ‘The Teller of Time.’ ”

The elves "The Teller of Time."

Thor spake:

Thor said:

15. “Answer me, Alvis!   |   thou knowest all,

15. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humans:

What call they the sun,   |   that all men see,

What do they call the sun,   |   that everyone can see,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

16. “Men call it ‘Sun,’   |   gods ‘Orb of the Sun,’

__A_TAG_PLACEHOLDER_0__. “People call it ‘Sun,’   |   gods ‘Orb of the Sun,’

‘The Deceiver of Dvalin’ the dwarfs;

‘The Deceiver of Dvalin’ the dwarfs;

The giants ‘The Ever-Bright,’   |   elves ‘Fair Wheel,’

The giants ‘The Ever-Bright,’   |   elves ‘Fair Wheel,’

‘All-Glowing’ the sons of the gods.”

‘All-Glowing’ the sons of the gods.”

[189]

[__A_TAG_PLACEHOLDER_0__]

Thor spake:

Thor said:

17. “Answer me, Alvis!   |   thou knowest all,

17. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humanity:

What call they the clouds,   |   that keep the rains,

What do they call the clouds, | that hold the rain,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

18. “ ‘Clouds’ men name them,   |   ‘Rain-Hope’ gods call them,

18. “ ‘They’re called 'clouds' by humans,   |   'Rain-Hope' is what the gods name them,

The Wanes call them ‘Kites of the Wind’;

The Wanes call them 'Kites of the Wind';

‘Water-Hope’ giants,   |   ‘Weather-Might’ elves,

‘Water-Hope’ giants,   |   ‘Weather-Might’ elves,

‘The Helmet of Secrets’ in hell.”

‘The Helmet of Secrets’ in hell.

Thor spake:

Thor said:

19. “Answer me, Alvis!   |   thou knowest all,

19. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, about the fate of men:

What call they the wind,   |   that widest fares,

What do they call the wind, | that travels farthest,

In each and every world?”

“In every single world?”

Alvis spake:

Alvis said:

20. “ ‘Wind’ do men call it,   |   the gods ‘The Waverer,’

__A_TAG_PLACEHOLDER_0__. “‘Wind’ is what people call it, | the gods call it ‘The Waverer,’

‘The Neigher’ the holy ones high; [190]

‘The Neigher’ the holy ones high; [__A_TAG_PLACEHOLDER_0__]

‘The Wailer’ the giants,   |   ‘Roaring Wender’ the elves,

‘The Wailer’ the giants,   |   ‘Roaring Wender’ the elves,

In hell ‘The Blustering Blast.’ ”

In hell, "The Loud Wind."

Thor spake:

Thor said:

21. “Answer me, Alvis!   |   thou knowest all,

21. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, about the fate of mankind:

What call they the calm,   |   that quiet lies,

What do they call the calm,   |   that quiet lies,

In each and every world?”

“In every possible world?”

Alvis spake:

Alvis said:

22. “ ‘Calm’ men call it,   |   ‘The Quiet’ the gods,

__A_TAG_PLACEHOLDER_0__. “ ‘Calm’ men call it,   |   ‘The Quiet’ the gods,

The Wanes ‘The Hush of the Winds’;

The Wanes 'The Hush of the Winds';

‘The Sultry’ the giants,   |   elves ‘Day’s Stillness,’

‘The Sultry’ the giants,   |   elves ‘Day’s Stillness,’

The dwarfs ‘The Shelter of Day.’ ”

The dwarfs “The Shelter of Day.”

Thor spake:

Thor said:

23. “Answer me, Alvis!   |   thou knowest all,

23. “Answer me, Alvis!   |   you know everything,

Dwarf, of the doom of men:

Dwarf, about the fate of humans:

What call they the sea,   |   whereon men sail,

What do they call the sea, | where men sail,

In each and every world?”

"In every single world?"

Alvis spake:

Alvis said:

24. “ ‘Sea’ men call it,   |   gods ‘The Smooth-Lying,’

__A_TAG_PLACEHOLDER_0__. “ ‘Sea’ men call it,   |   gods ‘The Smooth-Talker,’

‘The Wave’ is it called by the Wanes; [191]

‘The Wave’ is what the Wanes call it; [__A_TAG_PLACEHOLDER_0__]

‘Eel-Home’ the giants,   |   ‘Drink-Stuff’ the elves,

‘Eel-Home’ the giants,   |   ‘Drink-Stuff’ the elves,

For the dwarfs its name is ‘The Deep.’ ”

For the dwarfs, it's called 'The Deep.'”

Thor spake:

Thor said:

25. “Answer me, Alvis!   |   thou knowest all,

25. “Answer me, Alvis! You know everything,

Dwarf, of the doom of men:

Dwarf, of the doom of men:

What call they the fire,   |   that flames for men,

What do they call the fire,   |   that burns for people,

In each of all the worlds?”

In all the worlds?

Alvis spake:

Alvis said:

26. “ ‘Fire’ men call it,   |   and ‘Flame’ the gods,

__A_TAG_PLACEHOLDER_0__. “They call it 'Fire,' and the gods call it 'Flame,'

By the Wanes is it ‘Wildfire’ called;

By the Wanes, it's called 'Wildfire';

‘The Biter’ by giants,   |   ‘The Burner’ by dwarfs,

‘The Biter’ by giants,   |   ‘The Burner’ by dwarfs,

‘The Swift’ in the house of hell.”

‘The Swift’ in the house of hell.”

Thor spake:

Thor said:

27. “Answer me, Alvis!   |   thou knowest all,

27. “Answer me, Alvis! | you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humans:

What call they the wood,   |   that grows for mankind,

What do they call the forest, | that grows for humanity,

In each and every world?”

In every world?

Alvis spake:

Alvis said:

28. “Men call it ‘The Wood,’   |   gods ‘The Mane of the Field,’ [192]

__A_TAG_PLACEHOLDER_0__. “People refer to it as ‘The Wood,’   |   while gods call it ‘The Mane of the Field,’ [__A_TAG_PLACEHOLDER_0__]

‘Seaweed of Hills’ in hell;

‘Seaweed of Hills’ in hell;

‘Flame-Food’ the giants,   |   ‘Fair-Limbed’ the elves,

‘Flame-Food’ the giants,   |   ‘Fair-Limbed’ the elves,

‘The Wand’ is it called by the Wanes.”

‘The Wand’ is what the Wanes call it.

Thor spake:

Thor said:

29. “Answer me, Alvis!   |   thou knowest all,

__A_TAG_PLACEHOLDER_0__. “Answer me, Alvis! | you know everything,

Dwarf, of the doom of men:

Dwarf, about the fate of humans:

What call they the night,   |   the daughter of Nor,

What do they call the night, | the daughter of Nor,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

30. “ ‘Night’ men call it,   |   ‘Darkness’ gods name it,

__A_TAG_PLACEHOLDER_0__. “ ‘Night’ is what people call it,   |   ‘Darkness’ is what the gods name it,

‘The Hood’ the holy ones high;

‘The Hood’ the holy ones high;

The giants ‘The Lightless,’   |   the elves ‘Sleep’s Joy,’

The giants 'The Lightless,'   |   the elves 'Sleep's Joy,'

The dwarfs ‘The Weaver of Dreams.’ ”

The dwarfs “The Weaver of Dreams.”

Thor spake:

Thor said:

31. “Answer me, Alvis!   |   thou knowest all,

31. “Answer me, Alvis! | you know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humans:

What call they the seed,   |   that is sown by men,

What do they call the seed, | that is sown by people,

In each and every world?”

In every single world?

[193]

[__A_TAG_PLACEHOLDER_0__]

Alvis spake:

Alvis said:

32. “Men call it ‘Grain,’   |   and ‘Corn’ the gods,

__A_TAG_PLACEHOLDER_0__. “People call it ‘Grain,’   |   and ‘Corn’ is what the gods call it,

‘Growth’ in the world of the Wanes;

‘Growth’ in the world of the Wanes;

‘The Eaten’ by giants,   |   ‘Drink-Stuff’ by elves,

‘The Eaten’ by giants,   |   ‘Drink-Stuff’ by elves,

In hell ‘The Slender Stem.’ ”

In hell, "The Slender Stem."

Thor spake:

Thor said:

33. “Answer me, Alvis!   |   thou knowest all,

33. “Answer me, Alvis! You know everything,

Dwarf, of the doom of men:

Dwarf, of the fate of humans:

What call they the ale,   |   that is quaffed of men,

What do they call the ale, | that is drunk by men,

In each and every world?”

In every single world?

Alvis spake:

Alvis said:

34. “ ‘Ale’ among men,   |   ‘Beer’ the gods among,

__A_TAG_PLACEHOLDER_0__. “‘Ale’ for the people,   |   ‘Beer’ for the gods,

In the world of the Wanes ‘The Foaming’;

In the world of the Wanes 'The Foaming';

‘Bright Draught’ with giants,   |   ‘Mead’ with dwellers in hell,

‘Bright Drink’ with giants,   |   ‘Mead’ with those in hell,

‘The Feast-Draught’ with Suttung’s sons.”

‘The Feast-Draught’ with Suttung's kids.”

Thor spake:

Thor said:

35. “In a single breast   |   I never have seen

__A_TAG_PLACEHOLDER_0__. “In one heart   |   I have never seen

More wealth of wisdom old; [194]

More wealth of old wisdom; [__A_TAG_PLACEHOLDER_0__]

But with treacherous wiles   |   must I now betray thee:

But with deceitful tricks | I must now betray you:

The day has caught thee, dwarf!

The day has caught you, dwarf!

(Now the sun shines here in the hall.)”

(Now the sun is shining here in the hall.)”

[183]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[184]

[__A_TAG_PLACEHOLDER_0__]

1. Alvis (“All-Knowing”): a dwarf, not elsewhere mentioned. The manuscript nowhere indicates the speakers’ names. The bride in question is Thor’s daughter; Thruth (“Might”) is the only daughter of his whose name is recorded, and she does not appear elsewhere in the poems. Her mother was Sif, Thor’s wife, whereas the god’s sons were born of a giantess. Benches: cf. Lokasenna, 15 and note.

__A_TAG_PLACEHOLDER_0__. Alvis (“All-Knowing”): a dwarf, not mentioned anywhere else. The manuscript does not specify the names of the speakers. The bride being referred to is Thor’s daughter; Thruth (“Might”) is the only one of his daughters whose name is noted, and she doesn't appear in any other poems. Her mother was Sif, Thor’s wife, while the god's sons were born of a giantess. Benches: see Lokasenna, 15 and note.

2. The dwarfs, living beyond the reach of the sun, which was fatal to them (cf. stanzas 16 and 35), were necessarily pale. Line 3 is, of course, ironical.

__A_TAG_PLACEHOLDER_0__. The dwarfs, dwelling in a place where the sunlight couldn't reach them, which was deadly for them (see stanzas 16 and 35), had to be pale. Line 3 is, of course, ironic.

3. Wagon-guider: Thor, who travels habitually on his goat-drawn wagon. Bugge changes “Vagna vers” to “Vapna verþs,” [185]rendering the line “I am come to seek   |   the cost of the weapons.” In either case, Alvis does not as yet recognize Thor.

__A_TAG_PLACEHOLDER_0__. Wagon-guider: Thor, who regularly travels in his wagon pulled by goats. Bugge changes “Vagna vers” to “Vapna verþs,” [__A_TAG_PLACEHOLDER_0__]making the line “I have come to find out the price of the weapons.” In either case, Alvis still does not recognize Thor.

4. Apparently the gods promised Thor’s daughter in marriage to Alvis during her father’s absence, perhaps as a reward for some craftsmanship of his (cf. Bugge’s suggestion as to stanza 3). The text of line 4 is most uncertain.

__A_TAG_PLACEHOLDER_0__. It seems that the gods promised Thor’s daughter to Alvis in marriage while her father was away, possibly as a reward for some work he did (see Bugge’s suggestion regarding stanza 3). The wording of line 4 is quite unclear.

5. Hero: ironically spoken; Alvis takes Thor for a tramp, the god’s uncouth appearance often leading to such mistakes; cf. Harbarthsljoth, 6. Line 4 is a trifle uncertain; some editors alter the wording to read “What worthless woman bore thee?”

__A_TAG_PLACEHOLDER_0__. Hero: said ironically; Alvis takes Thor for a walk, and the god’s rough appearance often causes such misunderstandings; see Harbarthsljoth, 6. Line 4 is a bit unclear; some editors change the wording to say “What worthless woman gave birth to you?”

6. Vingthor (“Thor the Hurler”): cf. Thrymskvitha, 1. Sithgrani (“Long-Beard”): Othin. [186]

__A_TAG_PLACEHOLDER_0__. Vingthor (“Thor the Hurler”): see Thrymskvitha, 1. Sithgrani (“Long-Beard”): Odin. [__A_TAG_PLACEHOLDER_0__]

8. Every world: concerning the nine worlds, cf. Voluspo, 2 and note. Many editors follow this stanza with one spoken by Alvis, found in late paper manuscripts, as follows: “Ask then, Vingthor,   |   since eager thou art / The lore of the dwarf to learn; / Oft have I fared   |   in the nine worlds all, / And wide is my wisdom of each.”

__A_TAG_PLACEHOLDER_0__. Every world: about the nine worlds, see Voluspo, 2 and note. Many editors follow this stanza with one spoken by Alvis, found in late paper manuscripts, as follows: “So go ahead, Vingthor, since you’re eager / to learn the lore of the dwarf; / I’ve often traveled through all the nine worlds, / and my knowledge of each is vast.”

10. Men, etc.: nothing could more clearly indicate the author’s mythological inaccuracy than his confusion of the inhabitants of the nine worlds. Men (dwellers in Mithgarth) appear in each of Alvis’s thirteen answers; so do the gods (Asgarth) and the giants (Jotunheim). The elves (Alfheim) appear in eleven [187]answers, the Wanes (Vanaheim) in nine, and the dwarfs (who occupied no special world, unless one identifies them with the dark elves of Svartalfaheim) in seven. The dwellers “in hell” appear in six stanzas; the phrase probably refers to the world of the dead, though Mogk thinks it may mean the dwarfs. In stanzas where the gods are already listed appear names elsewhere applied only to them,—“holy ones,” “sons of the gods” and “high ones,”—as if these names meant beings of a separate race. “Men” appears twice in the same stanza, and so do the giants, if one assumes that they are “the sons of Suttung.” Altogether it is useless to pay much attention to the mythology of Alvis’s replies.

__A_TAG_PLACEHOLDER_0__. Men, etc.: nothing shows the author's mythological inaccuracies more clearly than his confusion about the inhabitants of the nine worlds. Men (those living in Midgard) are mentioned in each of Alvis’s thirteen answers; so are the gods (Asgard) and the giants (Jotunheim). The elves (Alfheim) show up in eleven [__A_TAG_PLACEHOLDER_0__]answers, the Vanir (Vanaheim) in nine, and the dwarfs (who don’t really belong to any specific world unless you think of them as the dark elves of Svartalfaheim) in seven. The beings “in hell” appear in six stanzas; this likely refers to the underworld, although Mogk believes it might mean the dwarfs. In stanzas where the gods are listed, there are names that are typically used only for them—“holy ones,” “sons of the gods,” and “high ones”—as if these terms referred to a different race of beings. “Men” is mentioned twice in the same stanza, as are the giants, if you assume they are “the sons of Suttung.” All in all, it's pointless to focus too much on the mythology presented in Alvis’s responses.

11. Lines 1, 2, and 4 of Thor’s questions are regularly abbreviated in the manuscript. Beheld, etc.: the word in the manuscript is almost certainly an error, and all kinds of guesses have been made to rectify it. All that can be said is that it means “beheld of” or “known to” somebody. [188]

__A_TAG_PLACEHOLDER_0__. Lines 1, 2, and 4 of Thor’s questions are often shortened in the manuscript. Seen, etc.: the word in the manuscript is likely a mistake, and many attempts have been made to correct it. All we can say is that it means “seen by” or “known to” someone. [__A_TAG_PLACEHOLDER_0__]

14. Flame: a doubtful word; Vigfusson suggests that it properly means a “mock sun.” Wheel: the manuscript adds the adjective “whirling,” to the destruction of the metre; cf. Hovamol, 84, 3.

__A_TAG_PLACEHOLDER_0__. Flame: a questionable term; Vigfusson proposes that it actually means a “mock sun.” Wheel: the manuscript includes the adjective “whirling,” which affects the meter; see Hovamol, 84, 3.

16. Deceiver of Dvalin: Dvalin was one of the foremost dwarfs; cf. Voluspo, 14, Fafnismol, 13, and Hovamol, 144. The [189]sun “deceives” him because, like the other dwarfs living underground, he cannot live in its light, and always fears lest sunrise may catch him unaware. The sun’s rays have power to turn the dwarfs into stone, and the giantess Hrimgerth meets a similar fate (cf. Helgakvitha Hjorvarthssonar, 30). Alvis suffers in the same way; cf. stanza 35.

__A_TAG_PLACEHOLDER_0__. Deceiver of Dvalin: Dvalin was one of the leading dwarfs; see Voluspo, 14, Fafnismol, 13, and Hovamol, 144. The [__A_TAG_PLACEHOLDER_0__]sun “deceives” him because, like the other dwarfs who live underground, he cannot survive in its light, and he always fears that sunrise might catch him off guard. The sun’s rays can turn the dwarfs into stone, and the giantess Hrimgerth faces a similar fate (see Helgakvitha Hjorvarthssonar, 30). Alvis experiences the same issue; see stanza 35.

20. Snorri quotes this stanza in the Skaldskaparmal. Waverer: the word is uncertain, the Prose Edda manuscripts giving it in various forms. Blustering Blast: two Prose Edda manuscripts give a totally different word, meaning “The Pounder.” [190]

__A_TAG_PLACEHOLDER_0__. Snorri cites this stanza in the Skaldskaparmal. Waverer: the meaning is unclear, with Prose Edda manuscripts presenting it in different ways. Blustering Blast: two Prose Edda manuscripts provide a completely different term, which means “The Pounder.” [__A_TAG_PLACEHOLDER_0__]

22. Hush, etc.: the manuscript, by inserting an additional letter, makes the word practically identical with that translated “Kite” in stanza 18. Most editors have agreed as to the emendation.

__A_TAG_PLACEHOLDER_0__. Hush, etc.: the manuscript, by adding an extra letter, makes the word almost the same as the one translated as “Kite” in stanza 18. Most editors are in agreement about the correction.

24. Drink-Stuff: Gering translates the word thus; I doubt it, but can suggest nothing better. [191]

__A_TAG_PLACEHOLDER_0__. Drink-Stuff: Gering translates the word this way; I’m skeptical, but I can’t think of a better alternative. [__A_TAG_PLACEHOLDER_0__]

26. Wildfire: the word may mean any one of various things, including “Wave,” which is not unlikely.

__A_TAG_PLACEHOLDER_0__. Wildfire: the term can refer to several things, including "Wave," which is quite possible.

28. In hell: the word simply means “men,” and it is only a guess, though a generally accepted one, that here it refers to the dead. [192]

__A_TAG_PLACEHOLDER_0__. In hell: the word just means “men,” and it’s only a guess, although a widely accepted one, that it refers to the dead. [__A_TAG_PLACEHOLDER_0__]

29. Nor: presumably the giant whom Snorri calls Norvi or Narfi, father of Not (Night) and grandfather of Dag (Day). Cf. Vafthruthnismol, 25.

__A_TAG_PLACEHOLDER_0__. Nor: likely the giant that Snorri refers to as Norvi or Narfi, the father of Not (Night) and grandfather of Dag (Day). See Vafthruthnismol, 25.

30. Snorri quotes this stanza in the Skaldskaparmal. The various Prose Edda manuscripts differ considerably in naming the gods, the giants, etc. Lightless: some manuscripts have “The Unsorrowing.”

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza in the Skaldskaparmal. The different Prose Edda manuscripts vary quite a bit in how they name the gods, the giants, and so on. Lightless: some manuscripts say “The Unsorrowing.”

32. Grain: the two words translated “grain” and “corn” apparently both meant primarily barley, and thence grain in [193]general, the first being the commoner term of the two. Drink-Stuff: the word is identical with the one used, and commented on, in stanza 24, and again I have followed Gering’s interpretation for want of a better one. If his guess is correct, the reference here is evidently to grain as the material from which beer and other drinks are brewed.

__A_TAG_PLACEHOLDER_0__. Grain: the two terms translated as “grain” and “corn” both primarily referred to barley, and more generally to grain in [__A_TAG_PLACEHOLDER_0__], with the first being the more commonly used term. Drink-Stuff: this word is the same as the one used and discussed in stanza 24, and again I have followed Gering’s interpretation since there isn’t a better one. If his assumption is accurate, this clearly refers to grain as the ingredient used to brew beer and other beverages.

34. Suttung’s sons: these ought to be the giants, but the giants are specifically mentioned in line 3. The phrase “Suttung’s sons” occurs in Skirnismol, 34, clearly meaning the giants. Concerning Suttung as the possessor of the mead of poetry, cf. Hovamol, 104. [194]

__A_TAG_PLACEHOLDER_0__. Suttung’s sons: these should refer to the giants, but the giants are specifically mentioned in line 3. The term “Suttung’s sons” appears in Skirnismol, 34, clearly indicating the giants. For more on Suttung as the owner of the mead of poetry, see Hovamol, 104. [__A_TAG_PLACEHOLDER_0__]

35. Concerning the inability of the dwarfs to endure sunlight, which turns them into stone, cf. stanza 16 and note. Line 5 may be spurious. [195]

__A_TAG_PLACEHOLDER_0__. Regarding the dwarfs' inability to tolerate sunlight, which turns them into stone, see stanza 16 and the note. Line 5 may not be authentic. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

BALDRS DRAUMAR

Baldr’s Dreams

[__A_TAG_PLACEHOLDER_0__]

Intro Note

Baldrs Draumar is found only in the Arnamagnæan Codex, where it follows the Harbarthsljoth fragment. It is preserved in various late paper manuscripts, with the title Vegtamskvitha (The Lay of Vegtam), which has been used by some editors.

Baldrs Draumar is only found in the Arnamagnæan Codex, where it comes after the Harbarthsljoth fragment. It is preserved in several late paper manuscripts, with the title Vegtamskvitha (The Lay of Vegtam), which some editors have used.

The poem, which contains but fourteen stanzas, has apparently been preserved in excellent condition. Its subject-matter and style link it closely with the Voluspo. Four of the five lines of stanza 11 appear, almost without change, in the Voluspo, 32–33, and the entire poem is simply an elaboration of the episode outlined in those and the preceding stanzas. It has been suggested that Baldrs Draumar and the Voluspo may have been by the same author. There is also enough similarity in style between Baldrs Draumar and the Thrymskvitha (note especially the opening stanza) to give color to Vigfusson’s guess that these two poems had a common authorship. In any case, Baldrs Draumar presumably assumed its present form not later than the first half of the tenth century.

The poem, which has only fourteen stanzas, has been preserved in great shape. Its themes and style connect it closely with the Voluspo. Four of the five lines in stanza 11 are nearly unchanged from the Voluspo, 32–33, and the whole poem basically expands on the incident described in those and the earlier stanzas. It's been suggested that Baldrs Draumar and the Voluspo might have been written by the same author. There's also enough similarity in style between Baldrs Draumar and the Thrymskvitha (especially in the opening stanza) to support Vigfusson’s idea that these two poems could have a common author. In any case, Baldrs Draumar likely took its current form no later than the first half of the tenth century.

Whether the Volva (wise-woman) of the poem is identical with the speaker in the Voluspo is purely a matter for conjecture. Nothing definitely opposes such a supposition. As in the longer poem she foretells the fall of the gods, so in this case she prophesies the first incident of that fall, the death of Baldr. Here she is called up from the dead by Othin, anxious to know the meaning of Baldr’s evil dreams; in the Voluspo it is likewise intimated that the Volva has risen from the grave.

Whether the Volva (wise woman) in the poem is the same as the speaker in the Voluspo is purely speculative. Nothing clearly contradicts this idea. Just like in the longer poem, she predicts the fall of the gods; in this case, she prophesies the first event of that fall, the death of Baldr. Here, she is summoned from the dead by Odin, who is eager to understand the meaning of Baldr's troubling dreams; in the Voluspo, it is also suggested that the Volva has risen from the grave.

The poem, like most of the others in the collection, is essentially dramatic rather than narrative, summarizing a story which was doubtless familiar to every one who heard the poem recited.

The poem, like many others in the collection, is more dramatic than narrative, summarizing a story that was probably well-known to everyone who heard it recited.

[__A_TAG_PLACEHOLDER_0__]

1. Once were the gods   |   together met,

__A_TAG_PLACEHOLDER_0__. When the gods united,

And the goddesses came   |   and council held, [196]

And the goddesses arrived and held a meeting, [__A_TAG_PLACEHOLDER_0__]

And the far-famed ones   |   the truth would find,

And the famous ones | the truth would discover,

Why baleful dreams   |   to Baldr had come.

Why dark dreams had come to Baldr.

2. Then Othin rose,   |   the enchanter old,

__A_TAG_PLACEHOLDER_0__. Then Odin stood up,   |   the ancient sorcerer,

And the saddle he laid   |   on Sleipnir’s back;

And he placed the saddle on Sleipnir's back;

Thence rode he down   |   to Niflhel deep,

Thence he rode down to deep Niflhel,

And the hound he met   |   that came from hell.

And the dog he encountered   |   that came from hell.

3. Bloody he was   |   on his breast before,

__A_TAG_PLACEHOLDER_0__. He was covered in blood   |   on his chest before,

At the father of magic   |   he howled from afar;

At the father of magic   |   he yelled from a distance;

Forward rode Othin,   |   the earth resounded

Forward rode Othin,   |   the earth resounded

Till the house so high   |   of Hel he reached.

Till he reached the house so high of Hel.

4. Then Othin rode   |   to the eastern door,

4. Then Odin rode   |   to the eastern door,

There, he knew well,   |   was the wise-woman’s grave;

There, he knew well,   |   was the wise woman's grave;

Magic he spoke   |   and mighty charms,

Magic he spoke   |   and powerful spells,

Till spell-bound she rose,   |   and in death she spoke:

Till spellbound, she rose, and in death, she spoke:

[197]

[__A_TAG_PLACEHOLDER_0__]

5. “What is the man,   |   to me unknown,

5 “Who is this man, | that I don't know,

That has made me travel   |   the troublous road?

That has made me travel the difficult path?

I was snowed on with snow,   |   and smitten with rain,

I was covered in snow,   |   and drenched in rain,

And drenched with dew;   |   long was I dead.”

And soaked with dew;   |   I had been dead for a long time.”

Othin spake:

Odin spoke:

6. “Vegtam my name,   |   I am Valtam’s son;

__A_TAG_PLACEHOLDER_0__. “My name is Vegtam,   |   I am the son of Valtam;

Speak thou of hell,   |   for of heaven I know:

Speak about hell,   |   because I know about heaven:

For whom are the benches   |   bright with rings,

For whom are the benches   |   bright with rings,

And the platforms gay   |   bedecked with gold?”

And the platforms adorned with gold?

The Wise-Woman spake:

The Wise-Woman spoke:

7. “Here for Baldr   |   the mead is brewed,

__A_TAG_PLACEHOLDER_0__. “Here for Baldr   |   the mead is made,

The shining drink,   |   and a shield lies o’er it;

The sparkling drink,   |   and a shield covers it;

But their hope is gone   |   from the mighty gods.

But their hope is lost from the powerful gods.

Unwilling I spake,   |   and now would be still.”

Unwilling, I spoke, and now I would be quiet.

[198]

[__A_TAG_PLACEHOLDER_0__]

Othin spake:

Odin said:

8. “Wise-woman, cease not!   |   I seek from thee

8. “Wise woman, don’t stop! | I’m asking you

All to know   |   that I fain would ask:

All I want to know is that I would like to ask:

Who shall the bane   |   of Baldr become,

Who will bring sorrow to Baldr,

And steal the life   |   from Othin’s son?”

And take away the life from Othin's son?

The Wise-Woman spake:

The Wise Woman spoke:

9. “Hoth thither bears   |   the far-famed branch,

__A_TAG_PLACEHOLDER_0__. “Hoth there brings   |   the legendary branch,

He shall the bane   |   of Baldr become,

He will become the cause of Baldr's doom,

And steal the life   |   from Othin’s son.

And take the life from Othin’s son.

Unwilling I spake,   |   and now would be still.”

Unwilling, I spoke, and now I want to be quiet.

Othin spake:

Odin said:

10. “Wise-woman, cease not!   |   I seek from thee

__A_TAG_PLACEHOLDER_0__. “Wise woman, don’t stop!   |   I’m asking you

All to know   |   that I fain would ask:

All I want to know is what I’d like to ask:

Who shall vengeance win   |   for the evil work,

Who will take revenge for the bad deed,

Or bring to the flames   |   the slayer of Baldr?”

Or bring to the flames   |   the killer of Baldr?”

The Wise-Woman spake:

The Wise Woman spoke:

11. “Rind bears Vali   |   in Vestrsalir,

__A_TAG_PLACEHOLDER_0__. “Rind gives birth to Vali in Vestrsalir,

And one night old   |   fights Othin’s son; [199]

And one night, the old man fights Othin’s son; [__A_TAG_PLACEHOLDER_0__]

His hands he shall wash not,   |   his hair he shall comb not,

His hands he shall not wash,   |   his hair he shall not comb,

Till the slayer of Baldr   |   he brings to the flames.

Till the killer of Baldr   |   he brings to the flames.

Unwilling I spake,   |   and now would be still.”

Unwilling, I spoke, and now I’d like to be silent.

Othin spake:

Odin spoke:

12. “Wise-woman, cease not!   |   I seek from thee

__A_TAG_PLACEHOLDER_0__. “Wise woman, don’t stop!   |   I’m seeking from you

All to know   |   that I fain would ask:

All I want to know is what I’d like to ask:

What maidens are they   |   who then shall weep,

What maidens are they   |   who will weep,

And toss to the sky   |   the yards of the sails?”

And throw to the sky   |   the lengths of the sails?”

The Wise-Woman spake:

The Wise Woman spoke:

13. “Vegtam thou art not,   |   as erstwhile I thought;

__A_TAG_PLACEHOLDER_0__. “Vegtam, you’re not,   |   as I once believed;

Othin thou art,   |   the enchanter old.”

Othinn, you are the old enchanter.

Othin spake:

Odin spoke:

“No wise-woman art thou,   |   nor wisdom hast;

“No wise woman are you,   |   nor do you have any wisdom;

Of giants three   |   the mother art thou.”

Of giants three | the mother are you.

The Wise-Woman spake:

The Wise Woman spoke:

14. “Home ride, Othin,   |   be ever proud;

__A_TAG_PLACEHOLDER_0__. “Home ride, Othin,   |   always be proud;

For no one of men   |   shall seek me more [200]

For none of the men shall look for me anymore. [__A_TAG_PLACEHOLDER_0__]

Till Loki wanders   |   loose from his bonds,

Till Loki wanders   |   free from his chains,

And to the last strife   |   the destroyers come.”

And to the final struggle   |   the destroyers arrive.”

[195]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

1. Lines 1–3 are identical with Thrymskvitha, 13, 1–3. Baldr: concerning this best and noblest of the gods, the son of Othin and [196]Frigg, who comes again among the survivors after the final battle, cf. Voluspo, 32 and 62, and notes. He is almost never mentioned anywhere except in connection with the story of his death, though Snorri has one short passage praising his virtue and beauty. After stanza 1 two old editions, and one later one, insert four stanzas from late paper manuscripts.

__A_TAG_PLACEHOLDER_0__. Lines 1–3 are the same as in Thrymskvitha, 13, 1–3. Baldr: about this greatest and most noble of the gods, the son of Othin and [__A_TAG_PLACEHOLDER_0__]Frigg, who returns among the survivors after the final battle, see Voluspo, 32 and 62, and notes. He is rarely mentioned anywhere except in connection with his death, though Snorri includes a short passage praising his virtue and beauty. After stanza 1, two older editions and one later edition add four stanzas from late paper manuscripts.

2. Sleipnir: Othin’s eight-legged horse, the son of Loki and the stallion Svathilfari; cf. Lokasenna, 23, and Grimnismol, 44, and notes. Niflhel: the murky (“nifl”) dwelling of Hel, goddess of the dead. The hound: Garm; cf. Voluspo, 44.

__A_TAG_PLACEHOLDER_0__. Sleipnir: Odin’s eight-legged horse, the offspring of Loki and the stallion Svathilfari; see Lokasenna, 23, and Grimnismol, 44, and notes. Niflhel: the gloomy (“nifl”) home of Hel, the goddess of the dead. The hound: Garm; see Voluspo, 44.

3. Father of magic: Othin appears constantly as the god of magic. Hel: offspring of Loki and the giantess Angrbotha, as were the wolf Fenrir and Mithgarthsorm. She ruled the world of the unhappy dead, either those who had led evil lives or, according to another tradition, those who had not died in battle. The [197]manuscript marks line 3 as the beginning of a stanza, and thus the editions vary in their grouping of the lines of this and the succeeding stanzas.

__A_TAG_PLACEHOLDER_0__. Father of magic: Othin constantly appears as the god of magic. Hel: child of Loki and the giantess Angrbotha, and sibling to the wolf Fenrir and Mithgarthsorm. She ruled the realm of the unhappy dead, which included those who lived wicked lives or, according to another belief, those who didn't die in battle. The [__A_TAG_PLACEHOLDER_0__]manuscript indicates line 3 as the start of a stanza, leading to variations in how editions group the lines of this and the following stanzas.

6. The manuscript has no superscriptions indicating the speakers. Vegtam (“The Wanderer”): Othin, as usual, conceals his identity, calling himself the son of Valtam (“The Fighter”). In this instance he has unusual need to do so, for as the wise-woman belongs apparently to the race of the giants, she would be unwilling to answer a god’s questions. Heaven: the word used includes all the upper worlds, in contrast to hell. Benches, etc.: the adornment of the benches and raised platforms, or elevated parts of the house, was a regular part of the preparation for a feast of welcome. The text of the two last lines is somewhat uncertain.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't have any headings that specify who is speaking. Vegtam (“The Wanderer”): Othin, as usual, hides his identity by calling himself the son of Valtam (“The Fighter”). In this case, he has a special reason to do so, because the wise woman seems to belong to the giants, and she probably wouldn't want to answer a god's questions. Heaven: the term used refers to all the upper worlds, unlike hell. Benches, etc.: decorating the benches and raised platforms, or higher areas of the house, was a standard part of preparing for a welcoming feast. The wording of the last two lines is somewhat unclear.

7. Grundtvig, followed by Edzardi, thinks a line has been lost between lines 3 and 4. [198]

__A_TAG_PLACEHOLDER_0__. Grundtvig, along with Edzardi, believes a connection has been missed between lines 3 and 4. [__A_TAG_PLACEHOLDER_0__]

9. Concerning the blind Hoth, who, at Loki’s instigation, cast the fatal mistletoe at Baldr, cf. Voluspo, 32–33 and notes. In the manuscript the last line is abbreviated, as also in stanza 11.

__A_TAG_PLACEHOLDER_0__. About the blind Hoth, who, at Loki’s urging, threw the deadly mistletoe at Baldr, see Voluspo, 32–33 and notes. In the manuscript, the last line is shortened, as it is in stanza 11.

10. In the manuscript lines 1–2 are abbreviated, as also in stanza 12.

__A_TAG_PLACEHOLDER_0__. In the manuscript, lines 1–2 are shortened, just like in stanza 12.

11. Rind: mentioned by Snorri as one of the goddesses. Concerning her son Vali, begotten by Othin for the express purpose of avenging Baldr’s death, and his slaying of Hoth the day after his birth, cf. Voluspo, 33–34, where the lines of this stanza appear practically verbatim. Vestrsalir (“The Western Hall”): not elsewhere mentioned in the poems. [199]

__A_TAG_PLACEHOLDER_0__. Rind: noted by Snorri as one of the goddesses. Regarding her son Vali, who was fathered by Odin specifically to avenge Baldr’s death, and his killing of Hoth the day after his birth, see Voluspo, 33–34, where the verses in this stanza appear almost exactly the same. Vestrsalir (“The Western Hall”): not mentioned anywhere else in the poems. [__A_TAG_PLACEHOLDER_0__]

12. The manuscript marks the third line as the beginning of a stanza; something may have been lost. Lines 3–4 are thoroughly obscure. According to Bugge the maidens who are to weep for Baldr are the daughters of the sea-god Ægir, the waves, whose grief will be so tempestuous that they will toss the ships up to the very sky. “Yards of the sails” is a doubtfully accurate rendering; the two words, at any rate in later Norse nautical speech, meant respectively the “tack” and the “sheet” of the square sail.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that the third line starts a stanza; something might have been lost. Lines 3–4 are quite unclear. According to Bugge, the maidens who will mourn for Baldr are the daughters of the sea-god Ægir, the waves, whose sorrow will be so intense that they will hurl the ships all the way up to the sky. “Yards of the sails” is a questionable translation; in later Norse nautical terms, those two words referred to the “tack” and the “sheet” of the square sail.

13. Possibly two separate stanzas. Enchanter: the meaning of the original word is most uncertain. [200]

__A_TAG_PLACEHOLDER_0__. Maybe two distinct stanzas. Enchanter: the meaning of the original term is quite unclear. [__A_TAG_PLACEHOLDER_0__]

14. Concerning Loki’s escape and his relation to the destruction of the gods, cf. Voluspo, 35 and 51, and notes. While the wise-woman probably means only that she will never speak again till the end of the world, it has been suggested, and is certainly possible, that she intends to give Loki her counsel, thus revenging herself on Othin. [201]

__A_TAG_PLACEHOLDER_0__. Regarding Loki's escape and his connection to the destruction of the gods, see Voluspo, 35 and 51, along with the notes. While it's likely that the wise-woman simply means she won't speak again until the end of the world, some have suggested—and it definitely could be the case—that she plans to offer Loki her advice, thereby getting revenge on Othin. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

RIGSTHULA

The Song of Rig

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Rigsthula is found in neither of the principal codices. The only manuscript containing it is the so-called Codex Wormanius, a manuscript of Snorri’s Prose Edda. The poem appears on the last sheet of this manuscript, which unluckily is incomplete, and thus the end of the poem is lacking. In the Codex Wormanius itself the poem has no title, but a fragmentary parchment included with it calls the poem the Rigsthula. Some late paper manuscripts give it the title of Rigsmol.

The Rigsthula isn't found in either of the main codices. The only manuscript that has it is the so-called Codex Wormanius, which contains Snorri’s Prose Edda. The poem is located on the last page of this manuscript, but unfortunately, it's incomplete, so the ending of the poem is missing. In the Codex Wormanius itself, the poem doesn’t have a title, but a fragmentary parchment that comes with it refers to the poem as the Rigsthula. Some later paper manuscripts give it the title Rigsmol.

The Rigsthula is essentially unlike anything else which editors have agreed to include in the so-called Edda. It is a definitely cultural poem, explaining, on a mythological basis, the origin of the different castes of early society: the thralls, the peasants, and the warriors. From the warriors, finally, springs one who is destined to become a king, and thus the whole poem is a song in praise of the royal estate. This fact in itself would suffice to indicate that the Rigsthula was not composed in Iceland, where for centuries kings were regarded with profound disapproval.

The Rigsthula is truly unique compared to anything else that editors have decided to include in the so-called Edda. It’s a cultural poem that explains, through mythology, the origins of the different classes in early society: the thralls, the peasants, and the warriors. From the warriors, a figure emerges who is destined to become a king, making the entire poem a tribute to the royal lineage. This alone suggests that the Rigsthula was not created in Iceland, where kings were viewed with deep disapproval for centuries.

Not only does the Rigsthula praise royalty, but it has many of the earmarks of a poem composed in praise of a particular king. The manuscript breaks off at a most exasperating point, just as the connection between the mythical “Young Kon” (Konr ungr, konungr, “king”; but cf. stanza 44, note) and the monarch in question is about to be established. Owing to the character of the Norse settlements in Iceland, Ireland, and the western islands generally, search for a specific king leads back to either Norway or Denmark; despite the arguments advanced by Edzardi, Vigfusson, Powell, and others, it seems most improbable that such a poem should have been produced elsewhere than on the Continent, the region where Scandinavian royalty most flourished. Finnur Jonsson’s claim for Norway, with Harald the Fair-Haired as the probable king in question, is much less impressive than Mogk’s ingenious demonstration that the poem was in all probability composed in Denmark, in honor of either Gorm the Old or Harald Blue-Tooth. His proof is based chiefly on the evidence provided by stanza 49, and is summarized in the note to that stanza. [202]

Not only does the Rigsthula celebrate royalty, but it also features many characteristics of a poem written in honor of a specific king. The manuscript cuts off at a frustrating point, just as the link between the legendary “Young Kon” (Konr ungr, konungr, “king”; but cf. stanza 44, note) and the king in question is about to be made clear. Due to the nature of Norse settlements in Iceland, Ireland, and the western islands in general, the search for a specific king points back to either Norway or Denmark; despite the claims made by Edzardi, Vigfusson, Powell, and others, it seems very unlikely that such a poem would have been created anywhere other than on the Continent, where Scandinavian royalty thrived the most. Finnur Jonsson’s argument for Norway, with Harald the Fair-Haired as the likely king in question, is much less convincing than Mogk’s clever argument that the poem was probably written in Denmark, in honor of either Gorm the Old or Harald Blue-Tooth. His evidence is mainly based on the information found in stanza 49, which is summarized in the note to that stanza. [__A_TAG_PLACEHOLDER_0__]

The poet, however, was certainly not a Dane, but probably a wandering Norse singer, who may have had a dozen homes, and who clearly had spent much time in some part of the western island world chiefly inhabited by Celts. The extent of Celtic influence on the Eddic poems in general is a matter of sharp dispute. Powell, for example, claims almost all the poems for the “Western Isles,” and attributes nearly all their good qualities to Celtic influence. Without here attempting to enter into the details of the argument, it may be said that the weight of authoritative opinion, while clearly recognizing the marks of Celtic influence in the poems, is against this view; contact between the roving Norsemen of Norway and Iceland and the Celts of Ireland and the “Western Isles,” and particularly the Orkneys, was so extensive as to make the presumption of an actual Celtic home for the poems seem quite unnecessary.

The poet was definitely not a Dane but likely a wandering Norse singer, who may have had multiple homes and had clearly spent a lot of time in some part of the western island world primarily populated by Celts. The degree of Celtic influence on the Eddic poems is a topic of intense debate. For instance, Powell argues that almost all the poems come from the "Western Isles" and credits most of their positive aspects to Celtic influence. Without diving into the specifics of the argument, it can be said that the prevailing expert opinion acknowledges the signs of Celtic influence in the poems but does not support this viewpoint; the interaction between the roaming Norsemen from Norway and Iceland and the Celts from Ireland and the "Western Isles," especially the Orkneys, was so significant that assuming an actual Celtic origin for the poems seems unnecessary.

In the case of the Rigsthula the poet unquestionably had not only picked up bits of the Celtic speech (the name Rig itself is almost certainly of Celtic origin, and there are various other Celtic words employed), but also had caught something of the Celtic literary spirit. This explains the cultural nature of the poem, quite foreign to Norse poetry in general. On the other hand, the style as a whole is vigorously Norse, and thus the explanation that the poem was composed by an itinerant Norse poet who had lived for some time in the Celtic islands, and who was on a visit to the court of a Danish king, fits the ascertainable facts exceedingly well. As Christianity was introduced into Denmark around 960, the Rigsthula is not likely to have been composed much after that date, and probably belongs to the first half of the tenth century. Gorm the Old died about the year 935, and was succeeded by Harald Blue-Tooth, who died about 985.

In the case of the Rigsthula, the poet clearly not only picked up some elements of Celtic language (the name Rig itself likely comes from Celtic, and there are several other Celtic words used), but also grasped a bit of the Celtic literary vibe. This accounts for the cultural aspect of the poem, which is quite different from typical Norse poetry. However, the overall style is very much Norse, supporting the idea that the poem was created by a traveling Norse poet who had spent some time in the Celtic islands and was visiting the court of a Danish king. Since Christianity was introduced to Denmark around 960, the Rigsthula probably wasn't composed much later than that and likely dates back to the first half of the tenth century. Gorm the Old passed away around 935, and he was succeeded by Harald Blue-Tooth, who died around 985.

The fourteenth (or late thirteenth) century annotator identifies Rig with Heimdall, but there is nothing in the poem itself, and very little anywhere else, to warrant this, and it seems likely that the poet had Othin, and not Heimdall, in mind, his purpose being to trace the origin of the royal estate to the chief of the gods. The evidence bearing on this identification is briefly summed up in the note on the introductory prose passage, but the question involves complex and baffling problems in mythology, and from very early times the status of Heimdall was unquestionably confusing to the Norse mind.

The 14th (or late 13th) century commentator connects Rig with Heimdall, but there's nothing in the poem itself, and very little elsewhere, to support this claim. It seems more likely that the poet was thinking of Othin, aiming to trace the royal lineage back to the chief of the gods. The evidence for this connection is briefly summarized in the note on the introductory prose section, but the question raises complex and confusing issues in mythology. From very early on, Heimdall's role was undeniably perplexing to the Norse people.

[__A_TAG_PLACEHOLDER_0__]

[203]

[__A_TAG_PLACEHOLDER_0__]

They tell in old stories that one of the gods, whose name was Heimdall, went on his way along a certain seashore, and came to a dwelling, where he called himself Rig. According to these stories is the following poem:

They say in old tales that one of the gods, named Heimdall, traveled along a seashore and arrived at a home, where he introduced himself as Rig. Based on these tales is the following poem:

1. Men say there went   |   by ways so green

__A_TAG_PLACEHOLDER_0__. People say there went   |   by paths so green

Of old the god,   |   the aged and wise,

Of old the god,   |   the aged and wise,

Mighty and strong   |   did Rig go striding.

Mighty and strong | did Rig go striding.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[204]

[__A_TAG_PLACEHOLDER_0__]

2. Forward he went   |   on the midmost way,

__A_TAG_PLACEHOLDER_0__. He moved ahead   |   down the center path,

He came to a dwelling,   |   a door on its posts;

He arrived at a house,   |   a door on its hinges;

In did he fare,   |   on the floor was a fire,

In how did he do,   |   on the floor was a fire,

Two hoary ones   |   by the hearth there sat,

Two old ones   |   by the hearth there sat,

Ai and Edda,   |   in olden dress.

Ai and Edda,   |   in old-fashioned clothes.

3. Rig knew well   |   wise words to speak,

__A_TAG_PLACEHOLDER_0__. Rig knew exactly what to say;

Soon in the midst   |   of the room he sat,

Soon in the middle of the room, he sat,

And on either side   |   the others were.

And on either side, the others were.

4. A loaf of bread   |   did Edda bring,

__A_TAG_PLACEHOLDER_0__. Edda brought a loaf of bread,

Heavy and thick   |   and swollen with husks;

Heavy and thick | and swollen with husks;

Forth on the table   |   she set the fare,

Forth on the table   |   she set the food,

And broth for the meal   |   in a bowl there was.

And there was broth for the meal in a bowl.

(Calf’s flesh boiled   |   was the best of the dainties.)

(Calf’s flesh boiled   |   was the best of the delicacies.)

5. Rig knew well   |   wise words to speak,

__A_TAG_PLACEHOLDER_0__. Rig knew exactly what to say,

Thence did he rise,   |   made ready to sleep;

Thence he got up, | prepared to sleep;

Soon in the bed   |   himself did he lay,

Soon in the bed   |   he lay down himself,

And on either side   |   the others were.

And on either side, the others were.

[205]

[__A_TAG_PLACEHOLDER_0__]

6. Thus was he there   |   for three nights long,

__A_TAG_PLACEHOLDER_0__. So he was there for three long nights,

Then forward he went   |   on the midmost way,

Then he went forward on the main path,

And so nine months   |   were soon passed by.

And so nine months passed quickly.

7. A son bore Edda,   |   with water they sprinkled him,

__A_TAG_PLACEHOLDER_0__. Edda gave birth to a son,   |   and they sprinkled him with water,

With a cloth his hair   |   so black they covered;

With a cloth, they covered his hair so black;

Thræll they named him,   |   .  .  .  .  .  .  .  .

Thræll they called him,   |   .  .  .  .  .  .  .  .

8. The skin was wrinkled   |   and rough on his hands,

__A_TAG_PLACEHOLDER_0__. His hands had wrinkled, rough skin,

Knotted his knuckles,   |   .  .  .  .  .  .  .  .

Knotted his knuckles,   |   .  .  .  .  .  .  .  .

Thick his fingers,   |   and ugly his face,

Thick his fingers,   |   and ugly his face,

Twisted his back,   |   and big his heels.

Twisted his back,   |   and big his heels.

9. He began to grow,   |   and to gain in strength,

__A_TAG_PLACEHOLDER_0__. He started to grow,   |   and to become stronger,

Soon of his might   |   good use he made; [206]

Soon, he made good use of his strength; [__A_TAG_PLACEHOLDER_0__]

With bast he bound,   |   and burdens carried,

With fiber he tied,   |   and loads hauled,

Home bore faggots   |   the whole day long.

Home bore faggots   |   the whole day long.

10. One came to their home,   |   crooked her legs,

__A_TAG_PLACEHOLDER_0__. One arrived at their house,   |   bent her legs,

Stained were her feet,   |   and sunburned her arms,

Stained were her feet,   |   and sunburned her arms,

Flat was her nose;   |   her name was Thir.

Flat was her nose;   |   her name was Thir.

11. Soon in the midst   |   of the room she sat,

11. Soon in the middle of the room, she sat,

By her side there sat   |   the son of the house;

By her side sat the son of the house;

They whispered both,   |   and the bed made ready,

They whispered both,   |   and the bed was made.

Thræll and Thir,   |   till the day was through.

Thræll and Thir,   |   until the day was over.

12. Children they had,   |   they lived and were happy,

__A_TAG_PLACEHOLDER_0__. They had kids, | they lived and were happy,

Fjosnir and Klur   |   they were called, methinks,

Fjosnir and Klur | that's what I think they were called,

Hreim and Kleggi,   |   Kefsir, Fulnir,

Hreim and Kleggi,   |   Kefsir, Fulnir,

Drumb, Digraldi,   |   Drott and Leggjaldi,

Drumb, Digraldi, | Drott and Leggjaldi,

Lut and Hosvir;   |   the house they cared for,

Lut and Hosvir;   |   the house they looked after,

Ground they dunged,   |   and swine they guarded,

Ground they fertilized, | and pigs they protected,

Goats they tended,   |   and turf they dug.

Goats they cared for,   |   and grass they dug up.

[207]

[__A_TAG_PLACEHOLDER_0__]

13. Daughters had they,   |   Drumba and Kumba,

__A_TAG_PLACEHOLDER_0__. They had daughters, Drumba and Kumba,

Ökkvinkalfa,   |   Arinnefja,

Ökkvinkalfa,   |   Arinnefja,

Ysja and Ambott,   |   Eikintjasna,

Ysja and Ambott, | Eikintjasna,

Totrughypja   |   and Tronubeina;

Totrughypja | and Tronubeina;

And thence has risen   |   the race of thralls.

And from there has come the race of slaves.

14. Forward went Rig,   |   his road was straight,

__A_TAG_PLACEHOLDER_0__. Rig moved ahead,   |   his path was clear,

To a hall he came,   |   and a door there hung;

To a hall he arrived,   |   and a door was there hanging;

In did he fare,   |   on the floor was a fire:

In how did he do,   |   there was a fire on the floor:

Afi and Amma   |   owned the house.

Afi and Amma owned the house.

15. There sat the twain,   |   and worked at their tasks:

__A_TAG_PLACEHOLDER_0__. There sat the two of them,   |   and focused on their work:

The man hewed wood   |   for the weaver’s beam;

The man chopped wood for the weaver’s beam;

His beard was trimmed,   |   o’er his brow a curl,

His beard was trimmed,   |   and a curl rested over his forehead,

His clothes fitted close;   |   in the corner a chest.

His clothes fit snugly;   |   in the corner there was a chest.

16. The woman sat   |   and the distaff wielded,

__A_TAG_PLACEHOLDER_0__. The woman sat and spun the thread,

At the weaving with arms   |   outstretched she worked;

At the loom with arms stretched out, she worked;

On her head was a band,   |   on her breast a smock;

On her head was a headband,   |   on her chest a shirt;

On her shoulders a kerchief   |   with clasps there was.

On her shoulders, there was a kerchief with clasps.

[208]

[__A_TAG_PLACEHOLDER_0__]

17. Rig knew well   |   wise words to speak,

__A_TAG_PLACEHOLDER_0__. Rig knew exactly what important things to say,

Soon in the midst   |   of the room he sat,

Soon in the middle of the room, he sat,

And on either side   |   the others were.

And on either side, the others were.

18. Then took Amma   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. Then Amma took   |   .  .  .  .  .  .  .  .

The vessels full   |   with the fare she set,

The ships loaded with the food she prepared,

Calf’s flesh boiled   |   was the best of the dainties.

Calf's meat boiled   |   was the best of the delicacies.

19. Rig knew well   |   wise words to speak,

__A_TAG_PLACEHOLDER_0__. Rig knew exactly what to say,

He rose from the board,   |   made ready to sleep;

He got up from the table, | prepared to go to sleep;

Soon in the bed   |   himself did he lay,

Soon in the bed   |   he lay down by himself,

And on either side   |   the others were.

And on either side | the others were.

20. Thus was he there   |   for three nights long,

__A_TAG_PLACEHOLDER_0__. So he was there for three nights straight,

Then forward he went   |   on the midmost way,

Then he moved ahead, right down the center path,

And so nine months   |   were soon passed by.

And so nine months went by quickly.

21. A son bore Amma,   |   with water they sprinkled him,

__A_TAG_PLACEHOLDER_0__. Amma gave birth to a son,   |   they sprinkled him with water,

Karl they named him;   |   in a cloth she wrapped him,

Karl they named him;  |   in a cloth she wrapped him,

He was ruddy of face,   |   and flashing his eyes.

He had a flushed face and sparkled in his eyes.

[209]

[__A_TAG_PLACEHOLDER_0__]

22. He began to grow,   |   and to gain in strength,

__A_TAG_PLACEHOLDER_0__. He started to grow,   |   and to gain strength,

Oxen he ruled,   |   and plows made ready,

Oxen he controlled, | and plows prepared,

Houses he built,   |   and barns he fashioned,

Houses he built,   |   and barns he made,

Carts he made,   |   and the plow he managed.

Carts he built,   |   and the plow he handled.

23. Home did they bring   |   the bride for Karl,

__A_TAG_PLACEHOLDER_0__. They brought home the bride for Karl,

In goatskins clad,   |   and keys she bore;

In goat skin clothing, and she carried keys;

Snör was her name,   |   ’neath the veil she sat;

Snör was her name, | under the veil she sat;

A home they made ready,   |   and rings exchanged,

A home they prepared,   |   and rings exchanged,

The bed they decked,   |   and a dwelling made.

The bed they set up,   |   and a home created.

24. Sons they had,   |   they lived and were happy:

__A_TAG_PLACEHOLDER_0__. They had sons,   |   they lived and were happy:

Hal and Dreng,   |   Holth, Thegn and Smith,

Hal and Dreng,   |   Holth, Thegn, and Smith,

Breith and Bondi,   |   Bundinskeggi,

Breith and Bondi, | Bundinskeggi,

Bui and Boddi,   |   Brattskegg and Segg.

Bui and Boddi,   |   Brattskegg and Segg.

[210]

[__A_TAG_PLACEHOLDER_0__]

25. Daughters they had,   |   and their names are here:

__A_TAG_PLACEHOLDER_0__. They had daughters,   |   and their names are listed here:

Snot, Bruth, Svanni,   |   Svarri, Sprakki,

Snot, Bruth, Svanni,   |   Svarri, Sprakki,

Fljoth, Sprund and Vif,   |   Feima, Ristil:

Fljoth, Sprund, and Vif,   |   Feima, Ristil:

And thence has risen   |   the yeomen’s race.

And from there has emerged the farmers' class.

26. Thence went Rig,   |   his road was straight,

__A_TAG_PLACEHOLDER_0__. From there, Rig traveled, | his path was direct,

A hall he saw,   |   the doors faced south;

A hall he saw,   |   the doors faced south;

The portal stood wide,   |   on the posts was a ring,

The doorway was open wide,   |   on the posts was a ring,

Then in he fared;   |   the floor was strewn.

Then he entered; the floor was covered.

27. Within two gazed   |   in each other’s eyes,

__A_TAG_PLACEHOLDER_0__. In two, they looked into each other’s eyes,

Fathir and Mothir,   |   and played with their fingers;

Fathir and Mothir,   |   and played with their fingers;

There sat the house-lord,   |   wound strings for the bow,

There sat the homeowner,   |   winding strings for the bow,

Shafts he fashioned,   |   and bows he shaped.

Shafts he created,   |   and bows he formed.

28. The lady sat,   |   at her arms she looked,

__A_TAG_PLACEHOLDER_0__. The lady sat,   |   she looked at her arms,

She smoothed the cloth,   |   and fitted the sleeves;

She straightened the fabric and adjusted the sleeves;

Gay was her cap,   |   on her breast were clasps,

Gay was her cap,   |   on her chest were clasps,

Broad was her train,   |   of blue was her gown, [211]

Broad was her train,   |   of blue was her gown, [__A_TAG_PLACEHOLDER_0__]

Her brows were bright,   |   her breast was shining,

Her eyebrows were bright,   |   her chest was shining,

Whiter her neck   |   than new-fallen snow.

Whiter her neck   |   than freshly fallen snow.

29. Rig knew well   |   wise words to speak,

29. Rig knew well | the right things to say,

Soon in the midst   |   of the room he sat,

Soon in the middle of the room, he sat,

And on either side   |   the others were.

And on either side, the others were.

30. Then Mothir brought   |   a broidered cloth,

30. Then Mothir brought a decorative cloth,

Of linen bright,   |   and the board she covered;

Of bright linen,   |   and the table she covered;

And then she took   |   the loaves so thin,

And then she took the loaves that were so thin,

And laid them, white   |   from the wheat, on the cloth.

And placed them, white   |   from the wheat, on the cloth.

31. Then forth she brought   |   the vessels full,

__A_TAG_PLACEHOLDER_0__. Then she brought out the vessels filled,

With silver covered,   |   and set before them,

With silver laid out and placed in front of them,

Meat all browned,   |   and well-cooked birds;

Meat is all browned, and the birds are well-cooked;

In the pitcher was wine,   |   of plate were the cups,

In the pitcher was wine,   |   on the plate were the cups,

So drank they and talked   |   till the day was gone.

So they drank and talked until the day was over.

32. Rig knew well   |   wise words to speak,

__A_TAG_PLACEHOLDER_0__. Rig knew exactly what to say,

Soon did he rise,   |   made ready to sleep;

Soon he got up, | got ready to sleep;

So in the bed   |   himself did he lay,

So he lay in bed,

And on either side   |   the others were.

And on either side, the others were.

[212]

[__A_TAG_PLACEHOLDER_0__]

33. Thus was he there   |   for three nights long,

33. So he was there for three nights straight,

Then forward he went   |   on the midmost way,

Then he moved ahead on the central path,

And so nine months   |   were soon passed by.

And so, nine months passed quickly.

34. A son had Mothir,   |   in silk they wrapped him,

__A_TAG_PLACEHOLDER_0__. A son was born to Mothir,   |   they wrapped him in silk,

With water they sprinkled him,   |   Jarl he was;

With water, they sprinkled him,   |   He was a lord;

Blond was his hair,   |   and bright his cheeks,

Blonde was his hair,   |   and his cheeks were bright,

Grim as a snake’s   |   were his glowing eyes.

Grim as a snake's | were his glowing eyes.

35. To grow in the house   |   did Jarl begin,

__A_TAG_PLACEHOLDER_0__. To grow in the house   |   started Jarl,

Shields he brandished,   |   and bow-strings wound,

Shields he carried,   |   and bowstrings pulled tight,

Bows he shot,   |   and shafts he fashioned,

Bows he shot,   |   and arrows he created,

Arrows he loosened,   |   and lances wielded,

Arrows he loosened,   |   and lances he held,

Horses he rode,   |   and hounds unleashed,

Horses he rode,   |   and hounds let loose,

Swords he handled,   |   and sounds he swam.

Swords he wielded,   |   and sounds he navigated.

36. Straight from the grove   |   came striding Rig,

__A_TAG_PLACEHOLDER_0__. Straight from the grove   |   came walking Rig,

Rig came striding,   |   and runes he taught him;

Rig walked with confidence, and he taught him runes;

By his name he called him,   |   as son he claimed him, [213]

By his name, he called him,   |   as a son, he claimed him, [__A_TAG_PLACEHOLDER_0__]

And bade him hold   |   his heritage wide,

And asked him to embrace his legacy fully,

His heritage wide,   |   the ancient homes.

His wide heritage, | the old homes.

37. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Forward he rode   |   through the forest dark,

Forward he rode through the dark forest,

O’er the frosty crags,   |   till a hall he found.

Over the icy cliffs, | until he found a hall.

38. His spear he shook,   |   his shield he brandished,

38. He shook his spear,   |   he waved his shield,

His horse he spurred,   |   with his sword he hewed;

He urged his horse on, with his sword he swung;

Wars he raised,   |   and reddened the field,

Wars he started,   |   and soaked the ground with blood,

Warriors slew he,   |   and land he won.

Warriors he killed,   |   and land he gained.

39. Eighteen halls   |   ere long did he hold,

__A_TAG_PLACEHOLDER_0__. Soon, he owned eighteen halls,

Wealth did he get,   |   and gave to all,

Wealth he gained, | and shared with everyone,

Stones and jewels   |   and slim-flanked steeds,

Stones and jewels | and sleek horses,

Rings he offered,   |   and arm-rings shared.

Rings he offered,   |   and bracelets exchanged.

40. His messengers went   |   by the ways so wet,

__A_TAG_PLACEHOLDER_0__. His messengers traveled through the rain-soaked paths,

And came to the hall   |   where Hersir dwelt;

And arrived at the hall where the leader lived;

His daughter was fair   |   and slender-fingered,

His daughter was beautiful and had slender fingers,

Erna the wise   |   the maiden was.

Erna the wise | the maiden was.

[214]

[__A_TAG_PLACEHOLDER_0__]

41. Her hand they sought,   |   and home they brought her,

41. They reached for her hand,   |   and brought her back home,

Wedded to Jarl   |   the veil she wore;

Wedded to Jarl   |   the veil she wore;

Together they dwelt,   |   their joy was great,

Together they lived,   |   their happiness was high,

Children they had,   |   and happy they lived.

Children they had,   |   and happy they lived.

42. Bur was the eldest,   |   and Barn the next,

__A_TAG_PLACEHOLDER_0__. Bur was the oldest,   |   and Barn was next,

Joth and Athal,   |   Arfi, Mog,

Joth and Athal,   |   Arfi, Mog,

Nith and Svein,   |   soon they began—

Nith and Svein,   |   soon they started—

Sun and Nithjung—   |   to play and swim;

Sun and Nithjung—   |   to hang out and swim;

Kund was one,   |   and the youngest Kon.

Kund was one,   |   and the youngest Kon.

43. Soon grew up   |   the sons of Jarl,

43. Soon grew up | the sons of the Jarl,

Beasts they tamed,   |   and bucklers rounded,

Beasts they tamed,   |   and shields rounded,

Shafts they fashioned,   |   and spears they shook.

Shafts they made,   |   and spears they waved.

44. But Kon the Young   |   learned runes to use,

__A_TAG_PLACEHOLDER_0__. But Kon the Young   |   learned runes to use,

Runes everlasting,   |   the runes of life; [215]

Runes forever,   |   the runes of life; [__A_TAG_PLACEHOLDER_0__]

Soon could he well   |   the warriors shield,

Soon he could clearly see the warrior's shield,

Dull the swordblade,   |   and still the seas.

Dull the sword,   |   and calm the seas.

45. Bird-chatter learned he,   |   flames could he lessen,

__A_TAG_PLACEHOLDER_0__. He learned to communicate with birds,   |   he could reduce the flames,

Minds could quiet,   |   and sorrows calm;

Minds could relax,   |   and sorrows ease;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The might and strength   |   of twice four men.

The power and force of eight men.

46. With Rig-Jarl soon   |   the runes he shared,

__A_TAG_PLACEHOLDER_0__. With Rig-Jarl soon  |   the runes he shared,

More crafty he was,   |   and greater his wisdom;

He was more clever, and his wisdom was greater;

The right he sought,   |   and soon he won it,

The right he was looking for,   |   and soon he got it,

Rig to be called,   |   and runes to know.

Rig to be called,   |   and runes to understand.

47. Young Kon rode forth   |   through forest and grove,

__A_TAG_PLACEHOLDER_0__. Young Kon rode out   |   through the forest and grove,

Shafts let loose,   |   and birds he lured;

Shafts were released,   |   and birds were attracted;

There spake a crow   |   on a bough that sat:

There spoke a crow   |   on a branch that sat:

“Why lurest thou, Kon,   |   the birds to come?

“Why are you enticing, Kon,   |   the birds to come?

[216]

[__A_TAG_PLACEHOLDER_0__]

48. “’Twere better forth   |   on thy steed to fare,

__A_TAG_PLACEHOLDER_0__. "It would be better to ride out on your horse,"

.  .  .  .  .  .  .  .   |   and the host to slay.

.  .  .  .  .  .  .  .   |   and the host to kill.

49. “The halls of Dan   |   and Danp are noble,

__A_TAG_PLACEHOLDER_0__. “The halls of Dan   |   and Danp are grand,

Greater their wealth   |   than thou hast gained;

Greater is their wealth than what you have gained;

Good are they   |   at guiding the keel,

Good are they   |   at guiding the keel,

Trying of weapons, and giving of wounds.”

Trying of weapons, and dealing out wounds.I’m sorry, but there seems to be no text provided for me to modernize. Please share the short piece of text you would like me to work on.

*    *    *    *    *    * [201]

*    *    *    *    *    * [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[203]

[__A_TAG_PLACEHOLDER_0__]

Prose. It would be interesting to know how much the annotator meant by the phrase old stories. Was he familiar with the tradition in forms other than that of the poem? If so, his introductory note was scanty, for, outside of identifying Rig as Heimdall, he provides no information not found in the poem. Probably he meant simply to refer to the poem itself as a relic of antiquity, and the identification of Rig as Heimdall may well have been an attempt at constructive criticism of his own. The note was presumably written somewhere about 1300, or even later, and there is no reason for crediting the annotator with any considerable knowledge of mythology. There is little to favor the identification of Rig with Heimdall, the watchman of the gods, beyond a few rather vague passages in the other poems. Thus in Voluspo, 1, the Volva asks hearing “from Heimdall’s sons both high and low”; in Grimnismol, 13, there is a very doubtful line which may mean that Heimdall “o’er men holds sway, it is said,” and in “the Short Voluspo” (Hyndluljoth, 40) he is called “the kinsman of men.” On the other hand, everything in the Rigsthula, including the phrase “the aged and wise” in stanza 1, and the references to runes in stanzas 36, 44, and 46, fits Othin exceedingly well. It seems probable that the annotator was wrong, and that Rig is Othin, and not Heimdall. Rig: almost certainly based on the Old Irish word for “king,” “ri” or “rig.”

Prose. It would be interesting to understand what the annotator meant by the term old stories. Was he familiar with the tradition in forms other than the poem itself? If so, his introductory note was lacking, because apart from identifying Rig as Heimdall, he offers no information that isn’t already in the poem. He probably intended to refer to the poem itself as a piece of history, and identifying Rig as Heimdall might have been his own attempt at constructive criticism. The note was likely written around 1300 or later, and there’s no reason to believe that the annotator had significant knowledge of mythology. There’s little evidence to support identifying Rig with Heimdall, the watchman of the gods, other than a few vague references in other poems. In Voluspo, 1, the Volva asks to hear “from Heimdall’s sons both high and low”; in Grimnismol, 13, there’s a very questionable line that might mean Heimdall “over men holds sway, it is said,” and in “the Short Voluspo” (Hyndluljoth, 40), he is referred to as “the kinsman of men.” On the other hand, everything in the Rigsthula, including the phrase “the aged and wise” in stanza 1, and the mentions of runes in stanzas 36, 44, and 46, aligns very well with Othin. It seems likely that the annotator was mistaken, and that Rig is Othin, not Heimdall. Rig: almost certainly derived from the Old Irish word for “king,” “ri” or “rig.”

1. No gap is indicated, but editors have generally assumed one. Some editors, however, add line 1 of stanza 2 to stanza 1. [204]

__A_TAG_PLACEHOLDER_0__. No break is shown, but most editors usually interpret there to be one. However, some editors include line 1 of stanza 2 with stanza 1. [__A_TAG_PLACEHOLDER_0__]

2. Most editions make line 5 a part of the stanza, as here, but some indicate it as the sole remnant of one or more stanzas descriptive of Ai and Edda, just as Afi and Amma, Fathir and Mothir, are later described. Ai and Edda: Great-Grandfather and Great-Grandmother; the latter name was responsible for Jakob Grimm’s famous guess at the meaning of the word “Edda” as applied to the whole collection (cf. Introduction).

__A_TAG_PLACEHOLDER_0__. Most editions include line 5 as part of the stanza, as shown here, but some treat it as the only remnant of one or more stanzas that describe Ai and Edda, just like Afi and Amma, Father and Mother, are later portrayed. Ai and Edda: Great-Grandfather and Great-Grandmother; the latter name led to Jakob Grimm’s well-known speculation about the meaning of the word “Edda” as it relates to the entire collection (cf. Introduction).

3. A line may have been lost from this stanza.

__A_TAG_PLACEHOLDER_0__. A line might be missing from this stanza.

4. Line 5 has generally been rejected as spurious.

__A_TAG_PLACEHOLDER_0__. Line 5 has mostly been dismissed as false.

5. The manuscript has lines 1–2 in inverse order, but marks the word “Rig” as the beginning of a stanza. [205]

__A_TAG_PLACEHOLDER_0__. The manuscript has lines 1–2 in reverse order, but indicates the word “Rig” as the start of a stanza. [__A_TAG_PLACEHOLDER_0__]

6. The manuscript does not indicate that these lines form a separate stanza, and as only one line and a fragment of another are left of stanza 7, the editions have grouped the lines in all sorts of ways, with, of course, various conjectures as to where lines may have been lost.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't show that these lines make up a separate stanza, and since only one complete line and a fragment of another remain from stanza 7, the editions have combined the lines in all kinds of ways, leading to different guesses about which lines might be missing.

7. After line 1 the manuscript has only four words: “cloth,” “black,” “named,” and “Thræll.” No gap is anywhere indicated. Editors have pieced out the passage in various ways. Water, etc.: concerning the custom of sprinkling water on children, which long antedated the introduction of Christianity, cf. Hovamol, 159 and note. Black: dark hair, among the blond Scandinavians, was the mark of a foreigner, hence of a slave. Thræll: Thrall or Slave.

__A_TAG_PLACEHOLDER_0__. After line 1, the manuscript has only four words: “cloth,” “black,” “named,” and “Thræll.” There is no gap indicated anywhere. Editors have suggested various ways to fill in the passage. Water, etc.: regarding the practice of sprinkling water on children, which existed long before Christianity, see Hovamol, 159 and note. Black: dark hair, among the blond Scandinavians, was seen as a sign of being foreign, thus of being a slave. Thræll: Thrall or Slave.

8. In the manuscript line 1 of stanza 9 stands before stanza 8, neither line being capitalized as the beginning of a stanza. I have followed Bugge’s rearrangement. The manuscript indicates no gap in line 2, but nearly all editors have assumed one, Grundtvig supplying “and rough his nails.”

__A_TAG_PLACEHOLDER_0__. In the manuscript, line 1 of stanza 9 comes before stanza 8, with neither line starting with a capital letter as the start of a stanza. I've followed Bugge's changes. The manuscript shows no break in line 2, but almost all editors have assumed there is one, with Grundtvig adding "and rough his nails."

9. The manuscript marks line 2 as the beginning of a stanza. [206]

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 2 starts a new stanza. [__A_TAG_PLACEHOLDER_0__]

10. A line may well have dropped out, but the manuscript is too uncertain as to the stanza-divisions to make any guess safe. Crooked: the word in the original is obscure. Stained: literally, “water was on her soles.” Thir: “Serving-Woman.”

__A_TAG_PLACEHOLDER_0__. A line might have been lost, but the manuscript is too unclear about where the stanzas break to make any guess reliable. Crooked: the word in the original is vague. Stained: literally, “there was water on her soles.” Thir: “Maid.”

12. There is some confusion as to the arrangement of the lines and division into stanzas of 12 and 13. The names mean: Fjosnir, “Cattle-Man”; Klur, “The Coarse”; Hreim, “The Shouter”; Kleggi, “The Horse-Fly”; Kefsir, “Concubine-Keeper”; Fulnir, “The Stinking”; Drumb, “The Log”; Digraldi, “The Fat”; Drott, “The Sluggard”; Leggjaldi, “The Big-Legged”; Lut, “The Bent”; Hosvir, “The Grey.” [207]

__A_TAG_PLACEHOLDER_0__. There is some confusion about how the lines are arranged and how they're divided into stanzas of 12 and 13. The names mean: Fjosnir, “Cattle-Man”; Klur, “The Coarse”; Hreim, “The Shouter”; Kleggi, “The Horse-Fly”; Kefsir, “Concubine-Keeper”; Fulnir, “The Stinking”; Drumb, “The Log”; Digraldi, “The Fat”; Drott, “The Sluggard”; Leggjaldi, “The Big-Legged”; Lut, “The Bent”; Hosvir, “The Grey.” [__A_TAG_PLACEHOLDER_0__]

13. The names mean: Drumba, “The Log”; Kumba, “The Stumpy”; Ökkvinkalfa, “Fat-Legged”; Arinnefja, “Homely-Nosed”; Ysja, “The Noisy”; Ambott, “The Servant”; Eikintjasna, “The Oaken Peg” (?); Totrughypja, “Clothed in Rags”; Tronubeina, “Crane-Legged.”

__A_TAG_PLACEHOLDER_0__. The names mean: Drumba, “The Log”; Kumba, “The Stumpy”; Ökkvinkalfa, “Fat-Legged”; Arinnefja, “Homely-Nosed”; Ysja, “The Noisy”; Ambott, “The Servant”; Eikintjasna, “The Oaken Peg” (?); Totrughypja, “Clothed in Rags”; Tronubeina, “Crane-Legged.”

14. In the manuscript line 4 stands after line 4 of stanza 16, but several editors have rearranged the lines, as here. Afi and Amma: Grandfather and Grandmother.

__A_TAG_PLACEHOLDER_0__. In the manuscript, line 4 comes after line 4 of stanza 16, but several editors have changed the order of the lines, as seen here. Afi and Amma: Grandpa and Grandma.

15. There is considerable confusion among the editors as to where this stanza begins and ends.

__A_TAG_PLACEHOLDER_0__. The editors are quite confused about where this stanza starts and finishes.

16. The manuscript marks line 3 as the beginning of a stanza. [208]

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza. [__A_TAG_PLACEHOLDER_0__]

17. The manuscript jumps from stanza 17, line 1, to stanza 19, line 2. Bugge points out that the copyist’s eye was presumably led astray by the fact that 17, 1, and 19, 1, were identical. Lines 2–3 of 17 are supplied from stanzas 3 and 29.

__A_TAG_PLACEHOLDER_0__. The manuscript skips from stanza 17, line 1, to stanza 19, line 2. Bugge notes that the copyist likely got confused because 17, 1, and 19, 1, are the same. Lines 2–3 of 17 are filled in from stanzas 3 and 29.

18. I have followed Bugge’s conjectural construction of the missing stanza, taking lines 2 and 3 from stanzas 31 and 4.

__A_TAG_PLACEHOLDER_0__. I've followed Bugge's proposed reconstruction of the missing stanza, using lines 2 and 3 from stanzas 31 and 4.

19. The manuscript marks line 2 as the beginning of a stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 2 starts a new stanza.

20. The manuscript omits line 2, supplied by analogy with stanza 6. [209]

__A_TAG_PLACEHOLDER_0__. The manuscript skips line 2, added by comparison with stanza 6. [__A_TAG_PLACEHOLDER_0__]

21. Most editors assume a lacuna, after either line 2 or line 3. Sijmons assumes, on the analogy of stanza 8, that a complete stanza describing Karl (“Yeoman”) has been lost between stanzas 21 and 22.

__A_TAG_PLACEHOLDER_0__. Most editors believe there’s a gap after either line 2 or line 3. Sijmons theorizes, based on the pattern in stanza 8, that a full stanza about Karl (“Yeoman”) has been lost between stanzas 21 and 22.

22. No line indicated in the manuscript as beginning a stanza. Cart: the word in the original, “kartr,” is one of the clear signs of the Celtic influence noted in the introduction.

__A_TAG_PLACEHOLDER_0__. No line is marked in the manuscript to start a stanza. Cart: the term in the original, “kartr,” is a clear indication of the Celtic influence mentioned in the introduction.

23. Bring: the word literally means “drove in a wagon”—a mark of the bride’s social status. Snör: “Daughter-in-Law.” Bugge, followed by several editors, maintains that line 4 was wrongly interpolated here from a missing stanza describing the marriage of Kon.

__A_TAG_PLACEHOLDER_0__. Bring: the word literally means “brought in a wagon”—a sign of the bride’s social status. Snör: “Daughter-in-Law.” Bugge, along with several editors, argues that line 4 was incorrectly added in here from a missing stanza about Kon's marriage.

24. No line indicated in the manuscript as beginning a stanza. The names mean: Hal, “Man”; Dreng, “The Strong”; Holth, “The Holder of Land”; Thegn, “Freeman”; Smith, “Craftsman”; Breith, “The Broad-Shouldered”; Bondi, “Yeoman”; Bundinskeggi, “With Beard Bound” (i.e., not allowed to hang unkempt); Bui, “Dwelling-Owner”; Boddi, “Farm-Holder”; Brattskegg, “With Beard Carried High”; Segg, “Man.” [210]

__A_TAG_PLACEHOLDER_0__. There’s no line in the manuscript that marks the start of a stanza. The names mean: Hal, “Man”; Dreng, “The Strong”; Holth, “The Holder of Land”; Thegn, “Freeman”; Smith, “Craftsman”; Breith, “The Broad-Shouldered”; Bondi, “Yeoman”; Bundinskeggi, “With Beard Bound” (i.e., not allowed to hang unkempt); Bui, “Dwelling-Owner”; Boddi, “Farm-Holder”; Brattskegg, “With Beard Carried High”; Segg, “Man.” [__A_TAG_PLACEHOLDER_0__]

25. No line indicated in the manuscript as beginning a stanza. The names mean: Snot, “Worthy Woman”; Bruth, “Bride”; Svanni, “The Slender”; Svarri, “The Proud”; Sprakki, “The Fair”; Fljoth, “Woman” (?); Sprund, “The Proud”; Vif, “Wife”; Feima, “The Bashful”; Ristil, “The Graceful.”

__A_TAG_PLACEHOLDER_0__. No line is marked in the manuscript to start a stanza. The names mean: Snot, “Worthy Woman”; Bruth, “Bride”; Svanni, “The Slender”; Svarri, “The Proud”; Sprakki, “The Fair”; Fljoth, “Woman” (?); Sprund, “The Proud”; Vif, “Wife”; Feima, “The Bashful”; Ristil, “The Graceful.”

26. Many editors make a stanza out of line 4 and lines 1–2 of the following stanza. Strewn: with fresh straw in preparation for a feast; cf. Thrymskvitha, 22.

__A_TAG_PLACEHOLDER_0__. Many editors create a stanza using line 4 along with lines 1–2 of the next stanza. Strewn: with fresh straw in preparation for a feast; see Thrymskvitha, 22.

27. Fathir and Mothir: Father and Mother. Perhaps lines 3–4 should form a stanza with 28, 1–2.

__A_TAG_PLACEHOLDER_0__. Fathir and Mothir: Dad and Mom. Maybe lines 3–4 should be grouped together with 28, 1–2 as a stanza.

28. Bugge thinks lines 5–6, like 23, 4, got in here from the lost stanzas describing Kon’s bride and his marriage. [211]

__A_TAG_PLACEHOLDER_0__. Bugge believes that lines 5–6, similar to 23, and 4, were included here from the missing verses that describe Kon’s bride and his marriage. [__A_TAG_PLACEHOLDER_0__]

31. The manuscript of lines 1–3 is obviously defective, as there are too many words for two lines, and not enough for the full three. The meaning, however, is clearly very much as indicated in the translation. Gering’s emendation, which I have followed, consists simply in shifting “set before them” from the first line to the second—where the manuscript has no verb,—and supplying the verb “brought” in line 1. The various editions contain all sorts of suggestions.

__A_TAG_PLACEHOLDER_0__. The manuscript of lines 1–3 clearly has some mistakes, as there are too many words for two lines and not enough for three. However, the meaning is pretty much as shown in the translation. Gering's correction, which I've accepted, just involves moving "set before them" from the first line to the second—where the manuscript has no verb—and adding the verb "brought" in line 1. The different editions include a variety of suggestions.

32. The manuscript begins both line 1 and line 2 with a capital [212]preceded by a period, which has led to all sorts of strange stanza-combinations and guesses at lost lines in the various editions. The confusion includes stanza 33, wherein no line is marked in the manuscript as beginning a stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript starts both line 1 and line 2 with a capital [__A_TAG_PLACEHOLDER_0__] followed by a period, which has resulted in all kinds of odd stanza combinations and attempts to fill in missing lines in the different editions. The confusion also involves stanza 33, where no line is indicated in the manuscript as starting a stanza.

34. Jarl: “Nobly-Born.”

__A_TAG_PLACEHOLDER_0__. Jarl: “Noble.”

35. Various lines have been regarded as interpolations, 3 and 6 being most often thus rejected.

__A_TAG_PLACEHOLDER_0__. Different lines have been seen as added later, with lines 3 and 6 being the ones most frequently dismissed this way.

36. Lines 1, 2, and 5 all begin with capitals preceded by periods, a fact which, taken in conjunction with the obviously defective state of the following stanza, has led to all sorts of conjectural emendations. The exact significance of Rig’s giving his own name to Jarl (cf. stanza 46), and thus recognizing him, potentially at least, as a king, depends on the conditions under [213]which the poem was composed (cf. Introductory Note). The whole stanza, particularly the reference to the teaching of magic (runes), fits Othin far better than Heimdall.

__A_TAG_PLACEHOLDER_0__. Lines 1, 2, and 5 all start with capital letters followed by periods, which, along with the obviously flawed state of the next stanza, has led to all kinds of speculative edits. The exact meaning of Rig giving his own name to Jarl (see stanza 46) and thus recognizing him, at least potentially, as a king, depends on the context in which the poem was created (see Introductory Note). The entire stanza, especially the mention of teaching magic (runes), fits Othin much better than Heimdall.

37. Something—one or two lines, or a longer passage—has clearly been lost, describing the beginning of Jarl’s journey. Yet many editors, relying on the manuscript punctuation, make 37 and 38 into a single stanza.

__A_TAG_PLACEHOLDER_0__. Something—whether it's a few lines or a longer section—has definitely been lost that talks about the start of Jarl’s journey. Still, many editors, depending on the punctuation in the manuscript, combine 37 and 38 into one stanza.

39. The manuscript marks both lines 1 and 2 as beginning stanzas.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that lines 1 and 2 are the opening stanzas.

40. Hersir: “Lord”; the hersir was, in the early days before the establishment of a kingdom in Norway, the local chief, and [214]hence the highest recognized authority. During and after the time of Harald the Fair-Haired the name lost something of its distinction, the hersir coming to take rank below the jarl. Erna: “The Capable.”

__A_TAG_PLACEHOLDER_0__. Hersir: “Lord”; the hersir was, in the early days before a kingdom was established in Norway, the local chief, and [__A_TAG_PLACEHOLDER_0__] therefore the highest recognized authority. During and after the time of Harald the Fair-Haired, the title lost some of its prestige, with the hersir ranking below the jarl. Erna: “The Capable.”

42. The names mean: Bur, “Son”; Barn, “Child”; Joth, “Child”; Athal, “Offspring”; Arfi, “Heir”; Mog, “Son”; Nith, “Descendant”; Svein, “Boy”; Sun, “Son”; Nithjung, “Descendant”; Kund, “Kinsman”; Kon, “Son” (of noble birth). Concerning the use made of this last name, see note on stanza 44. It is curious that there is no list of the daughters of Jarl and Erna, and accordingly Vigfusson inserts here the names listed in stanza 25. Grundtvig rearranges the lines of stanzas 42 and 43.

__A_TAG_PLACEHOLDER_0__. The names mean: Bur, “Son”; Barn, “Child”; Joth, “Child”; Athal, “Offspring”; Arfi, “Heir”; Mog, “Son”; Nith, “Descendant”; Svein, “Boy”; Sun, “Son”; Nithjung, “Descendant”; Kund, “Kinsman”; Kon, “Son” (of noble birth). For details on the use of this last name, see the note on stanza 44. It’s interesting that there is no list of the daughters of Jarl and Erna, so Vigfusson includes the names from stanza 25 here. Grundtvig rearranges the lines of stanzas 42 and 43.

44. The manuscript indicates no line as beginning a stanza. Kon the Young: a remarkable bit of fanciful etymology; the [215]phrase is “Konr ungr,” which could readily be contracted into “Konungr,” the regular word meaning “king.” The “kon” part is actually not far out, but the second syllable of “konungr” has nothing to do with “ungr” meaning “young.” Runes: a long list of just such magic charms, dulling swordblades, quenching flames, and so on, is given in Hovamol, 147–163.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't indicate any line as the start of a stanza. Kon the Young: an interesting example of playful word origins; the [__A_TAG_PLACEHOLDER_0__]phrase is “Konr ungr,” which could easily be shortened to “Konungr,” the standard word meaning “king.” The “kon” part isn't too far off, but the second syllable of “konungr” has nothing to do with “ungr,” which means “young.” Runes: a long list of these magical charms, which can dull sword blades, put out flames, and so on, is provided in Hovamol, 147–163.

45. The manuscript indicates no line as beginning a stanza. Minds: possibly “seas,” the word being doubtful. Most editors assume the gap as indicated.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't show a line starting a stanza. Minds: maybe "seas," but that word is unclear. Most editors take the gap as it is shown.

46. The manuscript indicates no line as beginning a stanza. Rig-Jarl: Kon’s father; cf. stanza 36.

__A_TAG_PLACEHOLDER_0__. The manuscript does not show any line marking the start of a stanza. Rig-Jarl: Kon’s father; see stanza 36.

47. This stanza has often been combined with 48, either as a whole or in part. Crow: birds frequently play the part of mentor in Norse literature; cf., for example, Helgakvitha Hundingsbana I, 5, and Fafnismol, 32. [216]

__A_TAG_PLACEHOLDER_0__. This stanza is often grouped with 48, either entirely or partially. Crow: birds often act as mentors in Norse literature; see, for instance, Helgakvitha Hundingsbana I, 5, and Fafnismol, 32. [__A_TAG_PLACEHOLDER_0__]

48. This fragment is not indicated as a separate stanza in the manuscript. Perhaps half a line has disappeared, or, as seems more likely, the gap includes two lines and a half. Sijmons actually constructs these lines, largely on the basis of stanzas 35 and 38. Bugge fills in the half-line lacuna as indicated above with “The sword to wield.”

__A_TAG_PLACEHOLDER_0__. This fragment is not marked as a separate stanza in the manuscript. It's possible that half a line is missing, or, more likely, the gap consists of two and a half lines. Sijmons actually creates these lines, mainly based on stanzas 35 and 38. Bugge fills in the half-line gap as mentioned earlier with “The sword to wield.”

49. Dan and Danp: These names are largely responsible for the theory that the Rigsthula was composed in Denmark. According to the Latin epitome of the Skjöldungasaga by Arngrimur Jonsson, “Rig (Rigus) was a man not the least among the great ones of his time. He married the daughter of a certain Danp, lord of Danpsted, whose name was Dana; and later, having won the royal title for his province, left as his heir his son by Dana, called Dan or Danum, all of whose subjects were called Danes.” This may or may not be conclusive, and it is a great pity that the manuscript breaks off abruptly at this stanza. [217]

__A_TAG_PLACEHOLDER_0__. Dan and Danp: These names are mainly linked to the theory that the Rigsthula was written in Denmark. According to the Latin summary of the Skjöldungasaga by Arngrimur Jonsson, “Rig (Rigus) was a man among the notable figures of his time. He married the daughter of a certain Danp, lord of Danpsted, named Dana; and later, after gaining the royal title for his region, he left as his heir his son with Dana, named Dan or Danum, whose subjects were called Danes.” This may or may not be definitive, and it is unfortunate that the manuscript abruptly ends at this stanza. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HYNDLULJOTH

The Poem of Hyndla

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Hyndluljoth is found in neither of the great manuscripts of the Poetic Edda, but is included in the so-called Flateyjarbok (Book of the Flat Island), an enormous compilation made somewhere about 1400. The lateness of this manuscript would of itself be enough to cast a doubt upon the condition in which the poem has been preserved, and there can be no question that what we have of it is in very poor shape. It is, in fact, two separate poems, or parts of them, clumsily put together. The longer one, the Poem of Hyndla proper, is chiefly a collection of names, not strictly mythological but belonging to the semi-historical hero-sagas of Norse tradition. The wise-woman, Hyndla, being asked by Freyja to trace the ancestry of her favorite, Ottar, for the purpose of deciding a wager, gives a complex genealogy including many of the heroes who appear in the popular sagas handed down from days long before the Icelandic settlements. The poet was learned, but without enthusiasm; it is not likely that he composed the Hyndluljoth much before the twelfth century, though the material of which it is compounded must have been very much older. Although the genealogies are essentially continental, the poem seems rather like a product of the archæological period of Iceland.

The Hyndluljoth isn’t found in either of the main manuscripts of the Poetic Edda, but it is included in the Flateyjarbok (Book of the Flat Island), a huge compilation created around 1400. The late date of this manuscript alone raises doubts about the condition of the poem as it has been preserved, and it’s clear that what we have is in very poor shape. In fact, it consists of two separate poems, or parts of them, awkwardly combined. The longer piece, the Poem of Hyndla itself, is mainly a collection of names that aren't strictly mythical but belong to the semi-historical hero sagas of Norse tradition. The wise-woman Hyndla, asked by Freyja to trace the ancestry of her favorite, Ottar, to settle a bet, provides a complex genealogy that includes many heroes from popular sagas passed down from before the Icelandic settlements. The poet was knowledgeable but lacked enthusiasm; it’s unlikely that he composed the Hyndluljoth much before the twelfth century, although the material it’s based on must be much older. Even though the genealogies are mainly of continental origin, the poem feels more like a product of the archaeological period of Iceland.

Inserted bodily in the Hyndluljoth proper is a fragment of fifty-one lines, taken from a poem of which, by a curious chance, we know the name. Snorri quotes one stanza of it, calling it “the short Voluspo.” The fragment preserved gives, of course, no indication of the length of the original poem, but it shows that it was a late and very inferior imitation of the great Voluspo. Like the Hyndluljoth proper, it apparently comes from the twelfth century; but there is nothing whatever to indicate that the two poems were the work of the same man, or were ever connected in any way until some blundering copyist mixed them up. Certainly the connection did not exist in the middle of the thirteenth century, when Snorri quoted “the short Voluspo.”

Inserted bodily in the Hyndluljoth proper is a fragment of fifty-one lines, taken from a poem of which, by a curious chance, we know the name. Snorri quotes one stanza of it, calling it “the short Voluspo.” The preserved fragment doesn't show the original poem's length, but it indicates that it was a late and much lesser imitation of the great Voluspo. Like the Hyndluljoth proper, it seems to come from the twelfth century; however, there is no evidence that the two poems were written by the same person or were connected in any way until some careless copyist mixed them up. Clearly, this connection did not exist in the middle of the thirteenth century when Snorri quoted “the short Voluspo.”

Neither poem is of any great value, either as mythology or as poetry. The author of “the short Voluspo” seems, indeed, to have been more or less confused as to his facts; and both poets were [218]too late to feel anything of the enthusiasm of the earlier school. The names of Hyndla’s heroes, of course, suggest an unlimited number of stories, but as most of these have no direct relation to the poems of the Edda, I have limited the notes to a mere record of who the persons mentioned were, and the saga-groups in which they appeared.

Neither poem is particularly valuable, whether as mythology or poetry. The author of “the short Voluspo” seems to have been somewhat confused about the facts, and both poets were [__A_TAG_PLACEHOLDER_0__]too late to share any of the enthusiasm of the earlier school. The names of Hyndla’s heroes, of course, suggest countless stories, but since most of these have no direct connection to the poems of the Edda, I’ve limited the notes to simply recording who the mentioned individuals were and the saga-groups they appeared in.

[__A_TAG_PLACEHOLDER_0__]

Freyja spake:

Freyja said:

1. “Maiden, awake!   |   wake thee, my friend,

__A_TAG_PLACEHOLDER_0__. “Girl, wake up!   |   wake up, my friend,

My sister Hyndla,   |   in thy hollow cave!

My sister Hyndla, | in your empty cave!

Already comes darkness,   |   and ride must we

Already darkness is here,   |   and we must ride

To Valhall to seek   |   the sacred hall.

To Valhalla to find the sacred hall.

2. “The favor of Heerfather   |   seek we to find,

__A_TAG_PLACEHOLDER_0__. “We seek to find the favor of Heerfather.”

To his followers gold   |   he gladly gives;

To his followers, he happily gives gold;

To Hermoth gave he   |   helm and mail-coat,

To Hermoth he gave a helmet and a mail coat,

And to Sigmund he gave   |   a sword as gift.

And he gave a sword to Sigmund as a gift.

[219]

[__A_TAG_PLACEHOLDER_0__]

3. “Triumph to some,   |   and treasure to others,

__A_TAG_PLACEHOLDER_0__. "A victory for some,   |   and riches for others,

To many wisdom   |   and skill in words,

To many, wisdom and skill with words,

Fair winds to the sailor,   |   to the singer his art,

Fair winds to the sailor, | to the singer his art,

And a manly heart   |   to many a hero.

And a brave heart to many heroes.

4. “Thor shall I honor,   |   and this shall I ask,

__A_TAG_PLACEHOLDER_0__. “I will honor Thor, and this is what I will ask,

That his favor true   |   mayst thou ever find;

That you may always find his true favor;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Though little the brides   |   of the giants he loves.

Though tiny, the brides of the giants he loves.

5. “From the stall now one   |   of thy wolves lead forth,

__A_TAG_PLACEHOLDER_0__. “Now bring one of your wolves out of the pen,

And along with my boar   |   shalt thou let him run;

And along with my boar, you shall let him run;

For slow my boar goes   |   on the road of the gods,

For slow my boar goes | on the road of the gods,

And I would not weary   |   my worthy steed.”

And I wouldn’t tire out my trusty horse.

Hyndla spake:

Hyndla spoke:

6. “Falsely thou askest me,   |   Freyja, to go,

__A_TAG_PLACEHOLDER_0__. “You're asking me wrongly,   |   Freyja, to go,

For so in the glance   |   of thine eyes I see; [220]

For in your gaze, I see; [__A_TAG_PLACEHOLDER_0__]

On the way of the slain   |   thy lover goes with thee,

On the path of the fallen   |   your lover walks with you,

Ottar the young,   |   the son of Instein.”

Ottar the young,   |   the son of Instein.

Freyja spake:

Freyja said:

7. “Wild dreams, methinks,   |   are thine when thou

__A_TAG_PLACEHOLDER_0__. “You have wild dreams, I think, when you

sayest

say

My lover is with me   |   on the way of the slain;

My partner is with me   |   on the path of those who have fallen;

There shines the boar   |   with bristles of gold,

There shines the boar   |   with golden bristles,

Hildisvini,   |   he who was made

Hildisvini,   |   he who was created

By Dain and Nabbi,   |   the cunning dwarfs.

By Dain and Nabbi,   |   the clever dwarfs.

8. “Now let us down   |   from our saddles leap,

__A_TAG_PLACEHOLDER_0__. “Now let’s get off our horses,

And talk of the race   |   of the heroes twain;

And talk about the race of the two heroes;

The men who were born   |   of the gods above,

The men who were born of the gods above,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

9. “A wager have made   |   in the foreign metal

__A_TAG_PLACEHOLDER_0__. “I’ve placed a bet in the foreign currency

Ottar the young   |   and Angantyr; [221]

Ottar the young   |   and Angantyr; [__A_TAG_PLACEHOLDER_0__]

We must guard, for the hero   |   young to have,

We must protect, for the hero young to have,

His father’s wealth,   |   the fruits of his race.

His father's wealth,   |   the results of his lineage.

10. “For me a shrine   |   of stones he made,—

__A_TAG_PLACEHOLDER_0__. “He built a shrine of stones for me,—

And now to glass   |   the rock has grown;—

And now to glass   |   the rock has grown;—

Oft with the blood   |   of beasts was it red;

Oftentimes it was stained red with the blood of animals;

In the goddesses ever   |   did Ottar trust.

In the goddesses he always trusted.

11. “Tell to me now   |   the ancient names,

__A_TAG_PLACEHOLDER_0__. “Now tell me the ancient names,

And the races of all   |   that were born of old:

And the races of all that were born long ago:

Who are of the Skjoldungs,   |   who of the Skilfings,

Who are the Skjoldungs,   |   who are the Skilfings,

Who of the Othlings,   |   who of the Ylfings,

Who among the Othlings, | who among the Ylfings,

Who are the free-born,   |   who are the high-born,

Who are the free-born,   |   who are the high-born,

The noblest of men   |   that in Mithgarth dwell?”

The greatest men that live in Mithgarth?

[222]

[__A_TAG_PLACEHOLDER_0__]

Hyndla spake:

Hyndla said

12. “Thou art, Ottar,   |   the son of Instein,

__A_TAG_PLACEHOLDER_0__. “You are, Ottar,   |   the son of Instein,

And Instein the son   |   of Alf the Old,

And Instein the son of Alf the Old,

Alf of Ulf,   |   Ulf of Sæfari,

Alf of Ulf,   |   Ulf of Sæfari,

And Sæfari’s father   |   was Svan the Red.

And Sæfari's father was Svan the Red.

13. “Thy mother, bright   |   with bracelets fair,

13. “Your mother, shining with beautiful bracelets,

Hight, methinks,   |   the priestess Hledis;

Hight, I think,   |   the priestess Hledis;

Frothi her father,   |   and Friaut her mother;—

Frothi her dad,   |   and Friaut her mom;—

Her race of the mightiest   |   men must seem.

Her race of the mightiest men must seem.

14. “Of old the noblest   |   of all was Ali,

__A_TAG_PLACEHOLDER_0__. “In the past, the greatest of all was Ali,

Before him Halfdan,   |   foremost of Skjoldungs;

Before him Halfdan,   |   the leading Skjoldung;

Famed were the battles   |   the hero fought,

Famous were the battles   |   the hero fought,

To the corners of heaven   |   his deeds were carried.

To the corners of heaven, his deeds were spread.

15. “Strengthened by Eymund,   |   the strongest of men,

15. “Empowered by Eymund, | the strongest of men,

Sigtrygg he slew   |   with the ice-cold sword;

Sigtrygg he killed   |   with the icy sword;

His bride was Almveig,   |   the best of women,

His bride was Almveig,   |   the best woman around,

And eighteen boys   |   did Almveig bear him.

And Almveig gave birth to eighteen boys.

[223]

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16. “Hence come the Skjoldungs,   |   hence the Skilfings,

__A_TAG_PLACEHOLDER_0__. “This is where the Skjoldungs come from,   |   this is where the Skilfings come from,

Hence the Othlings,   |   hence the Ynglings,

Hence the Othlings,   |   hence the Ynglings,

Hence come the free-born,   |   hence the high-born,

Hence come the free-born,   |   hence the high-born,

The noblest of men   |   that in Mithgarth dwell:

The noblest men that live in Mithgarth:

And all are thy kinsmen,   |   Ottar, thou fool!

And they’re all your relatives,   |   Ottar, you fool!

17. “Hildigun then   |   her mother hight,

__A_TAG_PLACEHOLDER_0__. “Hildigun, that was her mother’s name,

The daughter of Svava   |   and Sækonung;

The daughter of Svava   |   and Sækonung;

And all are thy kinsmen,   |   Ottar, thou fool!

And all are your relatives, Ottar, you fool!

It is much to know,—   |   wilt thou hear yet more?

It’s a lot to take in— do you want to hear more?

18. “The mate of Dag   |   was a mother of heroes,

__A_TAG_PLACEHOLDER_0__. “The companion of Dag   |   was a mother of champions,

Thora, who bore him   |   the bravest of fighters,

Thora, who gave birth to him | the bravest of fighters,

Frathmar and Gyrth   |   and the Frekis twain,

Frathmar and Gyrth   |   and the two Frekis,

Am and Jofurmar,   |   Alf the Old;

Am and Jofurmar,   |   Alf the Old;

It is much to know,—   |   wilt thou hear yet more?

It’s a lot to know—|—do you want to hear more?

19. “Her husband was Ketil,   |   the heir of Klypp,

__A_TAG_PLACEHOLDER_0__. “Her husband was Ketil, | the heir of Klypp,

He was of thy mother   |   the mother’s-father; [224]

He was your grandfather; [__A_TAG_PLACEHOLDER_0__]

Before the days   |   of Kari was Frothi,

Before Kari's time, there was Frothi,

And born of Hild   |   was Hoalf then.

And then Hoalf was born of Hild.

20. “Next was Nanna,   |   daughter of Nokkvi,

__A_TAG_PLACEHOLDER_0__. “Next was Nanna,   |   daughter of Nokkvi,

Thy father’s kinsman   |   her son became;

Your father's relative | became her son;

Old is the line,   |   and longer still,

Old is the line,   |   and longer still,

And all are thy kinsmen,   |   Ottar, thou fool!

And all of them are your relatives,   |   Ottar, you fool!

21. “Isolf and Osolf,   |   the sons of Olmoth,

__A_TAG_PLACEHOLDER_0__. “Isolf and Osolf, | the sons of Olmoth,

Whose wife was Skurhild,   |   the daughter of Skekkil,

Whose wife was Skurhild,   |   the daughter of Skekkil,

Count them among   |   the heroes mighty,

Count them among the mighty heroes,

And all are thy kinsmen,   |   Ottar, thou fool!

And all of them are your relatives, Ottar, you fool!

22. “Gunnar the Bulwark,   |   Grim the Hardy,

__A_TAG_PLACEHOLDER_0__. “Gunnar the Tough,   |   Grim the Strong,

Thorir the Iron-shield,   |   Ulf the Gaper,

Thorir the Iron-shield,   |   Ulf the Gaper,

Brodd and Hörvir   |   both did I know;

Brodd and Hörvir | I knew both of them;

In the household they were   |   of Hrolf the Old.

In the household they were of Hrolf the Old.

[225]

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23. “Hervarth, Hjorvarth,   |   Hrani, Angantyr,

__A_TAG_PLACEHOLDER_0__. “Hervarth, Hjorvarth,   |   Hrani, Angantyr,

Bui and Brami,   |   Barri and Reifnir,

Bui and Brami,   |   Barri and Reifnir,

Tind and Tyrfing,   |   the Haddings twain,—

Tind and Tyrfing,   |   the two Haddings,—

And all are thy kinsmen,   |   Ottar, thou fool!

And all of them are your relatives,   |   Ottar, you fool!

24. “Eastward in Bolm   |   were born of old

__A_TAG_PLACEHOLDER_0__. “To the east in Bolm   |   was born long ago

The sons of Arngrim   |   and Eyfura;

The sons of Arngrim   |   and Eyfura;

With berserk-tumult   |   and baleful deed

With chaotic uproar | and ominous actions

Like fire o’er land   |   and sea they fared,—

Like fire over land and sea they traveled,—

And all are thy kinsmen,   |   Ottar, thou fool!

And all are your relatives,   |   Ottar, you fool!

25. “The sons of Jormunrek   |   all of yore

__A_TAG_PLACEHOLDER_0__. “The sons of Jormunrek   |   all from the past

To the gods in death   |   were as offerings given; [226]

To the gods in death   |   were given as offerings; [__A_TAG_PLACEHOLDER_0__]

He was kinsman of Sigurth,—   |   hear well what I say,—

He was a relative of Sigurth,—   |   listen closely to what I say,—

The foe of hosts,   |   and Fafnir’s slayer.

The enemy of armies,   |   and the killer of Fafnir.

26. “From Volsung’s seed   |   was the hero sprung,

__A_TAG_PLACEHOLDER_0__. “From Volsung's lineage   |   the hero was born,

And Hjordis was born   |   of Hrauthung’s race,

And Hjordis was born of Hrauthung’s race,

And Eylimi   |   from the Othlings came,—

And Eylimi   |   from the Othlings came,—

And all are thy kinsmen,   |   Ottar, thou fool!

And all of them are your relatives,   |   Ottar, you fool!

27. “Gunnar and Hogni,   |   the heirs of Gjuki,

__A_TAG_PLACEHOLDER_0__. “Gunnar and Hogni, | the heirs of Gjuki,

And Guthrun as well,   |   who their sister was;

And Guthrun too,   |   who was their sister;

But Gotthorm was not   |   of Gjuki’s race,

But Gotthorm did not belong to Gjuki’s lineage,

Although the brother   |   of both he was:

Although he was the brother of both:

And all are thy kinsmen,   |   Ottar, thou fool!

And all are your relatives,   |   Ottar, you fool!

[227]

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28. “Of Hvethna’s sons   |   was Haki the best,

__A_TAG_PLACEHOLDER_0__. “Among Hvethna’s sons   |   Haki was the greatest,

And Hjorvarth the father   |   of Hvethna was;

And Hjorvarth, the father of Hvethna, was;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

29. “Harald Battle-tooth   |   of Auth was born,

__A_TAG_PLACEHOLDER_0__. “Harald Battle-tooth | of Auth was born,

Hrörek the Ring-giver   |   her husband was;

Hrörek the Ring-giver   |   her husband was;

Auth the Deep-minded   |   was Ivar’s daughter,

Auth the Deep-minded   |   was Ivar’s daughter,

But Rathbarth the father   |   of Randver was:

But Rathbarth, the father of Randver, was:

And all are thy kinsmen,   |   Ottar, thou fool!”

And all of them are your relatives, Ottar, you fool!

*    *    *    *    *    *

*    *    *    *    *    *

Fragment of “The Short Voluspo”

Excerpt from “The Short Voluspo”

30. Eleven in number   |   the gods were known,

__A_TAG_PLACEHOLDER_0__. There were 11 gods,

When Baldr o’er the hill   |   of death was bowed;

When Baldr was bowed down over the hill of death;

And this to avenge   |   was Vali swift,

And this to get revenge   |   was Vali quick,

When his brother’s slayer   |   soon he slew.

When his brother's killer was soon killed by him.

[228]

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31. The father of Baldr   |   was the heir of Bur,

__A_TAG_PLACEHOLDER_0__. The father of Baldr | was the heir of Bur,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

32. Freyr’s wife was Gerth,   |   the daughter of Gymir,

__A_TAG_PLACEHOLDER_0__. Freyr's wife was Gerth,   |   the daughter of Gymir,

Of the giants’ brood,   |   and Aurbotha bore her;

Of the giants' descendants, | and Aurbotha gave birth to her;

To these as well   |   was Thjazi kin,

To these as well   |   was Thjazi kin,

The dark-loving giant;   |   his daughter was Skathi.

The giant who loved darkness;   |   his daughter was Skathi.

33. Much have I told thee,   |   and further will tell;

__A_TAG_PLACEHOLDER_0__. I've shared a lot with you,   |   and I'll share even more;

There is much that I know;—   |   wilt thou hear

There’s a lot I know;—   |   do you want to hear it?

yet more?

more already?

34. Heith and Hrossthjof,   |   the children of Hrimnir.

__A_TAG_PLACEHOLDER_0__. Heith and Hrossthjof,   |   the kids of Hrimnir.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[229]

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35. The sybils arose   |   from Vitholf’s race,

__A_TAG_PLACEHOLDER_0__. The oracles came from Vitholf’s lineage,

From Vilmeith all   |   the seers are,

From Vilmeith all | the seers are,

And the workers of charms   |   are Svarthofthi’s children,

And the charm workers are the children of Svarthofthi,

And from Ymir sprang   |   the giants all.

And from Ymir came all the giants.

36. Much have I told thee,   |   and further will tell;

36. I've told you a lot, and I have more to share;

There is much that I know;—   |   wilt thou hear yet more?

There’s a lot I know;— do you want to hear more?

37. One there was born   |   in the bygone days,

__A_TAG_PLACEHOLDER_0__. Once upon a time, someone was born in the past,

Of the race of the gods,   |   and great was his might;

Of the lineage of the gods,   |   and his power was immense;

Nine giant women,   |   at the world’s edge,

Nine giant women, | at the world’s edge,

Once bore the man   |   so mighty in arms.

Once there was a man   |   so powerful in battle.

38. Gjolp there bore him,   |   Greip there bore him,

__A_TAG_PLACEHOLDER_0__. Gjolp gave birth to him,   |   Greip gave birth to him,

Eistla bore him,   |   and Eyrgjafa,

Eistla gave birth to him,   |   and Eyrgjafa,

Ulfrun bore him,   |   and Angeyja,

Ulfrun gave birth to him,   |   and Angeyja,

Imth and Atla,   |   and Jarnsaxa.

Imth and Atla,   |   and Jarnsaxa.

[230]

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39. Strong was he made   |   with the strength of earth,

__A_TAG_PLACEHOLDER_0__. He was made strong with the strength of the earth,

With the ice-cold sea,   |   and the blood of swine.

With the frigid sea,   |   and the blood of pigs.

40. One there was born,   |   the best of all,

__A_TAG_PLACEHOLDER_0__. There was one born,   |   the greatest of all,

And strong was he made   |   with the strength of earth;

And he was made strong, with the strength of the earth;

The proudest is called   |   the kinsman of men

The proudest is called   |   the relative of humanity

Of the rulers all   |   throughout the world.

Of all the rulers around the world.

41. Much have I told thee,   |   and further will tell;

41. I've shared a lot with you, and I have more to say;

There is much that I know;—   |   wilt thou hear yet more?

There’s a lot I know; do you want to hear more?

42. The wolf did Loki   |   with Angrbotha win,

__A_TAG_PLACEHOLDER_0__. The wolf was born to Loki   |   and Angrbotha,

And Sleipnir bore he   |   to Svathilfari;

And Sleipnir carried him to Svathilfari;

The worst of marvels   |   seemed the one

The worst of marvels | seemed like the one

That sprang from the brother   |   of Byleist then.

That came from the brother of Byleist then.

[231]

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43. A heart ate Loki,—   |   in the embers it lay,

__A_TAG_PLACEHOLDER_0__. A heart consumed Loki,—   |   in the ashes it rested,

And half-cooked found he   |   the woman’s heart;—

And half-cooked he found the woman's heart;—

With child from the woman   |   Lopt soon was,

With child from the woman   |   Lopt soon was,

And thence among men   |   came the monsters all.

And from there among people came all the monsters.

44. The sea, storm-driven,   |   seeks heaven itself,

__A_TAG_PLACEHOLDER_0__. The sea, driven by storms,   |   reaches for the sky itself,

O’er the earth it flows,   |   the air grows sterile;

O'er the earth it flows,   |   the air grows sterile;

Then follow the snows   |   and the furious winds,

Then come the snowstorms and the fierce winds,

For the gods are doomed,   |   and the end is death.

For the gods are doomed,   |   and the end is death.

45. Then comes another,   |   a greater than all,

__A_TAG_PLACEHOLDER_0__. Then comes another,   |   someone greater than everyone else,

Though never I dare   |   his name to speak;

Though I never dare to speak his name;

Few are they now   |   that farther can see

Few are there now that can see further

Than the moment when Othin   |   shall meet the wolf.

Than the moment when Odin shall meet the wolf.

*    *    *    *    *    *

*    *    *    *    *    *

Freyja spake:

Freyja said:

46. “To my boar now bring   |   the memory-beer,

__A_TAG_PLACEHOLDER_0__. “Now bring me the memory-beer for my boar,

So that all thy words,   |   that well thou hast spoken, [232]

So that all your words,   |   that you have spoken well, [__A_TAG_PLACEHOLDER_0__]

The third morn hence   |   he may hold in mind,

The third morning after that | he might remember,

When their races Ottar   |   and Angantyr tell.”

When their races Ottar and Angantyr tell.

Hyndla spake:

Hyndla spoke:

47. “Hence shalt thou fare,   |   for fain would I sleep,

__A_TAG_PLACEHOLDER_0__. "So you should go, | because I would like to sleep,"

From me thou gettest   |   few favors good;

From me, you get few good favors;

My noble one, out   |   in the night thou leapest

My noble one, out in the night you leap.

As Heithrun goes   |   the goats among.

As Heithrun walks among the goats.

48. “To Oth didst thou run,   |   who loved thee ever,

__A_TAG_PLACEHOLDER_0__. “Did you run to Oth,   |   who always loved you,

And many under   |   thy apron have crawled;

And many have crawled under your apron;

My noble one, out   |   in the night thou leapest,

My noble one, out in the night you leap,

As Heithrun goes   |   the goats among.”

As Heithrun walks among the goats.

Freyja spake:

Freyja said:

49. “Around the giantess   |   flames shall I raise,

__A_TAG_PLACEHOLDER_0__. “I will raise flames around the giantess,

So that forth unburned   |   thou mayst not fare.”

So that you may not go unscathed.

[233]

[__A_TAG_PLACEHOLDER_0__]

Hyndla spake:

Hyndla said:

50. “Flames I see burning,   |   the earth is on fire,

50. “I see flames burning,   |   the ground is on fire,

And each for his life   |   the price must lose;

And each for his life the price must lose;

Bring then to Ottar   |   the draught of beer,

Bring then to Ottar   |   the draft of beer,

Of venom full   |   for an evil fate.”

Of venom full | for a wicked fate.”

Freyja spake:

Freyja said:

51. “Thine evil words   |   shall work no ill,

51. “Your malicious words | will cause no harm,

Though, giantess, bitter   |   thy baleful threats;

Though, giantess, bitter   |   your harmful threats;

A drink full fair   |   shall Ottar find,

A fair drink shall Ottar find,

If of all the gods   |   the favor I get.”

If out of all the gods | the favor I receive.”

[217]

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[__A_TAG_PLACEHOLDER_0__]

NOTES

[218]

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1. Freyja: The names of the speakers do not appear in the manuscripts. On Freyja cf. Voluspo, 21 and note; Skirnismol, introductory prose and note; Lokasenna, introductory prose and note. As stanzas 9–10 show, Ottar has made a wager of his entire inheritance with Angantyr regarding the relative loftiness of their ancestry, and by rich offerings (Hyndla hints at less commendable methods) has induced Freyja to assist him in establishing his genealogy. Freyja, having turned Ottar for purposes of disguise into a boar, calls on the giantess Hyndla (“She-Dog”) to aid her. Hyndla does not appear elsewhere in the poems.

__A_TAG_PLACEHOLDER_0__. Freyja: The names of the speakers are not listed in the manuscripts. For more on Freyja, see Voluspo, 21 and note; Skirnismol, introductory prose and note; Lokasenna, introductory prose and note. As stanzas 9–10 indicate, Ottar has bet his entire inheritance with Angantyr about whose ancestry is more distinguished, and through generous offerings (Hyndla suggests some less honorable methods) has persuaded Freyja to help him trace his lineage. Freyja transforms Ottar into a boar for disguise and calls on the giantess Hyndla (“She-Dog”) for assistance. Hyndla does not appear in any other poems.

2. Heerfather: Othin; cf. Voluspo, 30. Hermoth: mentioned in the Prose Edda as a son of Othin who is sent to Hel to ask for the return of the slain Baldr. Sigmund: according to the Volsungasaga Sigmund was the son of Volsung, and hence Othin’s great-great-grandson (note that Wagner eliminates all the intervening generations by the simple expedient of using [219]Volsung’s name as one of Othin’s many appellations). Sigmund alone was able to draw from the tree the sword which a mysterious stranger (Othin, of course) had thrust into it (compare the first act of Wagner’s Die Walküre).

__A_TAG_PLACEHOLDER_0__. Heerfather: Odin; cf. Voluspo, 30. Hermoth: mentioned in the Prose Edda as Odin's son who is sent to Hel to plead for the return of the fallen Baldr. Sigmund: according to the Volsungasaga, Sigmund was the son of Volsung and therefore Odin’s great-great-grandson (note that Wagner removes all the intervening generations by simply using Volsung’s name as one of Odin’s many names). Sigmund alone could pull the sword from the tree that a mysterious stranger (Odin, of course) had placed there (compare the first act of Wagner’s Die Walküre).

3. Sijmons suggests that this stanza may be an interpolation.

__A_TAG_PLACEHOLDER_0__. Sijmons believes that this stanza might be an addition.

4. No lacuna after line 2 is indicated in the manuscript. Editors have attempted various experiments in rearranging this and the following stanza.

__A_TAG_PLACEHOLDER_0__. There’s no gap after line 2 indicated in the manuscript. Editors have tried different methods to rearrange this and the next stanza.

5. Some editors, following Simrock, assign this whole stanza to Hyndla; others assign to her lines 3–4. Giving the entire stanza to Freyja makes better sense than any other arrangement, but is dependent on changing the manuscript’s “thy” in line 3 to “my,” as suggested by Bugge. The boar on which Freyja rides (“my worthy steed”) is, of course, Ottar.

__A_TAG_PLACEHOLDER_0__. Some editors, following Simrock, attribute this entire stanza to Hyndla; others credit her with lines 3–4. Assigning the whole stanza to Freyja makes more sense than any other arrangement, but it relies on changing the manuscript’s “thy” in line 3 to “my,” as suggested by Bugge. The boar that Freyja rides (“my worthy steed”) is, of course, Ottar.

6. Hyndla detects Ottar, and accuses Freyja of having her [220]lover with her. Unless Ottar is identical with Oth (cf. Voluspo, 25 and note), which seems most unlikely, there is no other reference to this love affair. The way of the slain: the road to Valhall.

__A_TAG_PLACEHOLDER_0__. Hyndla spots Ottar and accuses Freyja of having her [__A_TAG_PLACEHOLDER_0__]lover with her. Unless Ottar is the same as Oth (see Voluspo, 25 and note), which seems very unlikely, there is no other mention of this relationship. The way of the slain: the path to Valhall.

7. Various experiments have been made in condensing the stanza into four lines, or in combining it with stanza 8. Hildisvini (“Battle-Swine”): perhaps Freyja refers to the boar with golden bristles given, according to Snorri, to her brother Freyr by the dwarfs. Dain: a dwarf; cf. Voluspo, 11. Nabbi: a dwarf nowhere else mentioned.

__A_TAG_PLACEHOLDER_0__. Various experiments have been conducted to condense the stanza into four lines or to combine it with stanza 8. Hildisvini (“Battle-Swine”): possibly Freyja is referring to the boar with golden bristles that, according to Snorri, was given to her brother Freyr by the dwarfs. Dain: a dwarf; see Voluspo, 11. Nabbi: a dwarf not mentioned anywhere else.

8. The first line is obviously corrupt in the manuscript, and has been variously emended. The general assumption is that in the interval between stanzas 7 and 8 Freyja and Hyndla have arrived at Valhall. No lacuna is indicated in the manuscript.

__A_TAG_PLACEHOLDER_0__. The first line is clearly messed up in the manuscript and has been corrected in different ways. It's generally believed that between stanzas 7 and 8, Freyja and Hyndla have reached Valhall. There is no missing text noted in the manuscript.

9. Foreign metal: gold. The word valr, meaning “foreign,” [221]and akin to “Welsh,” is interesting in this connection, and some editors interpret it frankly as “Celtic,” i.e., Irish.

__A_TAG_PLACEHOLDER_0__. Foreign metal: gold. The word valr, meaning “foreign,” [__A_TAG_PLACEHOLDER_0__] and similar to “Welsh,” is intriguing in this context, and some editors interpret it directly as “Celtic,” meaning Irish.

10. To glass: i.e., the constant fires on the altar have fused the stone into glass. Glass beads, etc., were of very early use, though the use of glass for windows probably did not begin in Iceland much before 1200.

__A_TAG_PLACEHOLDER_0__. To glass: That is, the continuous fires on the altar have melted the stone into glass. Glass beads, etc., were used very early on, although the use of glass for windows in Iceland likely didn’t start until around 1200.

11. Possibly two stanzas, or perhaps one with interpolations. The manuscript omits the first half of line 4, here filled out from stanza 16, line 2. Skjoldungs: the descendants of Skjold, a mythical king who was Othin’s son and the ancestor of the Danish kings; cf. Snorri’s Edda, Skaldskaparmal, 43. Skilfings: mentioned by Snorri as descendants of King Skelfir, a mythical ruler in “the East.” In Grimnismol, 54, the name Skilfing appears as one of Othin’s many appellations. Othlings: Snorri derives this race from Authi, the son of Halfdan the Old (cf. stanza 14). Ylfings: some editors have changed this to “Ynglings,” as in stanza 16, referring to the descendants of Yng or Yngvi, another son of Halfdan, but the reference may be to the same mythical family to which Helgi Hundingsbane belonged (cf. Helgakvitha Hundingsbana I, 5). [222]

__A_TAG_PLACEHOLDER_0__. Possibly two stanzas, or maybe one with additions. The manuscript leaves out the first half of line 4, which is completed here from stanza 16, line 2. Skjoldungs: the descendants of Skjold, a legendary king who was Othin’s son and the ancestor of the Danish kings; see Snorri’s Edda, Skaldskaparmal, 43. Skilfings: mentioned by Snorri as descendants of King Skelfir, a mythical ruler in “the East.” In Grimnismol, 54, the name Skilfing appears as one of Othin’s many names. Othlings: Snorri traces this group back to Authi, the son of Halfdan the Old (see stanza 14). Ylfings: some editors have changed this to “Ynglings,” as seen in stanza 16, referring to the descendants of Yng or Yngvi, another son of Halfdan, though it may refer to the same legendary family to which Helgi Hundingsbane belonged (see Helgakvitha Hundingsbana I, 5). [__A_TAG_PLACEHOLDER_0__]

12. Instein: mentioned in the Halfssaga as one of the warriors of King Half of Horthaland (the so-called Halfsrekkar). The others mentioned in this stanza appear in one of the later mythical accounts of the settlement of Norway.

__A_TAG_PLACEHOLDER_0__. Instein: referred to in the Halfssaga as one of the fighters of King Half of Horthaland (the so-called Halfsrekkar). The others mentioned in this stanza are found in one of the later mythical stories about the settlement of Norway.

14. Stanzas 14–16 are clearly interpolated, as Friaut (stanza 13, line 3) is the daughter of Hildigun (stanza 17, line 1). Halfdan the Old, a mythical king of Denmark, called by Snorri “the most famous of all kings,” of whom it was foretold that “for three hundred years there should be no woman and no man in his line who was not of great repute.” After the slaying of Sigtrygg he married Almveig (or Alvig), daughter of King Eymund of Holmgarth (i.e., Russia), who bore him eighteen [223]sons, nine at one birth. These nine were all slain, but the other nine were traditionally the ancestors of the most famous families in Northern hero lore.

__A_TAG_PLACEHOLDER_0__. Stanzas 14–16 are clearly added later, since Friaut (stanza 13, line 3) is the daughter of Hildigun (stanza 17, line 1). Halfdan the Old, a legendary king of Denmark, referred to by Snorri as “the most famous of all kings,” was prophesied to have “for three hundred years, there would be no woman or man in his line who was not of great reputation.” After killing Sigtrygg, he married Almveig (or Alvig), the daughter of King Eymund of Holmgarth (now Russia), who gave him eighteen [__A_TAG_PLACEHOLDER_0__]sons, nine born at once. All nine were killed, but the remaining nine were traditionally regarded as the ancestors of the most renowned families in Northern hero tales.

16. Compare stanza 11. All or part of this stanza may be interpolated.

__A_TAG_PLACEHOLDER_0__. Compare stanza 11. Some or all of this stanza might have been added later.

17. Hildigun (or Hildiguth): with this the poem returns to Ottar’s direct ancestry, Hildigun being Friaut’s mother. Line 4: cf. the refrain-line in the Voluspo (stanzas 27, 29, etc.).

__A_TAG_PLACEHOLDER_0__. Hildigun (or Hildiguth): this brings the poem back to Ottar’s direct lineage, as Hildigun is Friaut’s mother. Line 4: see the refrain in the Voluspo (stanzas 27, 29, etc.).

18. Another interpolation, as Ketil (stanza 19, line 1) is the husband of Hildigun (stanza 17). Dag: one of Halfdan’s sons, and ancestor of the Döglings. Line 5 may be a late addition.

__A_TAG_PLACEHOLDER_0__. Another addition, since Ketil (stanza 19, line 1) is the husband of Hildigun (stanza 17). Dag: one of Halfdan’s sons and the ancestor of the Döglings. Line 5 might have been added later.

19. Ketil: the semi-mythical Ketil Hortha-Kari, from whom various Icelandic families traced their descent. Hoalf: probably King Half of Horthaland, hero of the Halfssaga, and son of Hjorleif and Hild (cf. stanza 12, note). [224]

__A_TAG_PLACEHOLDER_0__. Ketil: the semi-mythical Ketil Hortha-Kari, from whom several Icelandic families claim their ancestry. Hoalf: likely King Half of Horthaland, the hero of the Halfssaga, and son of Hjorleif and Hild (see stanza 12, note). [__A_TAG_PLACEHOLDER_0__]

20. Nanna: the manuscript has “Manna.” Of Nanna and her father, Nokkvi, we know nothing, but apparently Nanna’s son married a sister of Instein, Ottar’s father.

__A_TAG_PLACEHOLDER_0__. Nanna: the manuscript says “Manna.” We don't know anything about Nanna and her father, Nokkvi, but it seems that Nanna’s son married a sister of Instein, who is Ottar’s father.

21. Olmoth: one of the sons of Ketil Hortha-Kari. Line 4: here, and generally hereafter when it appears in the poem, this refrain-line is abbreviated in the manuscript to the word “all.”

__A_TAG_PLACEHOLDER_0__. Olmoth: one of the sons of Ketil Hortha-Kari. Line 4: here, and from now on when it shows up in the poem, this refrain-line is shortened in the manuscript to the word “all.”

22. An isolated stanza, which some editors place after stanza 24, others combining lines 1–2 with the fragmentary stanza 23. In the manuscript lines 3–4 stand after stanza 24, where they fail to connect clearly with anything. Hrolf the Old: probably King Hrolf Gautreksson of Gautland, in the saga relating to whom (Fornaldar sögur III, 57 ff.) appear the names of Thorir the Iron-shield and Grim Thorkelsson. [225]

__A_TAG_PLACEHOLDER_0__. An isolated stanza that some editors place after stanza 24, while others combine lines 1–2 with the incomplete stanza 23. In the manuscript, lines 3–4 come after stanza 24, where they don't clearly connect to anything. Hrolf the Old: likely King Hrolf Gautreksson of Gautland, in the saga where the names Thorir the Iron-shield and Grim Thorkelsson appear (Fornaldar sögur III, 57 ff.). [__A_TAG_PLACEHOLDER_0__]

23. Stanzas 23 and 24 name the twelve Berserkers, the sons of Arngrim and Eyfura, the story of whom is told in the Hervararsaga and the Orvar-Oddssaga. Saxo Grammaticus tells of the battle between them and Hjalmar and Orvar-Odd. Line 1 does not appear in the manuscript, but is added from the list of names given in the sagas. The Berserkers were wild warriors, distinguished above all by the fits of frenzy to which they were subject in battle; during these fits they howled like wild beasts, foamed at the mouth, and gnawed the iron rims of their shields. At such times they were proof against steel or fire, but when the fever abated they were weak. The etymology of the word berserk is disputed; probably, however, it means “bear-shirt.”

__A_TAG_PLACEHOLDER_0__. Stanzas 23 and 24 list the twelve Berserkers, the sons of Arngrim and Eyfura, whose story is told in the Hervararsaga and the Orvar-Oddssaga. Saxo Grammaticus recounts the battle between them and Hjalmar and Orvar-Odd. Line 1 is missing from the manuscript but is included from the list of names found in the sagas. The Berserkers were fierce warriors, especially known for their fits of rage during battle; during these episodes, they howled like wild animals, foamed at the mouth, and bit the iron rims of their shields. In those moments, they were impervious to steel or fire, but once the frenzy wore off, they became weak. The origin of the word berserk is debated; however, it likely means “bear-shirt.”

24. The manuscript omits the first half of line 1, here supplied from the Orvar-Oddssaga. Bolm: probably the island of Bolmsö, in the Swedish province of Småland. In the manuscript and in most editions stanza 24 is followed by lines 3–4 of stanza 22. Some editors reject line 5 as spurious.

__A_TAG_PLACEHOLDER_0__. The manuscript skips the first half of line 1, which is provided here from the Orvar-Oddssaga. Bolm: likely the island of Bolmsö, located in the Swedish province of Småland. In the manuscript and in most versions, stanza 24 is followed by lines 3–4 of stanza 22. Some editors consider line 5 to be not genuine.

25. In the manuscript line 1 stands after line 4 of stanza 29. Probably a stanza enumerating Jormunrek’s sons has been lost. Many editors combine lines 3–4 of stanza 22 and lines 2–4 of [226]stanza 25 into one stanza. Jormunrek: the historical Ermanarich, king of the Goths, who died about 376. According to Norse tradition, in which Jormunrek played a large part, he slew his own sons (cf. Guthrunarhvot and Hamthesmol). In the saga Jormunrek married Sigurth’s daughter, Svanhild. Stanzas 25–27 connect Ottar’s descent with the whole Volsung-Sigurth-Jormunrek-Gjuki genealogy. The story of Sigurth is the basis for most of the heroic poems of the Edda, of the famous Volsungasaga, and, in Germany, of the Nibelungenlied. On his battle with the dragon Fafnir cf. Fafnismol.

__A_TAG_PLACEHOLDER_0__. In the manuscript, line 1 comes after line 4 of stanza 29. It’s likely that a stanza listing Jormunrek’s sons has been lost. Many editors merge lines 3–4 of stanza 22 with lines 2–4 of [__A_TAG_PLACEHOLDER_0__]stanza 25 into a single stanza. Jormunrek: the historical Ermanarich, king of the Goths, who died around 376. According to Norse tradition, where Jormunrek is a significant figure, he killed his own sons (see Guthrunarhvot and Hamthesmol). In the saga, Jormunrek married Svanhild, the daughter of Sigurth. Stanzas 25–27 link Ottar’s lineage to the entire Volsung-Sigurth-Jormunrek-Gjuki family tree. The tale of Sigurth serves as the foundation for most of the heroic poems in the Edda, the well-known Volsungasaga, and, in Germany, the Nibelungenlied. For his battle with the dragon Fafnir, see Fafnismol.

26. Volsung: Sigurth’s grandfather and Othin’s great-grandson. Hjordis: daughter of King Eylimi, wife of Sigmund and mother of Sigurth. Othlings: cf. stanza 11.

__A_TAG_PLACEHOLDER_0__. Volsung: Sigurth's grandfather and Othin's great-grandson. Hjordis: daughter of King Eylimi, wife of Sigmund, and mother of Sigurth. Othlings: see stanza 11.

27. Gunnar, Hogni, and Guthrun: the three children of the Burgundian king Gjuki and his wife Grimhild (Kriemhild); Guthrun was Sigurth’s wife. Gotthorm, the third brother, who killed Sigurth at Brynhild’s behest, was Grimhild’s son, and thus a step-son of Gjuki. These four play an important part in the heroic cycle of Eddic poems. Cf. Gripisspo, introductory note. [227]

__A_TAG_PLACEHOLDER_0__. Gunnar, Hogni, and Guthrun: the three children of the Burgundian king Gjuki and his wife Grimhild (Kriemhild); Guthrun was Sigurth’s wife. Gotthorm, the third brother, who killed Sigurth at Brynhild’s request, was Grimhild’s son, making him Gjuki's step-son. These four play an important role in the heroic cycle of Eddic poems. Cf. Gripisspo, introductory note. [__A_TAG_PLACEHOLDER_0__]

28. In the manuscript and in many editions these two lines stand between stanzas 33 and 34. The change here made follows Bugge. The manuscript indicates no gap between stanzas 27 and 29. Hvethna: wife of King Halfdan of Denmark.

__A_TAG_PLACEHOLDER_0__. In the manuscript and in many versions, these two lines are placed between stanzas 33 and 34. The change made here follows Bugge's suggestion. The manuscript shows no gap between stanzas 27 and 29. Hvethna: the wife of King Halfdan of Denmark.

29. The manuscript and many editions include line 1 of stanza 25 after line 4 of stanza 29. The story of Harald Battle-tooth is told in detail by Saxo Grammaticus. Harald’s father was Hrörek, king of Denmark; his mother was Auth, daughter of Ivar, king of Sweden. After Ivar had treacherously destroyed Hrörek, Auth fled with Harald to Russia, where she married King Rathbarth. Harald’s warlike career in Norway, and his death on the Bravalla-field at the hands of his nephew, Sigurth Ring, son of Randver and grandson of Rathbarth and Auth, were favorite saga themes.

__A_TAG_PLACEHOLDER_0__. The manuscript and many editions include line 1 of stanza 25 after line 4 of stanza 29. The story of Harald Battle-tooth is detailed by Saxo Grammaticus. Harald’s father was Hrörek, the king of Denmark; his mother was Auth, the daughter of Ivar, the king of Sweden. After Ivar had treacherously slain Hrörek, Auth fled with Harald to Russia, where she married King Rathbarth. Harald’s military career in Norway and his death on the Bravalla field at the hands of his nephew, Sigurth Ring, the son of Randver and grandson of Rathbarth and Auth, were popular saga themes.

30. At this point begins the fragmentary and interpolated “short Voluspo” identified by Snorri. The manuscript gives no indication of the break in the poem’s continuity. Eleven: there [228]are various references to the “twelve” gods (including Baldr); Snorri (Gylfaginning, 20–33) lists the following twelve in addition to Othin: Thor, Baldr, Njorth, Freyr, Tyr, Bragi, Heimdall, Hoth, Vithar, Vali, Ull and Forseti; he adds Loki as of doubtful divinity. Baldr and Vali: cf. Voluspo, 32–33.

__A_TAG_PLACEHOLDER_0__. This is where the incomplete and added “short Voluspo” identified by Snorri begins. The manuscript doesn't indicate any breaks in the poem’s flow. Eleven: there [__A_TAG_PLACEHOLDER_0__]are several mentions of the “twelve” gods (including Baldr); Snorri (Gylfaginning, 20–33) lists the following twelve along with Othin: Thor, Baldr, Njorth, Freyr, Tyr, Bragi, Heimdall, Hoth, Vithar, Vali, Ull, and Forseti; he considers Loki to have uncertain divine status. Baldr and Vali: see Voluspo, 32–33.

31. The fragmentary stanzas 31–34 have been regrouped in various ways, and with many conjectures as to omissions, none of which are indicated in the manuscript. The order here is as in the manuscript, except that lines 1–2 of stanza 28 have been transposed from after line 2 of stanza 33. Bur’s heir: Othin; cf. Voluspo, 4.

__A_TAG_PLACEHOLDER_0__. The incomplete stanzas 31–34 have been rearranged in different ways, with many guesses about what might be missing, none of which are noted in the manuscript. The order here follows the manuscript, except that lines 1–2 of stanza 28 have been moved from after line 2 of stanza 33. Bur’s heir: Othin; see Voluspo, 4.

32. Freyr, Gerth, Gymir: cf. Skirnismol. Aurbotha: a giantess, mother of Gerth. Thjazi and Skathi: cf. Lokasenna, 49, and Harbarthsljoth, 19.

__A_TAG_PLACEHOLDER_0__. Freyr, Gerth, Gymir: see Skirnismol. Aurbotha: a giantess, mother of Gerth. Thjazi and Skathi: see Lokasenna, 49, and Harbarthsljoth, 19.

33. Cf. Voluspo, 44 and 27.

__A_TAG_PLACEHOLDER_0__. See Voluspo, 44 and 27.

34. Heith (“Witch”) and Hrossthjof (“Horse-thief”): the only other reference to the giant Hrimnir (Skirnismol, 28) makes no mention of his children. [229]

__A_TAG_PLACEHOLDER_0__. Heith (“Witch”) and Hrossthjof (“Horse-thief”): the only other mention of the giant Hrimnir (Skirnismol, 28) doesn’t refer to his children. [__A_TAG_PLACEHOLDER_0__]

35. This stanza is quoted by Snorri (Gylfaginning, 5). Of Vitholf (“Forest Wolf”), Vilmeith (“Wish-Tree”) and Svarthofthi (“Black Head”) nothing further is known. Ymir: cf. Voluspo, 3.

__A_TAG_PLACEHOLDER_0__. This stanza is quoted by Snorri (Gylfaginning, 5). We don't know anything else about Vitholf (“Forest Wolf”), Vilmeith (“Wish-Tree”), and Svarthofthi (“Black Head”). Ymir: see Voluspo, 3.

37. According to Snorri (Gylfaginning, 27) Heimdall was the son of Othin and of nine sisters. As Heimdall was the watchman of the gods, this has given rise to much “solar myth” discussion. The names of his nine giantess mothers are frequently said to denote attributes of the sea.

__A_TAG_PLACEHOLDER_0__. According to Snorri (Gylfaginning, 27), Heimdall was the son of Othin and nine sisters. Since Heimdall is the watchman of the gods, this has led to a lot of discussions about "solar myths." The names of his nine giantess mothers are often said to represent qualities of the sea.

38. The names of Heimdall’s mothers may be rendered “Yelper,” “Griper,” “Foamer,” “Sand-Strewer,” “She-Wolf,” “Sorrow-Whelmer,” “Dusk,” “Fury,” and “Iron-Sword.” [230]

__A_TAG_PLACEHOLDER_0__. The names of Heimdall’s mothers can be interpreted as “Yelper,” “Griper,” “Foamer,” “Sand-Strewer,” “She-Wolf,” “Sorrow-Whelmer,” “Dusk,” “Fury,” and “Iron-Sword.” [__A_TAG_PLACEHOLDER_0__]

39. It has been suggested that these lines were interpolated from Guthrunarkvitha II, 22. Some editors add the refrain of stanza 36. Swine’s blood: to Heimdall’s strength drawn from earth and sea was added that derived from sacrifice.

__A_TAG_PLACEHOLDER_0__. It's been suggested that these lines were added from Guthrunarkvitha II, 22. Some editors include the refrain from stanza 36. Swine’s blood: to Heimdall’s strength, which comes from earth and sea, was added that comes from sacrifice.

40. In the manuscript this stanza stands after stanza 44. Regarding Heimdall’s kinship to the three great classes of men, cf. Rigsthula, introductory note, wherein the apparent confusion of his attributes with those of Othin is discussed.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 44. About Heimdall’s relationship to the three major classes of people, see Rigsthula, introductory note, which talks about the clear mix-up of his traits with those of Othin.

42. Probably a lacuna before this stanza. Regarding the wolf Fenrir, born of Loki and the giantess Angrbotha, cf. Voluspo, 39 and note. Sleipnir: Othin’s eight-legged horse, born of the stallion Svathilfari and of Loki in the guise of a mare (cf. Grimnismol, 44). The worst: doubtless referring to Mithgarthsorm, another child of Loki. The brother of Byleist: Loki; cf. Voluspo, 51. [231]

__A_TAG_PLACEHOLDER_0__. There’s likely a gap before this stanza. About the wolf Fenrir, who is the offspring of Loki and the giantess Angrbotha, see Voluspo, 39 and the notes. Sleipnir: Othin’s eight-legged horse, born from the stallion Svathilfari and Loki in the form of a mare (see Grimnismol, 44). The worst: likely referring to Mithgarthsorm, another child of Loki. The brother of Byleist: Loki; see Voluspo, 51. [__A_TAG_PLACEHOLDER_0__]

43. Nothing further is known of the myth here referred to, wherein Loki (Lopt) eats the cooked heart of a woman and thus himself gives birth to a monster. The reference is not likely to be to the serpent, as, according to Snorri (Gylfaginning, 34), the wolf, the serpent, and Hel were all the children of Loki and Angrbotha.

__A_TAG_PLACEHOLDER_0__. There's no additional information about the myth mentioned here, where Loki (Lopt) eats a woman's cooked heart and, as a result, gives birth to a monster. It's probably not referring to the serpent, since, according to Snorri (Gylfaginning, 34), the wolf, the serpent, and Hel were all children of Loki and Angrbotha.

44. Probably an omission, perhaps of considerable length, before this stanza. For the description of the destruction of the world, cf. Voluspo, 57.

__A_TAG_PLACEHOLDER_0__. There’s likely something missing, maybe quite a bit, before this stanza. For the description of the world's destruction, see Voluspo, 57.

45. Cf. Voluspo, 65, where the possible reference to Christianity is noted. With this stanza the fragmentary “short Voluspo” ends, and the dialogue between Freyja and Hyndla continues.

__A_TAG_PLACEHOLDER_0__. See Voluspo, 65, where a possible reference to Christianity is mentioned. With this stanza, the incomplete "short Voluspo" concludes, and the conversation between Freyja and Hyndla goes on.

46. Freyja now admits the identity of her boar as Ottar, who [232]with the help of the “memory-beer” is to recall the entire genealogy he has just heard, and thus win his wager with Angantyr.

__A_TAG_PLACEHOLDER_0__. Freyja now reveals that her boar is Ottar, who [__A_TAG_PLACEHOLDER_0__] with the help of the "memory-beer," is able to remember the entire family tree he just heard, and therefore win his bet with Angantyr.

47. Heithrun: the she-goat that stands by Valhall (cf. Grimnismol, 25), the name being here used simply of she-goats in general, in caustic comment on Freyja’s morals. Of these Loki entertained a similar view; cf. Lokasenna, 30.

__A_TAG_PLACEHOLDER_0__. Heithrun: the female goat that stands by Valhalla (see Grimnismol, 25), with the name used here as a general term for female goats, making a biting remark about Freyja’s ethics. Loki shared a similar opinion; see Lokasenna, 30.

48. Oth: cf. stanza 6 and note, and Voluspo, 25 and note. Lines 3–4, abbreviated in the manuscript, are very likely repeated here by mistake.

__A_TAG_PLACEHOLDER_0__. Oth: see stanza 6 and the note, and Voluspo, 25 and the note. Lines 3–4, which are shortened in the manuscript, were probably repeated here by mistake.

49. The manuscript repeats once again lines 3–4 of stanza 47 as the last two lines of this stanza. It seems probable that two lines have been lost, to the effect that Freyja will burn the giantess alive “If swiftly now   |   thou dost not seek, / And hither bring   |   the memory-beer.” [234]

__A_TAG_PLACEHOLDER_0__. The manuscript once again repeats lines 3–4 of stanza 47 as the last two lines of this stanza. It seems likely that two lines have been lost, stating that Freyja will burn the giantess alive “If you don’t hurry now   |   and bring   |   the memory-beer here.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

SVIPDAGSMOL

The Ballad of Svipdag

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The two poems, Grougaldr (Groa’s Spell) and Fjolsvinnsmol (the Ballad of Fjolsvith), which many editors have, very wisely, united under the single title of Svipdagsmol, are found only in paper manuscripts, none of them antedating the seventeenth century. Everything points to a relatively late origin for the poems: their extensive use of “kennings” or poetical circumlocutions, their romantic spirit, quite foreign to the character of the unquestionably older poems, the absence of any reference to them in the earlier documents, the frequent errors in mythology, and, finally, the fact that the poems appear to have been preserved in unusually good condition. Whether or not a connecting link of narrative verse joining the two parts has been lost is an open question; on the whole it seems likely that the story was sufficiently well known so that the reciter of the poem (or poems) merely filled in the gap with a brief prose summary in pretty much his own words. The general relationship between dialogue and narrative in the Eddic poems is discussed in the introductory note to the Grimnismol, in connection with the use of prose links.

The two poems, Grougaldr (Groa’s Spell) and Fjolsvinnsmol (the Ballad of Fjolsvith), which many editors have wisely combined under the single title of Svipdagsmol, are found only in paper manuscripts, with none dating earlier than the seventeenth century. Everything suggests that the poems originate relatively late: their extensive use of “kennings” or poetic circumlocutions, their romantic spirit, which is quite different from the undeniably older poems, the lack of any reference to them in earlier documents, the frequent errors in mythology, and finally, the fact that the poems seem to have been preserved in unusually good condition. Whether a connecting piece of narrative verse that linked the two parts has been lost is still an open question; overall, it seems likely that the story was well-known enough that the reciter of the poem (or poems) simply filled in the gap with a brief prose summary in essentially his own words. The general relationship between dialogue and narrative in the Eddic poems is discussed in the introductory note to the Grimnismol, in connection with the use of prose links.

The love story of Svipdag and Mengloth is not referred to elsewhere in the Poetic Edda, nor does Snorri mention it; however, Groa, who here appears as Svipdag’s mother, is spoken of by Snorri as a wise woman, the wife of Orvandil, who helps Thor with her magic charms. On the other hand, the essence of the story, the hero’s winning of a bride ringed about by flames, is strongly suggestive of parts of the Sigurth-Brynhild traditions. Whether or not it is to be regarded as a nature or solar myth depends entirely on one’s view of the whole “solar myth” school of criticism, not so highly esteemed today as formerly; such an interpretation is certainly not necessary to explain what is, under any circumstances, a very charming romance told, in the main, with dramatic effectiveness.

The love story of Svipdag and Mengloth isn't mentioned anywhere else in the Poetic Edda, and Snorri doesn't bring it up either; however, Groa, who here appears as Svipdag’s mother, is described by Snorri as a wise woman, the wife of Orvandil, who assists Thor with her magic spells. Conversely, the core of the story, where the hero wins a bride surrounded by flames, strongly resembles parts of the Sigurth-Brynhild legends. Whether this should be seen as a nature or solar myth depends entirely on one’s perspective of the whole “solar myth” school of thought, which isn't held in as high regard today as it once was; however, such an interpretation isn’t necessary to understand what is, in any case, a very charming romance told, for the most part, with dramatic flair.

In later years the story of Svipdag and Mengloth became popular throughout the North, and was made the subject of many Danish and Swedish as well as Norwegian ballads. These have greatly assisted in the reconstruction of the outlines of the narrative surrounding the dialogue poems here given.

In later years, the story of Svipdag and Mengloth became popular across the North and inspired many ballads in Danish, Swedish, and Norwegian. These have been very helpful in piecing together the outlines of the narrative surrounding the dialogue poems presented here.

[__A_TAG_PLACEHOLDER_0__]

[235]

[__A_TAG_PLACEHOLDER_0__]

I. GROUGALDR

I. GROUGALDR

Groa’s Spell

Groa's Spell

Svipdag spake:

Svipdag said:

1. “Wake thee, Groa!   |   wake, mother good!

__A_TAG_PLACEHOLDER_0__. “Wake up, Groa!   |   wake, good mother!

At the doors of the dead I call thee;

At the gates of the dead, I summon you;

Thy son, bethink thee,   |   thou badst to seek

Thy son, remember, you told me to look for

Thy help at the hill of death.”

Thy help at the hill of death.

Groa spake:

Groa said:

2. “What evil vexes   |   mine only son,

2. “What trouble is bothering my only son,

What baleful fate hast thou found,

What terrible fate have you encountered,

That thou callest thy mother,   |   who lies in the mould,

That you call your mother,   |   who lies in the ground,

And the world of the living has left?”

And has the world of the living gone away?

Svipdag spake:

Svipdag said:

3. “The woman false   |   whom my father embraced

__A_TAG_PLACEHOLDER_0__. “The untrue woman | whom my father held

Has brought me a baleful game;

Has brought me a harmful game;

For she bade me go forth   |   where none may fare,

For she told me to go where no one else can go,

And Mengloth the maid to seek.”

And Mengloth the maid to find.

Groa spake:

Groa said:

4. “Long is the way,   |   long must thou wander,

4. “The journey is long,   |   you must wander for a long time,

But long is love as well;

But love is also enduring;

Thou mayst find, perchance,   |   what thou fain wouldst have,

You might find, perhaps, what you would gladly have,

If the fates their favor will give.”

If fate decides to grant their favor.

[236]

[__A_TAG_PLACEHOLDER_0__]

Svipdag spake:

Svipdag said:

5. “Charms full good   |   then chant to me, mother,

5. “Good charms, now sing to me, mother,

And seek thy son to guard;

And look for your son to protect;

For death do I fear   |   on the way I shall fare,

For death, I fear   |   how my journey will go,

And in years am I young, methinks.”

And I think I'm still young in years.

Groa spake:

Groa said:

6. “Then first I will chant thee   |   the charm oft-tried,

__A_TAG_PLACEHOLDER_0__. “Then first I will sing to you | the well-tested spell,

That Rani taught to Rind;

That Rani taught Rind;

From the shoulder whate’er   |   mislikes thee shake,

From the shoulder, shake off whatever you dislike.

For helper thyself shalt thou have.

You will help yourself.

7. “Then next I will chant thee,   |   if needs thou must travel,

__A_TAG_PLACEHOLDER_0__. “Then next I will sing to you,   |   if you really have to go,

And wander a purposeless way:

And wander aimlessly:

The bolts of Urth   |   shall on every side

The bolts of Urth   |   will be all around

Be thy guards on the road thou goest.

Be your guards on the road you travel.

8. “Then third I will chant thee,   |   if threatening streams

__A_TAG_PLACEHOLDER_0__. “Then third, I will sing to you,   |   if dangerous waters

The danger of death shall bring: [237]

The fear of death will bring: [__A_TAG_PLACEHOLDER_0__]

Yet to Hel shall turn   |   both Horn and Ruth,

Yet both Horn and Ruth shall turn to Hel,

And before thee the waters shall fail.

And the water will dry up before you.

9. “Then fourth I will chant thee,   |   if come thy foes

9. “Then I will sing your praises,   |   if your enemies arrive

On the gallows-way against thee:

On the gallows path against you:

Into thine hands   |   shall their hearts be given,

Into your hands   |   shall their hearts be given,

And peace shall the warriors wish.

And the warriors will wish for peace.

10. “Then fifth I will chant thee,   |   if fetters perchance

__A_TAG_PLACEHOLDER_0__. “Then fifth I will sing to you, | if chains perhaps

Shall bind thy bending limbs:

Will bind your bending limbs:

O’er thy thighs do I chant   |   a loosening-charm,

O'er your thighs I sing a relaxation spell,

And the lock is burst from the limbs,

And the lock is broken from the limbs,

And the fetters fall from the feet.

And the chains drop from the feet.

11. “Then sixth I will chant thee,   |   if storms on the sea

11. “Then sixth, I will sing to you,   |   if there are storms at sea

Have might unknown to man:

Have might unknown to humanity:

Yet never shall wind   |   or wave do harm,

Yet the wind or waves will never cause harm,

And calm is the course of thy boat.

And your boat glides smoothly.

12. “Then seventh I chant thee,   |   if frost shall seek

12. “Then I sing to you in the seventh,   |   if frost should come

To kill thee on lofty crags:

To kill you on high cliffs:

The fatal cold   |   shall not grip thy flesh,

The deadly cold | will not hold onto your body,

And whole thy body shall be.

And your whole body shall be well.

[238]

[__A_TAG_PLACEHOLDER_0__]

13. “Then eighth will I chant thee,   |   if ever by night

__A_TAG_PLACEHOLDER_0__. “Then I will sing about you at night if ever

Thou shalt wander on murky ways:

You will wander on unclear paths:

Yet never the curse   |   of a Christian woman

Yet never the curse of a Christian woman

From the dead shall do thee harm.

From the dead will do you harm.

14. “Then ninth will I chant thee,   |   if needs thou must strive

14. “Then I will sing your praises,   |   if you have to fight

With a warlike giant in words:

With a loud, aggressive giant:

Thy heart good store   |   of wit shall have,

Your heart will have plenty of wit.

And thy mouth of words full wise.

And your mouth full of wise words.

15. “Now fare on the way   |   where danger waits,

15. “Now continue on the path   |   where danger lies,

Let evils not lessen thy love!

Don't let anything reduce your love!

I have stood at the door   |   of the earth-fixed stones,

I have stood at the door of the earth-fixed stones,

The while I chanted thee charms.

The while I chanted the charms.

16. “Bear hence, my son,   |   what thy mother hath said,

__A_TAG_PLACEHOLDER_0__. “Go on, my son,  |   remember what your mother said,

And let it live in thy breast;

And let it live in your heart;

Thine ever shall be   |   the best of fortune,

Thine ever shall be   |   the best of fortune,

So long as my words shall last.”

"So long as my words endure."

[239]

[__A_TAG_PLACEHOLDER_0__]

II. FJOLSVINNSMOL

II. FJOLSVINNSMOL

The Lay of Fjolsvith

The Lay of Fjolsvith

17. Before the house   |   he beheld one coming

__A_TAG_PLACEHOLDER_0__. Before the house   |   he saw someone approaching

To the home of the giants high.

To the home of the towering giants.

Svipdag spake:

Svipdag said:

“What giant is here,   |   in front of the house,

“What giant is here,   |   in front of the house,

And around him fires are flaming?”

And around him, fires are blazing?”

Fjolsvith spake:

Fjolsvith said:

18. “What seekest thou here?   |   for what is thy search?

18. “What are you looking for here? | What are you searching for?

What, friendless one, fain wouldst thou know?

What do you want to know, lonely one?

By the ways so wet   |   must thou wander hence,

By the way so wet   |   you must wander away,

For, weakling, no home hast thou here.”

For, weakling, you have no home here.

Svipdag spake:

Svipdag said:

19. “What giant is here,   |   in front of the house,

19. “What giant is here,   |   in front of the house,

To the wayfarer welcome denying?”

"Welcome to the wayfarer?"

[240]

[__A_TAG_PLACEHOLDER_0__]

Fjolsvith spake:

Fjolsvith said:

“Greeting full fair   |   thou never shalt find,

“Hello, beautiful one | you'll never find,"

So hence shalt thou get thee home.

So that's how you will get home.

20. “Fjolsvith am I,   |   and wise am I found,

20. “I am Fjolsvith, and I am considered wise,

But miserly am I with meat;

But I'm stingy with food;

Thou never shalt enter   |   within the house,—

Thou never shalt enter   |   within the house,—

Go forth like a wolf on thy way!”

Go out like a wolf on your path!

Svipdag spake:

Svipdag said

21. “Few from the joy   |   of their eyes will go forth,

21. “Not many will leave the joy of their eyes,

When the sight of their loves they seek;

When they search for the sight of their loves;

Full bright are the gates   |   of the golden hall,

Full bright are the gates | of the golden hall,

And a home shall I here enjoy.”

And I will enjoy a home here.

Fjolsvith spake:

Fjolsvith said:

22. “Tell me now, fellow,   |   what father thou hast,

__A_TAG_PLACEHOLDER_0__. “Tell me now, friend,   |   who your father is,

And the kindred of whom thou camst.”

And the family from which you came.

Svipdag spake:

Svipdag said:

“Vindkald am I,   |   and Varkald’s son,

“Vindkald am I,   |   and Varkald’s son,

And Fjolkald his father was.

And he was Fjolkald's father.

23. “Now answer me, Fjolsvith,   |   the question I ask,

23. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know: [241]

For now, I want to know the truth: [__A_TAG_PLACEHOLDER_0__]

Who is it that holds   |   and has for his own

Who is it that possesses  |   and has for himself

The rule of the hall so rich?”

The rule of the hall is so rich?

Fjolsvith spake:

Fjolsvith said:

24. “Mengloth is she,   |   her mother bore her

__A_TAG_PLACEHOLDER_0__. “She is Mengloth,   |   her mother gave birth to her

To the son of Svafrthorin;

To Svafrthorin's son;

She is it that holds   |   and has for her own

She is the one who holds it and has it for herself.

The rule of the hall so rich.”

The beauty of the hall is so lavish.

Svipdag spake:

Svipdag said:

25. “Now answer me, Fjolsvith,   |   the question I ask,

25. “Now answer me, Fjolsvith, | the question I ask,

For now the truth would I know:

For now, I want to know the truth:

What call they the gate?   |   for among the gods

What do they call the gate?   |   for among the gods

Ne’er saw man so grim a sight.”

“Never saw a man such a grim sight.”

Fjolsvith spake:

Fjolsvith said:

26. “Thrymgjol they call it;   |   ’twas made by the three,

__A_TAG_PLACEHOLDER_0__. “They call it Thrymgjol;   |   it was created by the three,

The sons of Solblindi;

The sons of Solblindi;

And fast as a fetter   |   the farer it holds,

And as fast as a chain | the farther it goes,

Whoever shall lift the latch.”

"Whoever lifts the latch."

Svipdag spake:

Svipdag said:

27. “Now answer me, Fjolsvith,   |   the question I ask,

27. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know: [242]

For now, I want to know the truth: [__A_TAG_PLACEHOLDER_0__]

What call they the house?   |   for no man beheld

What do they call the house? | for no one has seen

‘Mongst the gods so grim a sight.”

'Mongst the gods, such a grim sight.'

Fjolsvith spake:

Fjolsvith said:

28. “Gastropnir is it,   |   of old I made it

__A_TAG_PLACEHOLDER_0__. “It's Gastropnir, | I created it long ago.

From the limbs of Leirbrimir;

From the branches of Leirbrimir;

I braced it so strongly   |   that fast it shall stand

I held it so tightly that it will stay still.

So long as the world shall last.”

So long as the world lasts.

Svipdag spake:

Svipdag said:

29. “Now answer me, Fjolsvith,   |   the question I ask,

29. “Now answer me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What call they the tree   |   that casts abroad

What do they call the tree that spreads its branches?

Its limbs o’er every land?”

Its limbs over every land?

Fjolsvith spake:

Fjolsvith said:

30. “Mimameith its name,   |   and no man knows

__A_TAG_PLACEHOLDER_0__. “No one knows the name Mimameith,”

What root beneath it runs;

What root runs beneath it;

And few can guess   |   what shall fell the tree,

And few can guess what will bring down the tree,

For fire nor iron shall fell it.”

For neither fire nor iron will bring it down.

Svipdag spake:

Svipdag said:

31. “Now answer me, Fjolsvith,   |   the question I ask,

31. “Now tell me, Fjolsvith, | the question I’m asking,

For now the truth would I know: [243]

For now, I want to know the truth: [__A_TAG_PLACEHOLDER_0__]

What grows from the seed   |   of the tree so great,

What grows from the seed   |   of the tree so tall,

That fire nor iron shall fell?”

That fire or iron shall not bring down?”

Fjolsvith spake:

Fjolsvith said:

32. “Women, sick   |   with child, shall seek

__A_TAG_PLACEHOLDER_0__. “Women who are pregnant and unwell will look for

Its fruit to the flames to bear;

Its fruit to the flames to bear;

Then out shall come   |   what within was hid,

Then what was hidden inside shall come out,

And so is it mighty with men.”

And so, it is powerful with people.

Svipdag spake:

Svipdag said:

33. “Now answer me, Fjolsvith,   |   the question I ask,

33. “Now answer me, Fjolsvith,   |   the question I ask,

For now the truth would I know:

For now, I want to know the truth:

What cock is he   |   on the highest bough,

What rooster is he | on the highest branch,

That glitters all with gold?”

That glitters with gold?

Fjolsvith spake:

Fjolsvith said:

34. “Vithofnir his name,   |   and now he shines

__A_TAG_PLACEHOLDER_0__. “His name is Vithofnir,   |   and now he sparkles

Like lightning on Mimameith’s limbs;

Like lightning on Mimameith's arms;

And great is the trouble   |   with which he grieves

And he is really troubled by the pain he feels.

Both Surt and Sinmora.”

Both Surt and Sinmora.

[244]

[__A_TAG_PLACEHOLDER_0__]

Svipdag spake:

Svipdag said

35. “Now answer me, Fjolsvith,   |   the question I ask,

__A_TAG_PLACEHOLDER_0__. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What call they the hounds,   |   that before the house

What do they call the hounds,   |   that are in front of the house

So fierce and angry are?”

"So fierce and angry, right?"

Fjolsvith spake:

Fjolsvith said:

36. “Gif call they one,   |   and Geri the other,

__A_TAG_PLACEHOLDER_0__. “If they call one, | and Geri the other,

If now the truth thou wouldst know;

If you want to know the truth now;

Great they are,   |   and their might will grow,

Great they are,   |   and their power will increase,

Till the gods to death are doomed.”

Till the gods are doomed to die.

Svipdag spake:

Svipdag said

37. “Now answer me, Fjolsvith,   |   the question I ask,

37. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

May no man hope   |   the house to enter,

May no man hope | the house to enter,

While the hungry hounds are sleeping?”

While the hungry dogs are sleeping?

Fjolsvith spake:

Fjolsvith said:

38. “Together they sleep not,   |   for so was it fixed

38. “They don’t sleep side by side,   |   because that was the way it was decided

When the guard to them was given;

When the guard was assigned to them;

One sleeps by night,   |   the next by day,

One sleeps at night,   |   the next during the day,

So no man may enter ever.”

So no one can ever enter.

Svipdag spake:

Svipdag said:

39. “Now answer me, Fjolsvith,   |   the question I ask,

39. “Now tell me, Fjolsvith, the question I’m asking,

For now the truth would I know: [245]

For now, I want to know the truth: [__A_TAG_PLACEHOLDER_0__]

Is there no meat   |   that men may give them,

Is there no meat that people can give them,

And leap within while they eat?”

And jump inside while they eat?

Fjolsvith spake:

Fjolsvith spoke:

40. “Two wing-joints there be   |   in Vithofnir’s body,

40. “There are two wing joints in Vithofnir’s body,

If now the truth thou wouldst know;

If you want to know the truth now;

That alone is the meat   |   that men may give them,

That alone is what men might offer them,

And leap within while they eat.”

And jump inside while they eat.”

Svipdag spake:

Svipdag said:

41. “Now answer me, Fjolsvith,   |   the question I ask,

41. “Now answer me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What weapon can send   |   Vithofnir to seek

What weapon can make Vithofnir hunt?

The house of Hel below?”

“Hel's house below?”

Fjolsvith spake:

Fjolsvith said:

42. “Lævatein is there,   |   that Lopt with runes

__A_TAG_PLACEHOLDER_0__. “Lævatein is there,   |   that Lopt with runes

Once made by the doors of death;

Once created by the doors of death;

In Lægjarn’s chest   |   by Sinmora lies it,

In Lægjarn’s chest | by Sinmora, it lies,

And nine locks fasten it firm.”

And nine locks secure it tightly.”

Svipdag spake:

Svipdag said:

43. “Now answer me, Fjolsvith,   |   the question I ask,

43. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

May a man come thence   |   who thither goes,

May a man come from there | who goes there,

And tries the sword to take?”

And is it trying to take the sword?

[246]

[__A_TAG_PLACEHOLDER_0__]

Fjolsvith spake:

Fjolsvith said:

44. “Thence may he come   |   who thither goes,

__A_TAG_PLACEHOLDER_0__. “From there he may come   |   who goes there,

And tries the sword to take,

And tries to take the sword,

If with him he carries   |   what few can win,

If he carries with him what few can achieve,

To give to the goddess of gold.”

To give to the goddess of wealth.

Svipdag spake:

Svipdag said:

45. “Now answer me, Fjolsvith,   |   the question I ask,

45. “Now tell me, Fjolsvith, the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What treasure is there   |   that men may take

What treasure is there   |   that people can take

To rejoice the giantess pale?”

To celebrate the pale giantess?

Fjolsvith spake:

Fjolsvith said:

46. “The sickle bright   |   in thy wallet bear,

__A_TAG_PLACEHOLDER_0__. “Carry the shiny sickle in your bag,

Mid Vithofnir’s feathers found;

Mid Vithofnir's feathers discovered;

To Sinmora give it,   |   and then shall she grant

To Sinmora, give it,   |   and then she will grant

That the weapon by thee be won.”

That the weapon be won by you.

Svipdag spake:

Svipdag said

47. “Now answer me, Fjolsvith,   |   the question I ask,

47. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What call they the hall,   |   encompassed here

What do they call the hall,   |   surrounded here

With flickering magic flames?”

With flickering magical flames?”

[247]

[__A_TAG_PLACEHOLDER_0__]

Fjolsvith spake:

Fjolsvith said:

48. “Lyr is it called,   |   and long it shall

__A_TAG_PLACEHOLDER_0__. “It’s called Lyr, and it will last long.”

On the tip of a spear-point tremble;

On the edge of a spear tip, I shake;

Of the noble house   |   mankind has heard,

Of the noble house   |   humanity has heard,

But more has it never known.”

But it has never known more.

Svipdag spake:

Svipdag said:

49. “Now answer me, Fjolsvith,   |   the question I ask,

49. “Now tell me, Fjolsvith, the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What one of the gods   |   has made so great

What one of the gods has made so great

The hall I behold within?”

The hall I see inside?”

Fjolsvith spake:

Fjolsvith said:

50. “Uni and Iri,   |   Bari and Jari,

__A_TAG_PLACEHOLDER_0__. “Uni and Iri,   |   Bari and Jari,

Var and Vegdrasil,

Var and Vegdrasil,

Dori and Ori,   |   Delling, and there

Dori and Ori,   |   Delling, and there

Was Loki, the fear of the folk.”

Was Loki, the fear of the people.

[248]

[__A_TAG_PLACEHOLDER_0__]

Svipdag spake:

Svipdag said:

51. “Now answer me, Fjolsvith,   |   the question I ask,

51. “Now tell me, Fjolsvith, | the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What call they the mountain   |   on which the maid

What do they call the mountain on which the maid

Is lying so lovely to see?”

Is lying really that beautiful to witness?

Fjolsvith spake:

Fjolsvith said:

52. “Lyfjaberg is it,   |   and long shall it be

__A_TAG_PLACEHOLDER_0__. “It's Lyfjaberg,   |   and it will be here for a long time."

A joy to the sick and the sore;

A comfort to the sick and the aching;

For well shall grow   |   each woman who climbs it,

For surely each woman who climbs it will thrive,

Though sick full long she has lain.”

Though she has been sick for a long time.

Svipdag spake:

Svipdag said

53. “Now answer me, Fjolsvith,   |   the question I ask,

53. “Now tell me, Fjolsvith,   |   the question I’m asking,

For now the truth would I know:

For now, I want to know the truth:

What maidens are they   |   that at Mengloth’s knees

What maidens are they   |   that at Mengloth’s knees

Are sitting so gladly together?”

"Are we sitting together happily?"

Fjolsvith spake:

Fjolsvith said:

54. “Hlif is one named,   |   Hlifthrasa another,

__A_TAG_PLACEHOLDER_0__. “One is called Hlif,   |   another is Hlifthrasa,

Thjothvara call they the third; [249]

They call the third Thjothvara; [__A_TAG_PLACEHOLDER_0__]

Bjort and Bleik,   |   Blith and Frith,

Bjort and Bleik,   |   Blith and Frith,

Eir and Aurbotha.”

Eir and Aurbotha.

Svipdag spake:

Svipdag said:

55. “Now answer me, Fjolsvith,   |   the question I ask,

__A_TAG_PLACEHOLDER_0__. “Now tell me, Fjolsvith,   |   the question I'm asking,

For now the truth would I know:

For now, I want to know the truth:

Aid bring they to all   |   who offerings give,

Aid they bring to all who give offerings,

If need be found therefor?”

If help is needed for that?

Fjolsvith spake:

Fjolsvith said:

56. “Soon aid they all   |   who offerings give

__A_TAG_PLACEHOLDER_0__. “Soon they'll all help   |   who make offerings

On the holy altars high;

On the high holy altars;

And if danger they see   |   for the sons of men,

And if they see danger for humanity,

Then each from ill do they guard.”

Then everyone protects against evil.

Svipdag spake:

Svipdag said:

57. “Now answer me, Fjolsvith,   |   the question I ask,

57. “Now tell me, Fjolsvith, the question I ask,

For now the truth would I know:

For now, I want to know the truth:

Lives there the man   |   who in Mengloth’s arms

Lives there the man who in Mengloth’s arms

So fair may seek to sleep?”

So beautiful, can I try to sleep?

Fjolsvith spake:

Fjolsvith said:

58. “No man there is   |   who in Mengloth’s arms

58. “There’s no man who, in Mengloth’s embrace

So fair may seek to sleep,

So beautiful may seek to sleep,

Save Svipdag alone,   |   for the sun-bright maid

Save Svipdag alone,   |   for the bright maid

Is destined his bride to be.”

Is destined to be his bride.”

[250]

[__A_TAG_PLACEHOLDER_0__]

Svipdag spake:

Svipdag said:

59. “Fling back the gates!   |   make the gateway wide!

59. “Throw open the gates!   |   make the entrance wide!

Here mayst thou Svipdag see!

Here you can see Svipdag!

Hence get thee to find   |   if gladness soon

Hence get you to find | if happiness soon

Mengloth to me will give.”

“Mengloth will give to me.”

Fjolsvith spake:

Fjolsvith said:

60. “Hearken, Mengloth,   |   a man is come;

60. “Listen, Mengloth,   |   a man has arrived;

Go thou the guest to see!

Go be the guest to see!

The hounds are fawning,   |   the house bursts open,—

The hounds are eager,   |   the house swings open,—

Svipdag, methinks, is there.”

Svipdag, I think, is there.

Mengloth spake:

Mengloth said:

61. “On the gallows high   |   shall hungry ravens

61. “On the high gallows | hungry ravens shall

Soon thine eyes pluck out,

Soon your eyes will be plucked out,

If thou liest in saying   |   that here at last

If you are lying when you say that here at last

The hero is come to my hall.

The hero has arrived in my hall.

62. “Whence camest thou hither?   |   how camest thou here?

62. “Where did you come from?   |   how did you get here?

What name do thy kinsmen call thee?

What name do your relatives call you?

Thy race and thy name   |   as a sign must I know,

Your race and your name | as a sign must I know,

That thy bride I am destined to be.”

That I am meant to be your bride.”

Svipdag spake:

Svipdag said:

63. “Svipdag am I,   |   and Solbjart’s son;

__A_TAG_PLACEHOLDER_0__. “I’m Svipdag,   |   the son of Solbjart;

Thence came I by wind-cold ways; [251]

Thence I came by cold, windy paths; [__A_TAG_PLACEHOLDER_0__]

With the words of Urth   |   shall no man war,

With the words of Urth   |   no man shall wage war,

Though unearned her gifts be given.”

Though her gifts are unearned, they are given.

Mengloth spake:

Mengloth said

64. “Welcome thou art,   |   for long have I waited;

64. “Welcome, you are;   |   for a long time I have waited;

The welcoming kiss shalt thou win!

You shall win the welcoming kiss!

For two who love   |   is the longed-for meeting

For two people in love | is the long-awaited reunion

The greatest gladness of all.

The greatest joy of all.

65. “Long have I sat   |   on Lyfjaberg here,

__A_TAG_PLACEHOLDER_0__. “I have spent a long time sitting here on Lyfjaberg,

Awaiting thee day by day;

Waiting for you day by day;

And now I have   |   what I ever hoped,

And now I have what I always hoped for,

For here thou art come to my hall.

For here you have come to my hall.

66. “Alike we yearned;   |   I longed for thee,

66. “We both craved the same; I missed you,

And thou for my love hast longed;

And you have longed for my love;

But now henceforth   |   together we know

But from now on, together we know

Our lives to the end we shall live.”

Our lives, we will live until the end.

[234]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[235]

[__A_TAG_PLACEHOLDER_0__]

1. Svipdag (“Swift Day”): the names of the speakers are lacking in the manuscripts.

__A_TAG_PLACEHOLDER_0__. Svipdag (“Swift Day”): the manuscripts do not include the names of the speakers.

3. The woman: Svipdag’s stepmother, who is responsible for [236]his search for Mengloth (“Necklace-Glad”). This name has suggested that Mengloth is really Frigg, possessor of the famous Brisings’ necklace, or else Freyja (cf. Lokasenna, 20, note).

__A_TAG_PLACEHOLDER_0__. The woman: Svipdag’s stepmother, who is responsible for [__A_TAG_PLACEHOLDER_0__]his quest for Mengloth (“Necklace-Glad”). This name suggests that Mengloth might actually be Frigg, who owns the famous Brisings’ necklace, or possibly Freyja (see Lokasenna, 20, note).

6. For this catalogue of charms (stanzas 6–14) cf. the Ljothatal (Hovamol, 147–165). Rani and Rind: the manuscripts have these words in inverse relation; I have followed Neckel’s emendation. Rind was the giantess who became the mother of Vali, Othin’s son, the one-night-old avenger of Baldr (cf. Voluspo, 33–34, and Baldrs Draumar, 11 and note). Rani is presumably Othin, who, according to a skaldic poem, won Rind by magic.

__A_TAG_PLACEHOLDER_0__. For this collection of charms (stanzas 6–14) see the Ljothatal (Hovamol, 147–165). Rani and Rind: the manuscripts list these names in reverse order; I've followed Neckel’s correction. Rind was the giantess who became the mother of Vali, Odin’s son, the one-day-old avenger of Baldr (see Voluspo, 33–34, and Baldrs Draumar, 11 and note). Rani is likely Odin, who, according to a skaldic poem, won Rind through magic.

7. Urth: one of the three Norns, or Fates; cf. Voluspo, 20. [237]

__A_TAG_PLACEHOLDER_0__. Urth: one of the three Norns, or Fates; see Voluspo, 20. [__A_TAG_PLACEHOLDER_0__]

8. Horn and Ruth: these two rivers, here used merely to symbolize all dangerous streams, are not included in the catalogue of rivers given in Grimnismol, 27–29, for which reason some editors have changed the names to Hron and Hrith.

__A_TAG_PLACEHOLDER_0__. Horn and Ruth: these two rivers, which are just used to represent all dangerous rivers, aren't listed in the catalog of rivers found in Grimnismol, 27–29, which is why some editors have switched the names to Hron and Hrith.

10. This stanza is a close parallel to Hovamol, 150, and the fifth line may well be an interpolation from line 4 of that stanza. [238]

__A_TAG_PLACEHOLDER_0__. This stanza closely resembles Hovamol, 150, and the fifth line might actually be an addition from line 4 of that stanza. [__A_TAG_PLACEHOLDER_0__]

13. A dead Christian woman: this passage has distressed many editors, who have sought to emend the text so as to make it mean simply “a dead witch.” The fact seems to be, however, that this particular charm was composed at a time when Christians were regarded by all conservative pagans as emissaries of darkness. A dead woman’s curse would naturally be more potent, whether she was Christian or otherwise, than a living one’s. Presumably this charm is much older than the poem in which it here stands.

__A_TAG_PLACEHOLDER_0__. A dead Christian woman: this passage has troubled many editors, who have tried to change the text to simply say “a dead witch.” However, it seems that this specific charm was created during a time when Christians were viewed by all traditional pagans as agents of darkness. A curse from a dead woman would naturally be more powerful, whether she was Christian or not, than one from a living person. It's likely that this charm is much older than the poem in which it appears.

16. At this point Groa’s song ends, and Svipdag, thus fortified, goes to seek Mengloth. All the link that is needed between the poems is approximately this: “Then Svipdag searched long for [239]Mengloth, and at last he came to a great house set all about with flames. And before the house there was a giant.”

__A_TAG_PLACEHOLDER_0__. At this point, Groa’s song finishes, and Svipdag, feeling empowered, goes off to find Mengloth. The connection needed between the poems is roughly this: “Then Svipdag searched for a long time for [__A_TAG_PLACEHOLDER_0__]Mengloth, and finally he arrived at a huge house surrounded by flames. And in front of the house, there stood a giant.”

17. Most editors have here begun a new series of stanza numbers, but if the Grougaldr and the Fjolsvinnsmol are to be considered as a single poem, it seems more reasonable to continue the stanza numbers consecutively. Bugge thinks a stanza has been lost before 17, including Fjolsvith’s name, so that the “he” in line 1 might have something to refer to. However, just such a prose link as I have suggested in the note on stanza 16 would serve the purpose. Editors have suggested various rearrangements in the lines of stanzas 17–19. The substance, however, is clear enough. The giant Fjolsvith (“Much-Wise”), the warder of the house in which Mengloth dwells, sees Svipdag coming and stops him with the customary threats. The assignment of the [240]speeches in stanzas 17–20, in the absence of any indications in the manuscripts, is more or less guesswork.

__A_TAG_PLACEHOLDER_0__. Most editors have started a new series of stanza numbers here, but if the Grougaldr and the Fjolsvinnsmol are meant to be seen as a single poem, it makes more sense to continue the stanza numbers consecutively. Bugge believes a stanza has been lost before 17, which included Fjolsvith’s name, so the “he” in line 1 would have something to refer to. However, a prose link like the one I suggested in the note on stanza 16 could fulfill that need. Editors have proposed different rearrangements in the lines of stanzas 17–19. The main idea, though, is pretty clear. The giant Fjolsvith (“Much-Wise”), who guards the house where Mengloth lives, sees Svipdag approaching and stops him with the usual threats. The assignment of the [__A_TAG_PLACEHOLDER_0__] speeches in stanzas 17–20, without any clues in the manuscripts, is mostly guesswork.

22. Vindkald (“Wind-Cold”), Varkald (“Cold of Early Spring”) and Fjolkald (“Much Cold”): Svipdag apparently seeks to persuade Fjolsvith that he belongs to the frost giants. [241]

__A_TAG_PLACEHOLDER_0__. Vindkald (“Wind-Cold”), Varkald (“Cold of Early Spring”) and Fjolkald (“Much Cold”): Svipdag seems to be trying to convince Fjolsvith that he is one of the frost giants. [__A_TAG_PLACEHOLDER_0__]

24. Svafrthorin: who he was, or what his name means, or who his son was, are all unknown.

__A_TAG_PLACEHOLDER_0__. Svafrthorin: who he was, what his name means, or who his son was, are all unknown.

26. Thrymgjol (“Loud-Clanging”): this gate, like the gate of the dead, shuts so fast as to trap those who attempt to use it (cf. Sigurtharkvitha en skamma, 68 and note). It was made by the dwarfs, sons of Solblindi (“Sun-Blinded”), the traditional craftsmen, who could not endure the light of day. [242]

__A_TAG_PLACEHOLDER_0__. Thrymgjol (“Loud-Clanging”): this gate, like the gate of the dead, shuts so quickly that it can trap anyone trying to use it (see Sigurtharkvitha en skamma, 68 and note). It was crafted by the dwarves, sons of Solblindi (“Sun-Blinded”), the traditional artisans, who couldn't stand the brightness of day. [__A_TAG_PLACEHOLDER_0__]

28. Gastropnir: “Guest-Crusher.” Leirbrimir’s (“Clay-Giant’s”) limbs: a poetic circumlocution for “clay”; cf. the description of the making of earth from the body of the giant Ymir, Vafthruthnismol, 21.

__A_TAG_PLACEHOLDER_0__. Gastropnir: “Guest-Crusher.” Leirbrimir’s (“Clay-Giant’s”) limbs: a poetic way of saying “clay”; see the description of creating earth from the body of the giant Ymir, Vafthruthnismol, 21.

30. Mimameith (“Mimir’s Tree”): the ash Yggdrasil, that overshadows the whole world. The well of Mimir was situated at its base; cf. Voluspo, 27–29. [243]

__A_TAG_PLACEHOLDER_0__. Mimameith (“Mimir’s Tree”): the ash tree Yggdrasil, which towers over the entire world. The well of Mimir was located at its base; see Voluspo, 27–29. [__A_TAG_PLACEHOLDER_0__]

32. Gering suggests that two stanzas have been lost between stanzas 15 and 16, but the giant’s answer fits the question quite well enough. The fruit of Yggdrasil, when cooked, is here assumed to have the power of assuring safe childbirth.

__A_TAG_PLACEHOLDER_0__. Gering suggests that two stanzas are missing between stanzas 15 and 16, but the giant’s response addresses the question well enough. It is assumed here that the fruit of Yggdrasil, when cooked, has the power to ensure safe childbirth.

34. Vithofnir (“Tree-Snake”): apparently identical with either the cock Gollinkambi (cf. Voluspo, 43) or Fjalar (cf. Voluspo, 42), the former of which wakes the gods to battle, and the latter the giants. Surt: the giant mentioned in Voluspo, 52, as ruler of the fire-world; here used to represent the giants in general, who are constantly in terror of the cock’s eternal watchfulness. Sinmora: presumably Surt’s wife, the giantess who possesses the weapon by which alone the cock Vithofnir may be slain. [244]

__A_TAG_PLACEHOLDER_0__. Vithofnir (“Tree-Snake”): likely the same as either the rooster Gollinkambi (see Voluspo, 43) or Fjalar (see Voluspo, 42), the former of which awakens the gods for battle, and the latter the giants. Surt: the giant referenced in Voluspo, 52, as the ruler of the fire-world; here used to symbolize the giants in general, who are always fearful of the rooster’s constant vigilance. Sinmora: probably Surt’s wife, the giantess who owns the weapon that is the only way to kill the rooster Vithofnir. [__A_TAG_PLACEHOLDER_0__]

35. The last two lines have been variously emended.

__A_TAG_PLACEHOLDER_0__. The last two lines have been changed in different ways.

36. Gif and Geri: both names signify “Greedy.” The first part of line 3 is conjectural; the manuscripts indicate the word “eleven,” which clearly fails to make sense. [245]

__A_TAG_PLACEHOLDER_0__. Gif and Geri: both names mean “Greedy.” The first part of line 3 is uncertain; the manuscripts show the word “eleven,” which obviously doesn’t make sense. [__A_TAG_PLACEHOLDER_0__]

42. Lævatein (“Wounding Wand”): the manuscripts differ as to the form of this name. The suggestion that the reference is to the mistletoe with which Baldr was killed seems hardly reasonable. Lopt: Loki. Lægjarn (“Lover of Ill”): Loki; cf. Voluspo, 35, [246]where the term appears as an adjective applied to Loki. This is Falk’s emendation for the manuscripts’ “Sægjarn,” meaning “Sea Lover.” Sinmora: cf. stanza 34.

__A_TAG_PLACEHOLDER_0__. Lævatein (“Wounding Wand”): the manuscripts vary in how they spell this name. The idea that it refers to the mistletoe that killed Baldr doesn’t seem very plausible. Lopt: Loki. Lægjarn (“Lover of Ill”): Loki; see Voluspo, 35, [__A_TAG_PLACEHOLDER_0__] where this term is used as an adjective for Loki. This is Falk’s correction of the manuscripts’ “Sægjarn,” meaning “Sea Lover.” Sinmora: see stanza 34.

44. Goddess of gold: poetic circumlocution for “woman,” here meaning Sinmora.

44. Goddess of gold: a poetic way of saying “woman,” referring here to Sinmora.

46. Sickle: i.e., tail feather. With this the circle of impossibilities is completed. To get past the dogs, they must be fed with the wing-joints of the cock Vithofnir; the cock can be killed only [247]with the sword in Sinmora’s possession, and Sinmora will give up the sword only in return for the tail feather of the cock.

__A_TAG_PLACEHOLDER_0__. Sickle: meaning the tail feather. This completes the circle of impossibilities. To get past the dogs, they need to be fed with the wing joints of the rooster Vithofnir; the rooster can only be killed [__A_TAG_PLACEHOLDER_0__] with the sword that Sinmora has, and Sinmora will only give up the sword in exchange for the tail feather of the rooster.

48. Lyr (“Heat-Holding”): just what the spear-point reference means is not altogether clear. Presumably it refers to the way in which the glowing brightness of the lofty hall makes it seem to quiver and turn in the air, but the tradition, never baffled by physical laws, may have actually balanced the whole building on a single point to add to the difficulties of entrance.

__A_TAG_PLACEHOLDER_0__. Lyr (“Heat-Holding”): the meaning of the spear-point reference isn’t entirely clear. It likely relates to how the bright light in the tall hall makes it appear to shimmer and sway in the air, but tradition, which isn’t limited by physical laws, might have actually balanced the entire structure on a single point to complicate entry.

50. Loki, the one god named, was the builder of the hall, with the aid of the nine dwarfs. Jari, Dori, and Ori appear in the Voluspo catalogue of the dwarfs (stanzas 13 and 15); Delling appears in Hovamol, 161, and Vafthruthnismol, 25, in the latter case, however, the name quite possibly referring to some one else. The other dwarfs’ names do not appear elsewhere. The manuscripts differ as to the forms of many of these names. [248]

__A_TAG_PLACEHOLDER_0__. Loki, the named god, was the builder of the hall, with the help of the nine dwarfs. Jari, Dori, and Ori are listed in the Voluspo catalog of dwarfs (stanzas 13 and 15); Delling appears in Hovamol, 161, and Vafthruthnismol, 25, although in the latter case, the name may refer to someone else. The other dwarfs’ names do not show up anywhere else. The manuscripts vary in the forms of many of these names. [__A_TAG_PLACEHOLDER_0__]

52. Lyfjaberg (“Hill of Healing”): the manuscripts vary as to this name; I have followed Bugge’s suggestion. This stanza implies that Mengloth is a goddess of healing, and hence, perhaps, an hypostasis of Frigg, as already intimated by her name (cf. stanza 3, note). In stanza 54 Eir appears as one of Mengloth’s handmaidens, and Eir, according to Snorri (Gylfaginning, 35) is herself the Norse Hygeia. Compare this stanza with stanza 32.

__A_TAG_PLACEHOLDER_0__. Lyfjaberg (“Hill of Healing”): the manuscripts differ on this name; I’ve followed Bugge’s suggestion. This stanza suggests that Mengloth is a goddess of healing and might be a form of Frigg, as hinted by her name (see stanza 3, note). In stanza 54, Eir appears as one of Mengloth’s handmaidens, and according to Snorri (Gylfaginning, 35), Eir is the Norse Hygeia. Compare this stanza with stanza 32.

54. The manuscripts and editions show many variations in these names. They may be approximately rendered thus: Helper, Help-Breather, Folk-Guardian, Shining, White, Blithe, Peaceful, Kindly (?), and Gold-Giver. [249]

__A_TAG_PLACEHOLDER_0__. The manuscripts and editions display a lot of differences in these names. They can be roughly translated like this: Helper, Help-Breather, Folk-Guardian, Shining, White, Blithe, Peaceful, Kindly (?), and Gold-Giver. [__A_TAG_PLACEHOLDER_0__]

55. One of the manuscripts omits stanzas 55 and 56.

__A_TAG_PLACEHOLDER_0__. One of the manuscripts leaves out stanzas 55 and 56.

56. The first line is based on a conjectural emendation. [250]

__A_TAG_PLACEHOLDER_0__. The first line comes from a proposed correction. [__A_TAG_PLACEHOLDER_0__]

63. Solbjart (“Sun-Bright”): not elsewhere mentioned. The words of Urth: i.e., the decrees of fate; cf. stanza 7. [251]

__A_TAG_PLACEHOLDER_0__. Solbjart (“Sun-Bright”): not mentioned anywhere else. The words of Urth: meaning the decrees of fate; see stanza 7. [__A_TAG_PLACEHOLDER_0__]

65. Lyfjaberg cf. stanza 52 and note.

__A_TAG_PLACEHOLDER_0__. Lyfjaberg see stanza 52 and note.

THE POETIC EDDA

VOLUME II

LAYS OF THE HEROES

[252]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

VÖLUNDARKVITHA

The Lay of Völund

[__A_TAG_PLACEHOLDER_0__]

Introduction

Between the Thrymskvitha and the Alvissmol in the Codex Regius stands the Völundarkvitha. It was also included in the Arnamagnæan Codex, but unluckily it begins at the very end of the fragment which has been preserved, and thus only a few lines of the opening prose remain. This is doubly regrettable because the text in Regius is unquestionably in very bad shape, and the other manuscript would doubtless have been of great assistance in the reconstruction of the poem.

Between the Thrymskvitha and the Alvissmol in the Codex Regius is the Völundarkvitha. It was also found in the Arnamagnæan Codex, but unfortunately, it starts at the very end of the preserved fragment, leaving only a few lines of the opening prose. This is particularly unfortunate because the text in Regius is clearly in poor condition, and the other manuscript would have been extremely helpful in reconstructing the poem.

There has been a vast amount written regarding the Weland tradition as a whole, discussing particularly the relations between the Völundarkvitha and the Weland passage in Deor’s Lament. There can be little question that the story came to the North from Saxon regions, along with many of the other early hero tales. In stanza 16 the Rhine is specifically mentioned as the home of treasure; and the presence of the story in Anglo-Saxon poetry probably as early as the first part of the eighth century proves beyond a doubt that the legend cannot have been a native product of Scandinavia. In one form or another, however, the legend or the smith persisted for centuries throughout all the Teutonic lands, and the name of Wayland Smith is familiar to all readers of Walter Scott, and even of Rudyard Kipling’s tales of England.

A lot has been written about the Weland tradition overall, especially about the connections between the Völundarkvitha and the Weland section in Deor’s Lament. There's little doubt that the story came to the North from Saxon areas, along with many other early hero legends. In stanza 16, the Rhine is specifically noted as the home of treasure; and the presence of the story in Anglo-Saxon poetry possibly as early as the first part of the eighth century clearly shows that the legend couldn't have originated in Scandinavia. In one way or another, though, the legend of the smith stuck around for centuries throughout all the Germanic lands, and the name of Wayland Smith is well-known to anyone who reads Walter Scott or even Rudyard Kipling's stories of England.

In what form this story reached the North is uncertain. Sundry striking parallels between the diction of the Völundarkvitha and that of the Weland passage in Deor’s Lament make it distinctly probable that a Saxon song on this subject had found its way to Scandinavia or Iceland. But the prose introduction to the poem mentions the “old sagas” in which Völund was celebrated, and in the Thithrekssaga we have definite evidence of the existence of such prose narrative in the form of the Velentssaga (Velent, Völund, Weland, and Wayland all being, of course, identical), which gives a long story for which the Völundarkvitha can have supplied relatively little, if any, of the material. It is probable, then, that Weland stories were current in both prose and verse in Scandinavia as early as the latter part of the ninth century. [253]

In what form this story arrived in the North is unclear. Several notable similarities between the language of the Völundarkvitha and the Weland section in Deor’s Lament make it quite likely that a Saxon song on this topic made its way to Scandinavia or Iceland. However, the prose introduction to the poem refers to the “old sagas” that celebrated Völund, and in the Thithrekssaga we have clear evidence of such a prose narrative existing in the form of the Velentssaga (Velent, Völund, Weland, and Wayland are all the same character), which provides a lengthy story for which the Völundarkvitha likely contributed relatively little, if any, of the content. Therefore, it is probable that Weland stories were familiar in both prose and poetry in Scandinavia as early as the late ninth century. [__A_TAG_PLACEHOLDER_0__]

Once let a figure become popular in oral tradition, and the number and variety of the incidents connected with his name will increase very rapidly. Doubtless there were scores of Weland stories current in the eighth, ninth, and tenth centuries, many of them with very little if any traditional authority. The main one, however, the story of the laming of the smith by King Nithuth (or by some other enemy) and of Weland’s terrible revenge, forms the basis of the Völundarkvitha. To this, by way of introduction, has been added the story of Völund and the swan-maiden, who, to make things even more complex, is likewise said to be a Valkyrie. Some critics maintain that these two sections were originally two distinct poems, merely strung together by the compiler with the help of narrative prose links; but the poem as a whole has a kind of dramatic unity which suggests rather that an early poet—for linguistically the poem belongs among the oldest of the Eddic collection—used two distinct legends, whether in prose or verse, as the basis for the composition of a new and homogeneous poem.

Once a figure becomes popular in oral tradition, the number and variety of stories connected to their name will increase very quickly. There were definitely many Weland stories circulating in the eighth, ninth, and tenth centuries, many of which had very little traditional authority. However, the main one, about the blacksmith's injury at the hands of King Nithuth (or another enemy) and Weland's terrible revenge, forms the basis of the Völundarkvitha. To this, the story of Völund and the swan-maiden has been added as an introduction, who, to make things even more complicated, is also said to be a Valkyrie. Some critics argue that these two sections were originally separate poems, just connected by the compiler using narrative prose links; but the poem as a whole has a dramatic unity that suggests rather that an early poet—linguistically, the poem is among the oldest in the Eddic collection—used two distinct legends, whether in prose or verse, as the basis for creating a new, cohesive poem.

The swan-maiden story appears, of course, in many places quite distinct from the Weland tradition, and, in another form, became one of the most popular of German folk-tales. Like the story of Weland, however, it is of German rather than Scandinavian origin, and the identification of the swan-maidens as Valkyries, which may have taken place before the legend reached the North, may, on the other hand, have been simply an attempt to connect southern tradition with figures well known in northern mythology.

The swan-maiden story pops up in various places that are quite different from the Weland tradition and, in another version, became one of the most popular German folktales. Similar to the story of Weland, it actually comes from German origins rather than Scandinavian ones. The connection of the swan-maidens with Valkyries, which might have happened before the legend made its way to the North, could have simply been an effort to link southern traditions with well-known figures in northern mythology.

The Völundarkvitha is full of prose narrative links, including an introduction. The nature of such prose links has already been discussed in the introductory note to the Grimnismol; the Völundarkvitha is a striking illustration of the way in which the function of the earlier Eddic verse was limited chiefly to dialogue or description, the narrative outline being provided, if at all, in prose. This prose was put in by each reciter according to his fancy and knowledge, and his estimate of his hearers’ need for such explanations; some of it, as in this instance, eventually found its way into the written record.

The Völundarkvitha is filled with prose narrative connections, including an introduction. The nature of these prose links has already been covered in the introductory note to the Grimnismol; the Völundarkvitha clearly shows how the earlier Eddic verse primarily served for dialogue or description, with the narrative framework provided, if at all, in prose. This prose was added by each storyteller based on their own style and knowledge, as well as their assessment of what their audience needed in terms of explanations; some of it, like in this case, eventually made it into the written record.

The manuscript of the Völundarkvitha is in such bad shape, and the conjectural emendations have been so numerous, that in the notes I have attempted to record only the most important of them.

The manuscript of the Völundarkvitha is in such poor condition, and there have been so many suggested corrections, that in the notes I've tried to note only the most significant ones.

[__A_TAG_PLACEHOLDER_0__]

[254]

[__A_TAG_PLACEHOLDER_0__]

There was a king in Sweden named Nithuth. He had two sons and one daughter; her name was Bothvild. There were three brothers, sons of a king of the Finns: one was called Slagfith, another Egil, the third Völund. They went on snowshoes and hunted wild beasts. They came into Ulfdalir and there they built themselves a house; there was a lake there which is called Ulfsjar. Early one morning they found on the shore of the lake three women, who were spinning flax. Near them were their swan-garments, for they were Valkyries. Two of them were daughters of King Hlothver, Hlathguth the Swan-White and Hervor the All-Wise, and the third was Olrun, daughter of Kjar from Valland. These did they bring [255]home to their hall with them. Egil took Olrun, and Slagfith Swan-White, and Völund All-Wise. There they dwelt seven winters; but then they flew away to find battles, and came back no more. Then Egil set forth on his snowshoes to follow Olrun, and Slagfith followed Swan-White, but Völund stayed in Ulfdalir. He was a most skillful man, as men know from old tales. King Nithuth had him taken by force, as the poem here tells.

There was a king in Sweden named Nithuth. He had two sons and one daughter; her name was Bothvild. There were three brothers, sons of a king of the Finns: one was called Slagfith, another Egil, and the third Völund. They used snowshoes and hunted wild animals. They arrived in Ulfdalir and built a house there; nearby was a lake called Ulfsjar. One early morning, they found three women on the shore of the lake, who were spinning flax. Near them were their swan garments, as they were Valkyries. Two of them were daughters of King Hlothver: Hlathguth the Swan-White and Hervor the All-Wise, and the third was Olrun, daughter of Kjar from Valland. They brought them home to their hall with them. Egil took Olrun, Slagfith took Swan-White, and Völund took All-Wise. They lived there for seven winters; then they flew away to seek battles, never to return. Egil set out on his snowshoes to find Olrun, and Slagfith went after Swan-White, while Völund stayed in Ulfdalir. He was a highly skilled man, as people know from old tales. King Nithuth had him taken by force, as the poem here tells.

1. Maids from the south   |   through Myrkwood flew,

__A_TAG_PLACEHOLDER_0__. Southern maids traveled swiftly through Myrkwood,

Fair and young,   |   their fate to follow;

Fair and young, their fate to follow;

On the shore of the sea   |   to rest them they sat,

On the shore of the sea | they sat down to relax,

The maids of the south,   |   and flax they spun.

The maids of the South, and the flax they spun.

[256]

[__A_TAG_PLACEHOLDER_0__]

2. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Hlathguth and Hervor,   |   Hlothver’s children,

Hlathguth and Hervor,   |   Hlothver’s kids,

And Olrun the Wise   |   Kjar’s daughter was.

And Olrun the Wise | Kjar’s daughter was.

3. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

One in her arms   |   took Egil then

One in her arms   |   took Egil then

To her bosom white,   |   the woman fair.

To her fair, white chest, the beautiful woman.

4. Swan-White second,—   |   swan-feathers she wore,

__A_TAG_PLACEHOLDER_0__. Swan-White second,—   |   she wore swan feathers,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

And her arms the third   |   of the sisters threw

And her arms the third of the sisters threw

Next round Völund’s   |   neck so white.

Next round Völund’s neck so white.

5. There did they sit   |   for seven winters,

__A_TAG_PLACEHOLDER_0__. There they sat   |   for seven winters,

In the eighth at last   |   came their longing again,

In the eighth, their longing finally returned,

(And in the ninth   |   did need divide them).

(And in the ninth   |   did need divide them).

The maidens yearned   |   for the murky wood,

The young women longed for the dark forest,

The fair young maids,   |   their fate to follow.

The fair young women, | their fate to follow.

[257]

[__A_TAG_PLACEHOLDER_0__]

6. Völund home   |   from his hunting came,

__A_TAG_PLACEHOLDER_0__. Völund home   |   from his hunting returned,

From a weary way,   |   the weather-wise bowman,

From a tired path,   |   the weather-savvy archer,

Slagfith and Egil   |   the hall found empty,

Slagfith and Egil | the hall was found empty,

Out and in went they,   |   everywhere seeking.

Out and in they went, | everywhere looking.

7. East fared Egil   |   after Olrun,

__A_TAG_PLACEHOLDER_0__. East went Egil   |   after Olrun,

And Slagfith south   |   to seek for Swan-White;

And Slagfith headed south to look for Swan-White;

Völund alone   |   in Ulfdalir lay,

Völund was alone in Ulfdalir.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

8. Red gold he fashioned   |   with fairest gems,

__A_TAG_PLACEHOLDER_0__. He made red gold with the finest gems,

And rings he strung   |   on ropes of bast;

And he strung rings on ropes made of bast;

So for his wife   |   he waited long,

So he waited a long time for his wife,

If the fair one home   |   might come to him.

If the beautiful one at home   |   could come to him.

9. This Nithuth learned,   |   the lord of the Njars,

__A_TAG_PLACEHOLDER_0__. This Nithuth learned, | the lord of the Njars,

That Völund alone   |   in Ulfdalir lay; [258]

That Völund was all alone   |   in Ulfdalir; [__A_TAG_PLACEHOLDER_0__]

By night went his men,   |   their mail-coats were studded,

By night, his men moved quietly, their mail coats were studded,

Their shields in the waning   |   moonlight shone.

Their shields gleamed in the fading moonlight.

10. From their saddles the gable   |   wall they sought,

__A_TAG_PLACEHOLDER_0__. From their saddles, they aimed for the gable wall,

And in they went   |   at the end of the hall;

And in they went | at the end of the hall;

Rings they saw there   |   on ropes of bast,

Rings they saw there   |   on ropes of fiber,

Seven hundred   |   the hero had.

Seven hundred | the hero had.

11. Off they took them,   |   but all they left

__A_TAG_PLACEHOLDER_0__. They took them away,   |   but all they left

Save one alone   |   which they bore away.

Save one alone   |   which they carried away.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

12. Völund home   |   from his hunting came,

__A_TAG_PLACEHOLDER_0__. Völund returned home from his hunt,

From a weary way,   |   the weather-wise bowman;

From a tired path,   |   the knowledgeable archer;

A brown bear’s flesh   |   would he roast with fire;

A brown bear's meat   |   he would cook over a fire;

Soon the wood so dry   |   was burning well,

Soon the dry wood was burning well,

(The wind-dried wood   |   that Völund’s was).

(The wind-dried wood | that Völund’s was).

[259]

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13. On the bearskin he rested,   |   and counted the rings,

__A_TAG_PLACEHOLDER_0__. He lay on the bearskin,   |   and counted the rings,

The master of elves,   |   but one he missed;

The elf master, but there was one he overlooked;

That Hlothver’s daughter   |   had it he thought,

That Hlothver’s daughter had it, he thought,

And the all-wise maid   |   had come once more.

And the all-wise maid had come once again.

14. So long he sat   |   that he fell asleep,

14. He sat there for so long that he fell asleep,

His waking empty   |   of gladness was;

His waking was empty of joy;

Heavy chains   |   he saw on his hands,

Heavy chains   |   he saw on his hands,

And fetters bound   |   his feet together.

And shackles tied his feet together.

Völund spake:

Völund said:

15. “What men are they   |   who thus have laid

__A_TAG_PLACEHOLDER_0__. “What kind of men are they   |   who have done this?”

Ropes of bast   |   to bind me now?”

Ropes of fiber | to bind me now?”

Then Nithuth called,   |   the lord of the Njars:

Then Nithuth called,   |   the lord of the Njars:

“How gottest thou, Völund,   |   greatest of elves,

“How did you get here, Völund,   |   the greatest of elves,

These treasures of ours   |   in Ulfdalir?”

These treasures of ours | in Ulfdalir?”

Völund spake:

Völund said:

16. “The gold was not   |   on Grani’s way, [260]

__A_TAG_PLACEHOLDER_0__. “The gold was not | on Grani’s path, [__A_TAG_PLACEHOLDER_1__]

Far, methinks, is our realm   |   from the hills of the Rhine;

Far, I think, is our land from the hills of the Rhine;

I mind me that treasures   |   more we had

I remember that we had more treasures

When happy together   |   at home we were.”

When we were happy together at home.

17. Without stood the wife   |   of Nithuth wise,

__A_TAG_PLACEHOLDER_0__. Without stood the wife   |   of Nithuth wise,

And in she came   |   from the end of the hall;

And in she came   |   from the end of the hall;

On the floor she stood,   |   and softly spoke:

On the floor she stood,   |   and softly spoke:

“Not kind does he look   |   who comes from the wood.”

“Not looking kind is he who comes from the woods.”

King Nithuth gave to his daughter Bothvild the gold ring that he had taken from the bast rope in Völund’s [261]house, and he himself wore the sword that Völund had had. The queen spake:

King Nithuth gave his daughter Bothvild the gold ring he had taken from the bad rope in Völund’s [__A_TAG_PLACEHOLDER_0__]house, and he wore the sword that Völund had. The queen said:

18. “The glow of his eyes   |   is like gleaming snakes,

__A_TAG_PLACEHOLDER_0__. “The shine in his eyes   |   is like shiny snakes,

His teeth he gnashes   |   if now is shown

His teeth he grinds   |   if it's shown now

The sword, or Bothvild’s   |   ring he sees;

The sword, or Bothvild’s   |   ring he sees;

Let them straightway cut   |   his sinews of strength,

Let them quickly cut his sinews of strength,

And set him then   |   in Sævarstath.”

And set him then in Sævarstath.”

So was it done: the sinews in his knee-joints were cut, and he was set in an island which was near the mainland, and was called Sævarstath. There he smithied for the king all kinds of precious things. No man dared to go to him, save only the king himself. Völund spake:

So it was done: the tendons in his knees were cut, and he was placed on an island near the mainland, called Sævarstath. There he crafted all kinds of precious items for the king. No one dared approach him except for the king himself. Völund spoke:

19. “At Nithuth’s girdle   |   gleams the sword

__A_TAG_PLACEHOLDER_0__. “At Nithuth’s waist   |   shines the sword

That I sharpened keen   |   with cunningest craft,

That I sharpened sharply   |   with the cleverest skill,

(And hardened the steel   |   with highest skill;)

(And toughened the steel   |   with great skill;)

The bright blade far   |   forever is borne,

The bright blade is carried forever,

(Nor back shall I see it   |   borne to my smithy;)

(Nor will I see it again   |   brought to my workshop;)

Now Bothvild gets   |   the golden ring

Now Bothvild gets the golden ring

(That was once my bride’s,—   |   ne’er well shall it be.)”

(That was once my wife’s,—   |   never will it be well.)”

[262]

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20. He sat, nor slept,   |   and smote with his hammer,

__A_TAG_PLACEHOLDER_0__. He sat there, wide awake, and struck with his hammer,

Fast for Nithuth   |   wonders he fashioned;

Fast for Nithuth   |   wonders he created;

Two boys did go   |   in his door to gaze,

Two boys went in through his door to look.

Nithuth’s sons,   |   into Sævarstath.

Nithuth’s sons, into Sævarstath.

21. They came to the chest,   |   and they craved the keys,

__A_TAG_PLACEHOLDER_0__. They arrived at the chest,   |   and they wanted the keys,

The evil was open   |   when in they looked;

The evil was obvious when they looked in;

To the boys it seemed   |   that gems they saw,

To the boys, it looked like the gems they saw,

Gold in plenty   |   and precious stones.

Gold in abundance   |   and valuable gems.

Völund spake:

Völund said:

22. “Come ye alone,   |   the next day come,

__A_TAG_PLACEHOLDER_0__. “Come by yourself, | come again tomorrow,

Gold to you both   |   shall then be given;

Gold will be given to both of you;

Tell not the maids   |   or the men of the hall,

Tell not the maids   |   or the men of the hall,

To no one say   |   that me you have sought.”

To no one say that you have looked for me.

[263]

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23. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Early did brother   |   to brother call:

Early did brother to brother call:

“Swift let us go   |   the rings to see.”

“Quick, let us go to see the rings.”

24. They came to the chest,   |   and they craved the keys,

__A_TAG_PLACEHOLDER_0__. They reached the chest,   |   and they wanted the keys,

The evil was open   |   when in they looked;

The evil was obvious when they looked in;

He smote off their heads,   |   and their feet he hid

He chopped off their heads,   |   and he hid their feet

Under the sooty   |   straps of the bellows.

Under the dirty straps of the bellows.

25. Their skulls, once hid   |   by their hair, he took,

__A_TAG_PLACEHOLDER_0__. He took their skulls, which were once hidden by their hair,

Set them in silver   |   and sent them to Nithuth;

Set them in silver   |   and sent them to Nithuth;

Gems full fair   |   from their eyes he fashioned,

Gems that were so beautiful   |   he shaped from their eyes,

To Nithuth’s wife   |   so wise he gave them.

To Nithuth’s wife   |   so wise he gave them.

26. And from the teeth   |   of the twain he wrought

__A_TAG_PLACEHOLDER_0__. And from the teeth   |   of the two he created

A brooch for the breast,   |   to Bothvild he sent it;

A brooch for the chest,   |   he sent it to Bothvild;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

27. Bothvild then   |   of her ring did boast,

__A_TAG_PLACEHOLDER_0__. Bothvild then   |   of her ring did boast,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  . [264]

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  . [__A_TAG_PLACEHOLDER_0__]

.  .  .  .  .  .  .  .   |   “The ring I have broken,

.  .  .  .  .  .  .  .   |   “I’ve broken the ring,

I dare not say it   |   save to thee.”

I can't say it   |   except to you.”

Völund spake:

Völund said:

28. “I shall weld the break   |   in the gold so well

28. “I will mend the break in the gold so well

That fairer than ever   |   thy father shall find it,

That more beautiful than ever | your father will find it,

And better much   |   thy mother shall think it,

And much better | your mother will think so,

And thou no worse   |   than ever it was.”

And you are no worse than it ever was.

29. Beer he brought,   |   he was better in cunning,

__A_TAG_PLACEHOLDER_0__. He brought beer, | he was smarter.

Until in her seat   |   full soon she slept.

Until she was in her seat   |   she quickly fell asleep.

Völund spake:

Völund said:

“Now vengeance I have   |   for all my hurts,

“Now I seek revenge for all my pain,

Save one alone,   |   on the evil woman.”

Save one alone, | on the wicked woman.

30. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Quoth Völund: “Would   |   that well were the sinews

Quoth Völund: “Would   |   that well were the sinews

Maimed in my feet   |   by Nithuth’s men.”

Maimed in my feet   |   by Nithuth’s men.”

[265]

[__A_TAG_PLACEHOLDER_0__]

31. Laughing Völund   |   rose aloft,

__A_TAG_PLACEHOLDER_0__. Laughing Völund   |   rose up,

Weeping Bothvild   |   went from the isle,

Weeping Bothvild | left the island,

For her lover’s flight   |   and her father’s wrath.

For her lover's departure and her father's anger.

32. Without stood the wife   |   of Nithuth wise,

__A_TAG_PLACEHOLDER_0__. There stood the wife   |   of wise Nithuth,

And in she came   |   from the end of the hall;

And in she came from the end of the hall;

But he by the wall   |   in weariness sat:

But he sat by the wall, tired.

“Wakest thou, Nithuth,   |   lord of the Njars?”

“Are you awake, Nithuth,   |   lord of the Njars?”

Nithuth spake:

Nithuth said

33. “Always I wake,   |   and ever joyless,

__A_TAG_PLACEHOLDER_0__. “I always wake up,   |   and I'm always unhappy,

Little I sleep   |   since my sons were slain;

Little I sleep   |   since my sons were killed;

Cold is my head,   |   cold was thy counsel,

Cold is my head,   |   cold was your advice,

One thing, with Völund   |   to speak, I wish.

One thing I wish to say about Völund.

34. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  . [266]

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  . [__A_TAG_PLACEHOLDER_0__]

“Answer me, Völund,   |   greatest of elves,

“Answer me, Völund,   |   greatest of elves,

What happed with my boys   |   that hale once were?”

What happened to my boys | that were once so healthy?”

Völund spake:

Völund said:

35. “First shalt thou all   |   the oaths now swear,

__A_TAG_PLACEHOLDER_0__. "First, you all must swear the oaths now,

By the rail of ship,   |   and the rim of shield,

By the railing of the ship,   |   and the edge of the shield,

By the shoulder of steed,   |   and the edge of sword,

By the side of the horse,   |   and the point of the sword,

That to Völund’s wife   |   thou wilt work no ill,

That to Völund’s wife   |   you will do no harm,

Nor yet my bride   |   to her death wilt bring,

Nor will you bring my bride to her death,

Though a wife I should have   |   that well thou knowest,

Though I should have a wife—this you know well—

And a child I should have   |   within thy hall.

And as a child, I should be in your home.

36. “Seek the smithy   |   that thou didst set,

__A_TAG_PLACEHOLDER_0__. “Look for the forge that you established,

Thou shalt find the bellows   |   sprinkled with blood;

Thou shalt find the bellows   |   sprinkled with blood;

I smote off the heads   |   of both thy sons,

I struck off the heads of both your sons,

And their feet ’neath the sooty   |   straps I hid.

And their feet under the dirty straps I covered.

37. “Their skulls, once hid   |   by their hair, I took,

__A_TAG_PLACEHOLDER_0__. “I took their skulls, which were once covered by their hair,

Set them in silver   |   and sent them to Nithuth; [267]

Set them in silver   |   and sent them to Nithuth; [__A_TAG_PLACEHOLDER_0__]

Gems full fair   |   from their eyes I fashioned,

Gems so beautiful   |   from their eyes I created,

To Nithuth’s wife   |   so wise I gave them.

To Nithuth’s wife   |   so wise I gave them.

38. “And from the teeth   |   of the twain I wrought

__A_TAG_PLACEHOLDER_0__. “And from the two teeth I made

A brooch for the breast,   |   to Bothvild I gave it;

A brooch for the chest,   |   to Bothvild I gave it;

Now big with child   |   does Bothvild go,

Now heavily pregnant, Bothvild is going,

The only daughter   |   ye two had ever.”

The only daughter | you two ever had.”

Nithuth spake:

Nithuth said:

39. “Never spakest thou word   |   that worse could hurt me,

__A_TAG_PLACEHOLDER_0__. “You never said anything that could hurt me more,

Nor that made me, Völund,   |   more bitter for vengeance;

Nor did that make me, Völund, | more bitter for revenge;

There is no man so high   |   from thy horse to take thee,

There’s no one so important that they’d get off their horse to pick you up,

Or so doughty an archer   |   as down to shoot thee,

Or such a brave archer as to shoot you,

While high in the clouds   |   thy course thou takest.”

While high in the clouds   |   you take your path.

40. Laughing Völund   |   rose aloft,

__A_TAG_PLACEHOLDER_0__. Laughing Völund | rose up,

But left in sadness   |   Nithuth sat.

But left in sadness   |   Nithuth sat.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[268]

[__A_TAG_PLACEHOLDER_0__]

41. Then spake Nithuth,   |   lord of the Njars:

__A_TAG_PLACEHOLDER_0__. Then Nithuth, lord of the Njars, spoke:

“Rise up, Thakkrath,   |   best of my thralls,

“Rise up, Thakkrath, | best of my servants,

Bid Bothvild come,   |   the bright-browed maid,

Bid Bothvild come,   |   the bright-browed girl,

Bedecked so fair,   |   with her father to speak.”

Bedecked so beautifully, | with her father to talk.

42. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“Is it true, Bothvild,   |   that which was told me;

“Is it true, Bothvild, that what I was told;

Once in the isle   |   with Völund wert thou?”

Once in the island | with Völund were you?”

Bothvild spake:

Bothvild said

43. “True is it, Nithuth,   |   that which was told thee,

__A_TAG_PLACEHOLDER_0__. “It's true, Nithuth, | what you were told,

Once in the isle   |   with Völund was I,

Once on the island   |   with Völund I was,

An hour of lust,   |   alas it should be!

An hour of desire,   |   sadly it must be!

Nought was my might   |   with such a man,

Nothin' I could do   |   with a guy like that,

Nor from his strength   |   could I save myself.”

Nor could I save myself from his strength.”

[252]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[254]

[__A_TAG_PLACEHOLDER_0__]

Prose. Nithuth (“Bitter Hater”): here identified as a king of Sweden, is in the poem (stanzas 9, 15 and 32) called lord of the Njars, which may refer to the people of the Swedish district of Nerike. In any case, the scene of the story has moved from Saxon lands into the Northeast. The first and last sentences of the introduction refer to the second part of the poem; the rest of it concerns the swan-maidens episode. Bothvild (“Warlike Maid”): Völund’s victim in the latter part of the poem. King of the Finns: this notion, clearly later than the poem, which calls Völund an elf, may perhaps be ascribed to the annotator who composed the prose introduction. The Finns, meaning the dwellers in Lapland, were generally credited with magic powers. Egil appears in the Thithrekssaga as Völund’s brother, but Slagfith is not elsewhere mentioned. Ulfdalir (“Wolf-Dale”), Ulfsjar (“Wolf-Sea”), Valland (“Slaughter-Land”): mythical places without historical identification. Valkyries: cf. Voluspo, 31 and note; there is nothing in the poem to identify the three swan-maidens as Valkyries except one obscure word in line 2 of stanza 1 and again in line 5 of stanza 5, which may mean, as Gering translates it, “helmed,” or else “fair and wise.” I suspect that the annotator, anxious to give the Saxon legend as much northern local color as possible, was mistaken in his mythology, and that [255]the poet never conceived of his swan-maidens as Valkyries at all. However, this identification of swan-maidens with Valkyries was not uncommon; cf. Helreith Brynhildar, 7. The three maidens’ names, Hlathguth, Hervor, and Olrun, do not appear in the lists of Valkyries. King Hlothver: this name suggests the southern origin of the story, as it is the northern form of Ludwig; the name appears again in Guthrunarkvitha II, 26, and that of Kjar is found in Atlakvitha, 7, both of these poems being based on German stories. It is worth noting that the composer of this introductory note seems to have had little or no information beyond what was actually contained in the poem as it has come down to us; he refers to the “old stories” about Völund, but either he was unfamiliar with them in detail or else he thought it needless to make use of them. His note simply puts in clear and connected form what the verse tells somewhat obscurely; his only additions are making Nithuth a king of Sweden and Völund’s father a king of the Finns, supplying the name Ulfsjar for the lake, identifying the swan-maidens as Valkyries, and giving Kjar a home in Valland.

Prose. Nithuth (“Bitter Hater”): identified here as a king of Sweden, is referred to in the poem (stanzas 9, 15, and 32) as the lord of the Njars, which might relate to the people of the Swedish region of Nerike. In any case, the story has shifted from Saxon lands to the Northeast. The first and last sentences of the introduction reference the second part of the poem; the rest focuses on the swan-maidens episode. Bothvild (“Warlike Maid”): Völund’s victim in the latter part of the poem. King of the Finns: this idea, clearly added later than the poem that calls Völund an elf, can perhaps be attributed to the annotator who wrote the prose introduction. The Finns, specifically the inhabitants of Lapland, were typically thought to have magical abilities. Egil appears in the Thithrekssaga as Völund’s brother, but Slagfith is not mentioned anywhere else. Ulfdalir (“Wolf-Dale”), Ulfsjar (“Wolf-Sea”), Valland (“Slaughter-Land”): mythical locations with no historical identification. Valkyries: see Voluspo, 31 and note; there's nothing in the poem that identifies the three swan-maidens as Valkyries except for one vague word in line 2 of stanza 1 and again in line 5 of stanza 5, which might mean, as Gering translates it, “helmed,” or possibly “fair and wise.” I suspect the annotator, eager to give the Saxon legend more northern context, misinterpreted the mythology, and that [__A_TAG_PLACEHOLDER_0__]the poet never intended for his swan-maidens to be seen as Valkyries at all. However, this association between swan-maidens and Valkyries was not uncommon; see Helreith Brynhildar, 7. The names of the three maidens, Hlathguth, Hervor, and Olrun, do not appear in the lists of Valkyries. King Hlothver: this name suggests a southern origin for the story, as it is the northern version of Ludwig; the name appears again in Guthrunarkvitha II, 26, and the name Kjar appears in Atlakvitha, 7, both of which are based on German tales. It’s worth noting that the composer of this introductory note seems to have had little or no information beyond what the poem itself conveys; he refers to the “old stories” about Völund, but either he was not familiar with them in detail or he thought it was unnecessary to use them. His note simply clarifies what the verse communicates somewhat vaguely; his only additions were making Nithuth a king of Sweden, making Völund’s father a king of the Finns, naming the lake as Ulfsjar, identifying the swan-maidens as Valkyries, and placing Kjar in Valland.

1. The manuscript indicates line 3 as the beginning of a stanza; two lines may have been lost before or after lines 1–2, [256]and two more, or even six, with the additional stanza describing the theft of the swan-garments, after line 4. Myrkwood: a stock name for a magic, dark forest; cf. Lokasenna, 42.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza; there may have been two lines missing before or after lines 1–2, [__A_TAG_PLACEHOLDER_0__] and two more, or even six, including an extra stanza that talks about the theft of the swan garments, after line 4. Myrkwood: a common name for a magical, dark forest; see Lokasenna, 42.

2. In the manuscript these two lines stand after stanza 16; editors have tried to fit them into various places, but the prose indicates that they belong here, with a gap assumed.

__A_TAG_PLACEHOLDER_0__. In the manuscript, these two lines come after stanza 16; editors have attempted to place them in different locations, but the text suggests that they belong here, with an assumed gap.

3. In the manuscript these two lines follow stanza 1, with no gap indicated, and the first line marked as the beginning of a stanza. Many editors have combined them with stanza 4.

__A_TAG_PLACEHOLDER_0__. In the manuscript, these two lines come right after stanza 1, without any gap shown, and the first line is labeled as the start of a stanza. Many editors have merged them with stanza 4.

4. No lacuna indicated in the manuscript; one editor fills the stanza out with a second line running: “Then to her breast Slagfith embraced.”

__A_TAG_PLACEHOLDER_0__. No gaps noted in the manuscript; one editor adds a second line to complete the stanza: “Then to her breast Slagfith embraced.”

5. Line 3 looks like an interpolation, but line 5, identical with line 2 of stanza 1, may be the superfluous one. [257]

__A_TAG_PLACEHOLDER_0__. Line 3 seems like an addition, but line 5, which is the same as line 2 in stanza 1, might be the unnecessary one. [__A_TAG_PLACEHOLDER_0__]

6. The phrase “Völund home from a weary way” is an emendation of Bugge’s, accepted by many editors. Some of those who do not include it reject line 4, and combine the remainder of the stanza with all or part of stanza 7.

__A_TAG_PLACEHOLDER_0__. The phrase “Völund home from a weary way” is a revision by Bugge that many editors accept. Some who don't include it instead reject line 4 and merge the rest of the stanza with all or part of stanza 7.

7. The manuscript marks the second, and not the first, line as the beginning of a stanza. Some editors combine lines 2–3 with all or part of stanza 8. No gap is indicated in the manuscript, but many editors have assumed one, some of them accepting Bugge’s suggested “Till back the maiden   |   bright should come.”

__A_TAG_PLACEHOLDER_0__. The manuscript identifies the second line, not the first, as the start of a stanza. Some editors merge lines 2–3 with all or part of stanza 8. There’s no gap in the manuscript, but many editors have presumed there is one, with some agreeing with Bugge’s suggestion, “Till back the maiden   |   bright should come.”

8. No line in this stanza is indicated in the manuscript as beginning a new stanza; editors have tried all sorts of experiments in regrouping the lines into stanzas with those of stanzas 7 and 9. In line 3 the word long is sheer guesswork, as the line in the manuscript contains a metrical error.

__A_TAG_PLACEHOLDER_0__. No line in this stanza is marked in the manuscript as starting a new stanza; editors have attempted many different ways to reorganize the lines into stanzas alongside those from stanzas 7 and 9. In line 3, the word long is completely speculative, since the manuscript has a metrical error in that line.

9. Some editors combine the first two lines with parts of stanza 8, and the last two with the first half of stanza 10. Njars: [258]there has been much, and inconclusive, discussion as to what this name means; probably it applies to a semi-mythical people somewhere vaguely in “the East.”

__A_TAG_PLACEHOLDER_0__. Some editors merge the first two lines with parts of stanza 8, and the last two with the first half of stanza 10. Njars: [__A_TAG_PLACEHOLDER_0__]there has been a lot of inconclusive debate about what this name means; it likely refers to a semi-mythical group of people somewhere vaguely in “the East.”

10. Some editors combine lines 3–4 with the fragmentary stanza 11.

__A_TAG_PLACEHOLDER_0__. Some editors merge lines 3–4 with the incomplete stanza 11.

11. No gap indicated in the manuscript; some editors combine these lines with lines 3–4 of stanza 10, while others combine them with the first two lines of stanza 12. The one ring which Nithuth’s men steal is given to Bothvild, and proves the cause of her undoing.

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscript; some editors merge these lines with lines 3–4 of stanza 10, while others connect them with the first two lines of stanza 12. The single ring that Nithuth’s men steal is given to Bothvild, and it turns out to be the reason for her downfall.

12. The manuscript indicates line 3, and not line 1, as the beginning of a stanza, which has given rise to a large amount of conjectural rearrangement. Line 2 of the original is identical with the phrase added by Bugge in stanza 6. Line 5 may be [259]spurious, or lines 4–5 may have been expanded out of a single line running “The wind-dried wood   |   for Völund burned well.”

__A_TAG_PLACEHOLDER_0__. The manuscript shows line 3, not line 1, as the start of a stanza, which has led to a lot of speculative rearranging. Line 2 of the original matches the phrase added by Bugge in stanza 6. Line 5 might be [__A_TAG_PLACEHOLDER_0__]fake, or lines 4–5 could have been expanded from a single line that goes, “The wind-dried wood   |   for Völund burned well.”

13. Elves: the poem here identifies Völund as belonging to the race of the elves. Hlothver’s daughter: Hervor; many editors treat the adjective “all-wise” here as a proper name.

__A_TAG_PLACEHOLDER_0__. Elves: this poem mentions Völund as part of the elf race. Hlothver’s daughter: Hervor; many editors see the term “all-wise” here as a proper name.

15. In this poem the manuscript indicates the speakers. Some editors make lines 1–2 into a separate stanza, linking lines 3–5 (or 4–5) with stanza 16. Line 3 is very possibly spurious, a mere expansion of “Nithuth spake.” Nithuth, of course, has come with his men to capture Völund, and now charges him with having stolen his treasure.

__A_TAG_PLACEHOLDER_0__. In this poem, the manuscript shows who is speaking. Some editors separate lines 1–2 into a different stanza, connecting lines 3–5 (or 4–5) with stanza 16. Line 3 might not be genuine, just an extension of “Nithuth spake.” Nithuth, of course, has come with his men to capture Völund, and now accuses him of stealing his treasure.

16. The manuscript definitely assigns this stanza to Völund, but many editors give the first two lines to Nithuth. In the manuscript [260]stanza 16 is followed by the two lines of stanza 2, and many editions make of lines 3–4 of stanza 16 and stanza 2 a single speech by Völund. Grani’s way: Grani was Sigurth’s horse, on which he rode to slay Fafnir and win Andvari’s hoard; this and the reference to the Rhine as the home of wealth betray the southern source of the story. If lines 1–2 belong to Völund, they mean that Nithuth got his wealth in the Rhine country, and that Völund’s hoard has nothing to do with it; if the speaker is Nithuth, they mean that Völund presumably has not killed a dragon, and that he is far from the wealth of the Rhine, so that he must have stolen his treasure from Nithuth himself.

__A_TAG_PLACEHOLDER_0__. The manuscript clearly assigns this stanza to Völund, but many editors attribute the first two lines to Nithuth. In the manuscript [__A_TAG_PLACEHOLDER_0__], stanza 16 is followed by the two lines of stanza 2, and many editions combine lines 3–4 of stanza 16 with stanza 2 into one speech by Völund. Grani’s way: Grani was Sigurth’s horse, which he rode to kill Fafnir and gain Andvari’s treasure; this and the mention of the Rhine as a source of wealth indicate the southern origins of the story. If lines 1–2 belong to Völund, they imply that Nithuth obtained his wealth in the Rhine area, suggesting that Völund’s treasure is unrelated; if the speaker is Nithuth, it suggests that Völund likely hasn't killed a dragon and is far from the wealth of the Rhine, meaning he must have stolen his treasure directly from Nithuth.

17. Line 1 is lacking in the manuscript, lines 2–4 following immediately after the two lines here given as stanza 2. Line 1, borrowed from line 1 of stanza 32, is placed here by many editors, following Bugge’s suggestion. Certainly it is Nithuth’s wife who utters line 4. Who comes from the wood: Völund, noted as a hunter. Gering assumes that with the entrance of Nithuth’s wife the scene has changed from Völund’s house to Nithuth’s, but I cannot see that this is necessary.

__A_TAG_PLACEHOLDER_0__. Line 1 is missing from the manuscript, and lines 2–4 immediately follow the two lines presented as stanza 2. Line 1, taken from line 1 of stanza 32, is placed here by many editors, following Bugge’s suggestion. It’s definitely Nithuth’s wife who speaks line 4. Who comes from the wood: Völund, recognized as a hunter. Gering thinks that with the arrival of Nithuth’s wife, the scene shifts from Völund’s house to Nithuth’s, but I don’t think that’s necessary.

Prose. The annotator inserted this note rather clumsily in the midst of the speech of Nithuth’s wife. [261]

Prose. The annotator awkwardly added this note in the middle of Nithuth’s wife's speech. [__A_TAG_PLACEHOLDER_0__]

18. In the manuscript lines 2–3 stand before line 1; many editors have made the transposition here indicated. Some editors reject line 3 as spurious. Sævarstath: “Sea-Stead.”

__A_TAG_PLACEHOLDER_0__. In the manuscript, lines 2–3 come before line 1; many editors have made the switch mentioned here. Some editors dismiss line 3 as fake. Sævarstath: “Sea-Stead.”

19. This stanza is obviously in bad shape. Vigfusson makes two stanzas of it by adding a first line: “Then did Völund speak,   |   sagest of elves.” Editors have rejected various lines, and some have regrouped the last lines with the first two of [262]stanza 20. The elimination of the passages in parenthesis produces a four-line stanza which is metrically correct, but it has little more than guesswork to support it.

__A_TAG_PLACEHOLDER_0__. This stanza clearly needs work. Vigfusson creates two stanzas by adding a first line: “Then did Völund speak, | sagest of elves.” Editors have rejected different lines, and some have combined the last lines with the first two of [__A_TAG_PLACEHOLDER_0__] stanza 20. Removing the passages in parentheses results in a four-line stanza that is metrically correct, but it relies on little more than speculation for its support.

20. The editions vary radically in combining the lines of this stanza with those of stanzas 19 and 21, particularly as the manuscript indicates the third line as the beginning of a stanza. The meaning, however, remains unchanged.

__A_TAG_PLACEHOLDER_0__. The editions differ greatly in how they combine the lines of this stanza with those of stanzas 19 and 21, especially since the manuscript shows the third line as the start of a new stanza. The meaning, however, stays the same.

21. Several editions make one stanza out of lines 3–4 of stanza 20 and lines 1–2 of stanza 21, and another out of the next four lines. The evil was open: i.e., the gold in the chest was destined to be their undoing.

__A_TAG_PLACEHOLDER_0__. Several editions combine lines 3–4 of stanza 20 and lines 1–2 of stanza 21 into one stanza, and the next four lines into another. The evil was open: meaning, the gold in the chest was meant to lead to their downfall.

22. The manuscript indicates line 3 as the beginning of a stanza, and several editors have adopted this grouping. In the Thithrekssaga Völund sends the boys away with instructions not to come back until just after a fall of snow, and then to approach his dwelling walking backward. The boys do this, and when, after he has killed them, Völund is questioned regarding them, he points to the tracks in the snow as evidence that they had left his house. [263]

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza, and several editors have accepted this division. In the Thithrekssaga, Völund tells the boys to leave and not return until just after it snows, and then to approach his home walking backward. The boys follow his instructions, and when Völund is later questioned about them after he has killed them, he points to the footprints in the snow as proof that they had left his house. [__A_TAG_PLACEHOLDER_0__]

23. No gap indicated in the manuscript. Some editors assume it, as here; some group the lines with lines 3–4 of stanza 22, and some with lines 1–2 of stanza 24.

__A_TAG_PLACEHOLDER_0__. There's no break shown in the manuscript. Some editors take it as a gap, like in this case; some connect the lines with lines 3–4 of stanza 22, while others link them with lines 1–2 of stanza 24.

24. Some editions begin a new stanza with line 3.

__A_TAG_PLACEHOLDER_0__. Some editions start a new stanza with line 3.

25. The manuscript indicates line 3 as the beginning of a stanza, and many editors have adopted this grouping.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza, and many editors have accepted this division.

26. These two lines have been grouped in various ways, either with lines 3–4 of stanza 25 or with the fragmentary stanza 27. No gap is indicated in the manuscript, but the loss of something is so obvious that practically all editors have noted it, although they have differed as to the number of lines lost.

__A_TAG_PLACEHOLDER_0__. These two lines have been organized in different ways, either with lines 3–4 of stanza 25 or with the incomplete stanza 27. There's no break shown in the manuscript, but the loss of something is so clear that nearly all editors have pointed it out, even though they've disagreed on the number of lost lines.

27. No gap indicated in the manuscript; the line and a half [264]might be filled out (partly with the aid of late paper manuscripts) thus: “But soon it broke,   |   and swiftly to Völund / She bore it and said—”

__A_TAG_PLACEHOLDER_0__. No gap shown in the manuscript; the line and a half [__A_TAG_PLACEHOLDER_0__] could be completed (partly using later paper manuscripts) like this: “But soon it broke,   |   and quickly to Völund / She took it and said—”

29. The manuscript does not name Völund as the speaker before line 3; Vigfusson again inserts his convenient line, “Then Völund spake,   |   sagest of elves.” A few editions combine lines 3–4 with the two lines of stanza 30.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify Völund as the speaker before line 3; Vigfusson again adds his convenient line, “Then Völund spoke,   |   the wisest of elves.” A few editions merge lines 3–4 with the two lines from stanza 30.

30. No gap indicated in the manuscript; some editors combine the two lines with lines 3–4 of stanza 29, and many with the three lines of stanza 31. [265]

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscript; some editors merge the two lines with lines 3–4 of stanza 29, and many combine them with the three lines of stanza 31. [__A_TAG_PLACEHOLDER_0__]

31. Something has probably been lost before this stanza, explaining how Völund made himself wings, as otherwise, owing to his lameness, he could not leave the island. The Thithrekssaga tells the story of how Völund’s brother, Egil, shot birds and gave him the feathers, out of which he made a feather-garment. This break in the narrative illustrates the lack of knowledge apparently possessed by the compiler who was responsible for the prose notes; had he known the story told in the Thithrekssaga, it is hardly conceivable that he would have failed to indicate the necessary connecting link at this point. Some editors reject line 3 as spurious. The manuscript does not indicate any lacuna.

__A_TAG_PLACEHOLDER_0__. Something was likely lost before this stanza that explains how Völund made wings, as he couldn’t leave the island due to his lameness. The Thithrekssaga recounts how Völund’s brother, Egil, shot birds and gave him the feathers, which he used to create a feather garment. This break in the story shows the apparent lack of knowledge of the compiler responsible for the prose notes; if he had known the story in the Thithrekssaga, it seems unlikely he would have overlooked the necessary connection here. Some editors dismiss line 3 as not genuine. The manuscript doesn’t indicate any missing text.

32. The manuscript indicates line 4 as the beginning of a stanza, and many editors have followed this arrangement.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 4 as the start of a stanza, and many editors have adopted this setup.

33. The manuscript does not name the speaker. It indicates line 3 as the beginning of a new stanza. Vigfusson adds before line 1, “Then spake Nithuth,   |   lord of the Njars.”

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t identify who is speaking. It marks line 3 as the start of a new stanza. Vigfusson adds before line 1, “Then spoke Nithuth,   |   lord of the Njars.”

34. No gap indicated in the manuscript, but it seems clear [266]that something has been lost. Some editors combine these two lines with lines 3–4 of stanza 33. Völund is now flying over Nithuth’s hall.

__A_TAG_PLACEHOLDER_0__. There's no break shown in the manuscript, but it's obvious [__A_TAG_PLACEHOLDER_0__] that something is missing. Some editors connect these two lines with lines 3–4 of stanza 33. Völund is currently flying over Nithuth's hall.

35. The manuscript does not name the speaker; Vigfusson again makes two full stanzas with the line, “Then did Völund speak,   |   sagest of elves.” Some editors begin a new stanza with line 4, while others reject as interpolations lines 2–3 or 5–7. Völund’s wife: the reference is to Bothvild, as Völund wishes to have his vengeance fall more heavily on her father than on her.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t name the speaker; Vigfusson once again creates two full stanzas with the line, “Then did Völund speak, | sagest of elves.” Some editors start a new stanza with line 4, while others dismiss lines 2–3 or 5–7 as additions. Völund’s wife: this refers to Bothvild, as Völund wants his revenge to impact her father more than her.

36. Lines 3–4 are nearly identical with lines 3–4 of stanza 24.

__A_TAG_PLACEHOLDER_0__. Lines 3–4 are almost the same as lines 3–4 of stanza 24.

37. Identical, except for the pronouns, with stanza 25. [267]

__A_TAG_PLACEHOLDER_0__. The same as stanza 25, but with different pronouns. [__A_TAG_PLACEHOLDER_0__]

38. Lines 1–2: cf. stanza 26.

__A_TAG_PLACEHOLDER_0__. Lines 1–2: see stanza 26.

39. The manuscript does not name the speaker. Either line 4 or line 5 may be an interpolation; two editions reject lines 3–5, combining lines 1–2 with stanza 40. In the Thithrekssaga Nithuth actually compels Egil, Völund’s brother, to shoot at Völund. The latter has concealed a bladder full of blood under his left arm, and when his brother’s arrow pierces this, Nithuth assumes that his enemy has been killed. This episode likewise appears among the scenes from Völund’s career rudely carved on an ancient casket of ivory, bearing an Anglo-Saxon inscription in runic letters, which has been preserved.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t identify the speaker. Either line 4 or line 5 might be an addition; two editions omit lines 3–5, merging lines 1–2 with stanza 40. In the Thithrekssaga, Nithuth actually forces Egil, Völund’s brother, to shoot at Völund. Völund has hidden a bladder full of blood under his left arm, and when his brother’s arrow hits it, Nithuth believes his enemy has been killed. This scene also appears among the depictions of Völund’s adventures roughly carved on an ancient ivory casket, which has an Anglo-Saxon inscription in runic letters that has been preserved.

40. Line 1: cf. stanza 31. The manuscript indicates no lacuna. [268]

__A_TAG_PLACEHOLDER_0__. Line 1: see stanza 31. The manuscript shows no gaps. [__A_TAG_PLACEHOLDER_0__]

41. The first line is a conjectural addition. Thakkrath is probably the northern form of the Middle High German name Dancrat.

__A_TAG_PLACEHOLDER_0__. The first line is a guessed addition. Thakkrath is likely the northern version of the Middle High German name Dancrat.

42. The manuscript indicates no gap, but indicates line 3 as the beginning of a stanza; Vigfusson’s added “Then Nithuth spake,   |   lord of the Njars” seems plausible enough.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no break, but marks line 3 as the start of a stanza; Vigfusson’s addition of “Then Nithuth spoke,   |   lord of the Njars” seems reasonable enough.

43. The manuscript does not name the speaker. Different editors have rejected one or another of the last three lines, and as the manuscript indicates line 4 as the beginning of a new stanza, the loss of two or three lines has likewise been suggested. According to the Thithrekssaga, the son of Völund and Bothvild was Vithga, or Witege, one of the heroes of Dietrich of Bern. [269]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who the speaker is. Different editors have dismissed one or more of the last three lines, and since the manuscript marks line 4 as the start of a new stanza, it's been suggested that two or three lines may be missing. According to the Thithrekssaga, Völund and Bothvild's son was Vithga, or Witege, one of the heroes from Dietrich of Bern. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HELGAKVITHA HJORVARTHSSONAR

The Lay of Helgi the Son of Hjorvarth

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The three Helgi lays, all found in the Codex Regius, have been the subjects of a vast amount of discussion, in spite of which many of the facts regarding them are still very far from settled. It is, indeed, scarcely possible to make any unqualified statement regarding these three poems for which a flat contradiction cannot be found in the writings of some scholar of distinction. The origin of the Helgi tradition, its connection with that of Sigurth, the authorship, date and home of the poems, the degree to which they have been altered from their original forms, the status of the composer of the copious prose notes: these and many other allied questions have been and probably always will be matters of dispute among students of the Edda’s history.

The three Helgi poems, all found in the Codex Regius, have been the topic of extensive discussion, yet many facts about them remain unsettled. It's actually quite difficult to make any definitive statement about these three poems without finding a contradiction in the writings of some notable scholar. The origins of the Helgi tradition, its ties to Sigurth, the authorship, the date and place of the poems, how much they have changed from their original forms, and the role of the writer of the detailed prose notes: these and many other related questions have been and likely will always be debated among scholars studying the history of the Edda.

Without attempting to enter into the discussion in detail, certain theories should be noted. Helgi appears originally to have been a Danish popular hero, the son of King Halfdan. Saxo Grammaticus has a good deal to say about him in that capacity, and it has been pointed out that many of the place names in the Helgi lays can be pretty clearly identified with parts of Denmark and neighboring stretches of the Baltic. The Danish Helgi, according to Saxo, was famed as the conqueror of Hunding and Hothbrodd, the latter as the result of a naval expedition at the head of a considerable fleet.

Without going into the details of the discussion, a few theories should be mentioned. Helgi seems to have originally been a popular Danish hero, the son of King Halfdan. Saxo Grammaticus has quite a bit to say about him in that context, and it has been noted that many of the place names in the Helgi lays can be fairly clearly linked to areas in Denmark and nearby regions of the Baltic. The Danish Helgi, according to Saxo, was known for defeating Hunding and Hothbrodd, the latter after leading a significant naval expedition with a large fleet.

From Denmark the story appears to have spread northward into Norway and westward into the Norse settlements among the islands. Not many of its original features remained, and new ones were added here and there, particularly with regard to Helgi’s love affair with Sigrun. The victories over Hunding and Hothbrodd, however, were generally retained, and out of material relating to these two fights, and to the Helgi-Sigrun story, were fashioned the two lays of Helgi Hundingsbane.

From Denmark, the story seems to have spread north into Norway and west into the Norse settlements across the islands. Most of its original elements were lost, and new ones were included along the way, especially concerning Helgi’s romance with Sigrun. However, the victories over Hunding and Hothbrodd were mostly kept, and from the material about these two battles and the Helgi-Sigrun tale, the two lays of Helgi Hundingsbane were created.

How the Helgi legend became involved with that of the Volsungs is an open question. Both stories travelled from the South, and presumably about the same time, so it is not unnatural [270]that some confusion should have arisen. At no time, however, was the connection particularly close so far as the actual episodes of the two stories were concerned. In the two lays of Helgi Hundingsbane the relationship is established only by the statement that Helgi was the son of Sigmund and Borghild; Sigurth is not mentioned, and in the lay of Helgi the son of Hjorvarth there is no connection at all. On the other hand, Helgi does not appear in any of the Eddic poems dealing directly with the Volsung stories, although in one passage of doubtful authenticity (cf. Reginsmol, introductory note) his traditional enemy, Hunding, does, represented by his sons. In the Volsungasaga the story of Helgi, including the fights with Hunding and Hothbrodd and the love affair with Sigrun, is told in chapters 8 and 9 without otherwise affecting the course of the narrative. Here, as in the Helgi lays, Helgi is the son of Sigmund Volsungsson and Borghild; Sigurth, on the other hand, is the son of Sigmund and Hjordis, the latter being the daughter of King Eylimi. Still another son, who complicates both stories somewhat, is Sinfjotli, son of Sigmund and his own sister, Signy. Sinfjotli appears in both of the Helgi Hundingsbane lays and in the Volsungasaga, but not in any of the Eddic poems belonging to the Volsung cycle (cf. Fra Dautha Sinfjotla and note).

How the Helgi legend became linked to that of the Volsungs is still a question without a clear answer. Both tales originated from the South, likely around the same time, so it's not surprising that some confusion arose. However, the connection between the two stories was never particularly strong regarding the actual events. In the two lays of Helgi Hundingsbane, the relationship is only established by the fact that Helgi was the son of Sigmund and Borghild; Sigurth isn't mentioned, and in the lay of Helgi, son of Hjorvarth, there’s no connection at all. On the flip side, Helgi doesn’t appear in any of the Eddic poems that directly relate to the Volsung stories, although there's a questionable passage (cf. Reginsmol, introductory note) where his traditional enemy, Hunding, is mentioned through his sons. In the Volsungasaga, the story of Helgi, including his battles with Hunding and Hothbrodd and his romance with Sigrun, is recounted in chapters 8 and 9 without affecting the overall narrative. Here, like in the Helgi lays, Helgi is the son of Sigmund Volsungsson and Borghild; Sigurth, however, is the son of Sigmund and Hjordis, who is the daughter of King Eylimi. Another son who complicates both stories is Sinfjotli, son of Sigmund and his sister Signy. Sinfjotli appears in both of the Helgi Hundingsbane lays and in the Volsungasaga, but not in any of the Eddic poems related to the Volsung cycle (cf. Fra Dautha Sinfjotla and note).

There is a certain amount of resemblance between the story of Helgi and Sigrun and that of Sigurth and Brynhild, particularly as the annotator responsible for the prose notes insists that Sigrun was a Valkyrie. Whether this resemblance was the cause of bringing the two stories together, or whether the identification of Helgi as Sigmund’s son resulted in alterations of the love story in the Helgi poems, cannot be determined.

There is a certain resemblance between the stories of Helgi and Sigrun and those of Sigurth and Brynhild, especially since the annotator who wrote the prose notes claims that Sigrun was a Valkyrie. It's unclear whether this similarity led to the merging of the two stories, or if Helgi being identified as Sigmund’s son caused changes to the love story in the Helgi poems.

The first of the three Helgi poems, the lay of Helgi the son of Hjorvarth, is a somewhat distant cousin of the other two. The Helgi in question is apparently the same traditional figure, and he leads a naval expedition, but he is not the son of Sigmund, there is no connection with the Volsung cycle, and his wife is Svava, not Sigrun. At the same time, the points of general resemblance with the two Helgi Hundingsbane lays are such as to indicate a common origin, provided one goes far enough back. The annotator brings the stories together by the naive expedient of having Helgi “born again,” and not once only, but twice. [271]

The first of the three Helgi poems, the story of Helgi, son of Hjorvarth, is somewhat distantly related to the other two. This Helgi seems to be the same traditional character, and he leads a naval expedition, but he is not the son of Sigmund, there’s no link to the Volsung cycle, and his wife is Svava, not Sigrun. At the same time, the similarities with the two Helgi Hundingsbane stories suggest a common origin, as long as you trace it back far enough. The annotator connects the stories by the simple idea of having Helgi "reborn," and not just once, but twice. [__A_TAG_PLACEHOLDER_0__]

The first Helgi lay is manifestly in bad shape, and includes at least two distinct poems, differentiated not only by subject-matter but by metrical form. Although the question is debatable, the longer of these poems (stanzas 1–11 and 31–43) seems in turn to have been compounded out of fragments of two or more Helgi poems. The first five stanzas are a dialogue between a bird and Atli, one of Hjorvarth’s followers, concerning the winning of Sigrlin, who is destined to be Hjorvarth’s wife and Helgi’s mother. Stanzas 6–11 are a dialogue between Helgi and a Valkyrie (the accompanying prose so calls her, and identifies her as Svava, but there is nothing in the verse to prove this). Stanzas 12–30 form a fairly consecutive unit, in which Atli, on guard over Helgi’s ship, has a vigorous argument with a giantess, Hrimgerth, whence this section has sometimes been called the Hrimgertharmol (Lay of Hrimgerth). The last section, stanzas 31–43, is again fairly consecutive, and tells of the death of Helgi following the rash oath of his brother, Hethin, to win Svava for himself.

The first Helgi lay is clearly in poor condition and includes at least two separate poems, distinguished not only by their topics but also by their meter. Although this is open to debate, the longer poem (stanzas 1–11 and 31–43) seems to be made up of fragments from two or more Helgi poems. The first five stanzas feature a conversation between a bird and Atli, one of Hjorvarth’s followers, about winning Sigrlin, who is destined to be Hjorvarth’s wife and Helgi’s mother. Stanzas 6–11 show a dialogue between Helgi and a Valkyrie (the accompanying prose refers to her as Svava, but there is nothing in the verse to confirm this). Stanzas 12–30 form a fairly cohesive segment, where Atli, watching over Helgi’s ship, has a heated argument with a giantess named Hrimgerth, leading to this part sometimes being referred to as the Hrimgertharmol (Lay of Hrimgerth). The final section, stanzas 31–43, is also mostly continuous, recounting Helgi's death following his brother Hethin's reckless vow to win Svava for himself.

Parts I, II, and IV may all have come from the same poem or they may not; it is quite impossible to tell surely. All of them are generally dated by commentators not later than the first half of the tenth century, whereas the Hrimgertharmol (section III) is placed considerably later. When and by whom these fragments were pieced together is another vexed question, and this involves a consideration of the prose notes and links, of which the Helgakvitha Hjorvarthssonar has a larger amount than any other poem in the Edda. These prose links contain practically all the narrative, the verse being almost exclusively dialogue. Whoever composed them seems to have been consciously trying to bring his chaotic verse material into some semblance of unity, but he did his work pretty clumsily, with manifest blunders and contradictions. Bugge has advanced the theory that these prose passages are to be regarded as an original and necessary part of the work, but this hardly squares with the evidence.

Parts I, II, and IV might all come from the same poem, or they might not; it’s pretty impossible to know for sure. Commentators generally date all of them to no later than the first half of the tenth century, while the Hrimgertharmol (section III) is dated much later. When and by whom these fragments were put together is another complicated question, which involves looking at the prose notes and connections, with the Helgakvitha Hjorvarthssonar having more of these than any other poem in the Edda. These prose links contain almost all of the narrative, while the verse is mostly dialogue. Whoever wrote them seems to have been trying to make sense of his chaotic verse material, but he did it pretty awkwardly, with clear mistakes and contradictions. Bugge has suggested that these prose passages should be seen as an original and necessary part of the work, but that doesn’t really match the evidence.

It seems probable, rather, that as the Helgi tradition spread from its native Denmark through the Norse regions of the North and West, and became gradually interwoven, although not in essentials, with the other great hero cycle from the South, that of the Volsungs, a considerable number of poems dealing with Helgi were composed, at different times and in different places, [272]reflecting varied forms of the story. Many generations afterwards, when Iceland’s literary period had arrived, some zealous scribe committed to writing such poems or fragments of poems as he knew, piecing them together and annotating them on the basis of information which had reached him through other channels. The prose notes to Helgakvitha Hundingsbana II frankly admit this patchwork process: a section of four stanzas (13–16) is introduced with the phrase, “as is said in the Old Volsung Lay”; the final prose note cites an incident “told in the Karuljoth (Lay of Kara),” and a two-line speech is quoted “as it was written before in the Helgakvitha.”

It seems likely that as the Helgi tradition spread from its home in Denmark through the Norse regions of the North and West, it gradually became mixed with the other major hero cycle from the South, that of the Volsungs, leading to a considerable number of poems about Helgi being written at different times and places, [__A_TAG_PLACEHOLDER_0__]reflecting different versions of the story. Many generations later, when Iceland's literary period began, a dedicated scribe wrote down such poems or fragments of poems as he knew, putting them together and adding notes based on information he received from other sources. The prose notes to Helgakvitha Hundingsbana II openly acknowledge this patchwork approach: a section of four stanzas (13–16) starts with the phrase, “as is said in the Old Volsung Lay”; the last prose note mentions an event “told in the Karuljoth (Lay of Kara),” and a two-line speech is quoted “as it was written before in the Helgakvitha.”

The whole problem of the origin, character and home of the Helgi poems has been discussed in great detail by Bugge in his Helge-Digtene i den Ældre Edda, Deres Hjem og Forbindelser, which, as translated by W. H. Schofield under the title The Home of the Eddic Poems, is available for readers of English. This study is exceedingly valuable, if not in all respects convincing. The whole matter is so complex and so important in the history of Old Norse literature, and any intelligent reading of the Helgi poems is so dependent on an understanding of the conditions under which they have come down to us, that I have here discussed the question more extensively than the scope of a mere introductory note to a single poem would warrant.

The entire issue regarding the origin, nature, and home of the Helgi poems has been thoroughly examined by Bugge in his Helge-Digtene i den Ældre Edda, Deres Hjem og Forbindelser, which is translated by W. H. Schofield as The Home of the Eddic Poems and is accessible to English readers. This study is extremely valuable, even if it isn’t completely convincing in every aspect. The topic is so intricate and significant in the history of Old Norse literature, and any thoughtful reading of the Helgi poems relies heavily on understanding the context in which they were passed down to us, that I've addressed the issue here more extensively than what a simple introductory note to a single poem would typically allow.

[__A_TAG_PLACEHOLDER_0__]

(I)

(I)

OF HJORVARTH AND SIGRLIN

Hjorvarth and Sigrlin

Hjorvarth was the name of a king, who had four wives: one was called Alfhild, and their son was named Hethin; the second was called Særeith, and their son was named Humlung; the third was called Sinrjoth, and their son was [273]named Hymling. King Hjorvarth had made a great vow to have as wife whatsoever woman he knew was fairest. He learned that King Svafnir had a daughter fairer than all others, whose name was Sigrlin. Ithmund was the name of one of his jarls; he had a son called Atli, who went to woo Sigrlin on behalf of the king. He dwelt the winter long with King Svafnir. There was a jarl called Franmar, Sigrlin’s foster-father; his daughter was named Alof. The jarl told him that the maiden’s hand was denied, and Atli went home. Atli, the jarl’s son, stood one day in a certain wood; a bird sat in the branches up over him, and it had heard that his men called Hjorvarth’s wives the fairest of women. The bird twittered, and Atli hearkened to what it spoke. It said: [274]

Hjorvarth was the name of a king who had four wives: one was named Alfhild, and their son was Hethin; the second was named Særeith, and their son was Humlung; the third was named Sinrjoth, and their son was [__A_TAG_PLACEHOLDER_0__]named Hymling. King Hjorvarth had made a great vow to take as his wife whoever woman he knew was the fairest. He found out that King Svafnir had a daughter more beautiful than all others, named Sigrlin. Ithmund was the name of one of his jarls; he had a son named Atli, who went to court Sigrlin on behalf of the king. He stayed the entire winter with King Svafnir. There was a jarl named Franmar, who was Sigrlin’s foster-father; his daughter was named Alof. The jarl told him that the maiden’s hand was denied, and Atli returned home. One day, Atli, the jarl’s son, was standing in a certain woods; a bird sat in the branches above him, and it had heard that his men called Hjorvarth’s wives the fairest of women. The bird chirped, and Atli listened to what it said. It declared: [__A_TAG_PLACEHOLDER_0__]

1. “Sawest thou Sigrlin,   |   Svafnir’s daughter,

__A_TAG_PLACEHOLDER_0__. “Did you see Sigrlin, | Svafnir’s daughter,

The fairest maid   |   in her home-land found?

The most beautiful girl in her homeland found?

Though Hjorvarth’s wives   |   by men are held

Though Hjorvarth's wives   |   by men are held

Goodly to see   |   in Glasir’s wood.”

Good to see in Glasir’s wood.

Atli spake:

Atli said:

2. “Now with Atli,   |   Ithmund’s son,

2. “Now with Atli, | Ithmund’s son,

Wilt thou say more,   |   thou bird so wise?”

Will you say more, you wise bird?

The bird spake:

The bird spoke

“I may if the prince   |   an offering makes,

“I may if the prince | makes an offering,

And I have what I will   |   from the house of the king.”

And I have what I want   |   from the king's house.”

Atli spake:

Atli spoke:

3. “Choose not Hjorvarth,   |   nor sons of his,

3. “Don’t choose Hjorvarth, | or his sons,

Nor the wives so fair   |   of the famous chief;

Nor the beautiful wives of the famous leader;

Ask not the brides   |   that the prince’s are;

Ask not the brides   |   that the prince’s are;

Fair let us deal   |   in friendly wise.”

Fair, let's handle this in a friendly way.

The bird spake:

The bird spoke.

4. “A fane will I ask,   |   and altars many,

__A_TAG_PLACEHOLDER_0__. “I will ask for a temple and many altars,

Gold-horned cattle   |   the prince shall give me,

Gold-horned cattle | the prince will give me,

If Sigrlin yet   |   shall sleep in his arms,

If Sigrlin will still sleep in his arms,

Or free of will   |   the hero shall follow.”

Or free of will   |   the hero shall follow.”

[275]

[__A_TAG_PLACEHOLDER_0__]

This was before Atli went on his journey; but when he came home, and the king asked his tidings, he said:

This was before Atli went on his journey; but when he came home, and the king asked him how it went, he said:

5. “Trouble we had,   |   but tidings none,

__A_TAG_PLACEHOLDER_0__. “We had trouble, but no news,

Our horses failed   |   in the mountains high,

Our horses struggled in the high mountains,

The waters of Sæmorn   |   we needs must wade;

The waters of Sæmorn | we have to wade through;

Svafnir’s daughter,   |   with rings bedecked,

Svafnir’s daughter, wearing adorned rings,

She whom we sought,   |   was still denied us.”

She who we were looking for was still kept from us.”

The king bade that they should go another time, and he went with them himself. But when they came up on the mountain, they saw Svavaland burning and mighty dust-clouds from many steeds. The king rode from the mountain forward into the land, and made a night’s stay hard by a stream. Atli kept watch and went over the stream; he found there a house. A great bird sat on the housetop to guard it, but he was asleep. Atli hurled his spear at the bird and slew it, and in the house he found Sigrlin the king’s daughter and Alof the jarl’s daughter, and he brought them both thence with him. Jarl Franmar had changed himself into the likeness of an eagle, and guarded them from the enemy host by magic. Hrothmar was the name of a king, a wooer of Sigrlin; he slew the [276]king of Svavaland and had plundered and burned his land. King Hjorvarth took Sigrlin, and Atli took Alof.

The king decided they should go another time, and he joined them himself. But when they reached the mountain, they saw Svavaland on fire and huge dust clouds caused by many horses. The king rode down from the mountain into the land and spent the night near a stream. Atli kept watch and crossed the stream; he found a house. A large bird was perched on the roof to guard it, but it was asleep. Atli threw his spear at the bird and killed it, and inside the house, he found Sigrlin, the king's daughter, and Alof, the jarl's daughter, and he took them both with him. Jarl Franmar had transformed himself into an eagle and used magic to protect them from the enemy forces. Hrothmar was the name of a king who wanted to marry Sigrlin; he killed the king of Svavaland and raided and burned his land. King Hjorvarth took Sigrlin, and Atli took Alof.

(II)

(II)

Hjorvarth and Sigrlin had a son, mighty and of noble stature; he was a silent man, and no name stuck fast to him. He sat on a hill, and saw nine Valkyries riding; one of them was the fairest of all. She spake:

Hjorvarth and Sigrlin had a son, strong and of noble stature; he was a quiet man, and no name truly suited him. He sat on a hill and saw nine Valkyries riding; one of them was the most beautiful of all. She spoke:

6. “Late wilt thou, Helgi,   |   have hoard of rings,

__A_TAG_PLACEHOLDER_0__. “You will get your treasure of rings late, Helgi,

Thou battle-tree fierce,   |   or of shining fields,—

Thou battle-tree fierce,   |   or of shining fields,—

The eagle screams soon,—   |   if never thou speakest,

The eagle screams soon, —   |   if you never speak,

Though, hero, hard   |   thy heart may cry.”

Though, hero, hard thy heart may cry.

Helgi spake:

Helgi said:

7. “What gift shall I have   |   with Helgi’s name,

__A_TAG_PLACEHOLDER_0__. “What gift should I receive | with Helgi’s name,

Glorious maid,   |   for the giving is thine? [277]

Glorious lady, | for the giving is yours? [__A_TAG_PLACEHOLDER_0__]

All thy words   |   shall I think on well,

All your words | I will think about carefully,

But I want them not   |   if I win not thee.”

But I don't want them if I don't win you.

The Valkyrie spake:

The Valkyrie said:

8. “Swords I know lying   |   in Sigarsholm,

__A_TAG_PLACEHOLDER_0__. “I know of swords lying in Sigarsholm,

Fifty there are   |   save only four;

Fifty there are   |   save only four;

One there is   |   that is best of all,

One there is | that is best of all,

The shield-destroyer,   |   with gold it shines.

The shield-destroyer,   |   shines with gold.

9. “In the hilt is fame,   |   in the haft is courage,

__A_TAG_PLACEHOLDER_0__. “In the handle is fame,   |   in the grip is courage,

In the point is fear,   |   for its owner’s foes;

In this case, it’s fear, for those who oppose its owner;

On the blade there lies   |   a blood-flecked snake,

On the blade lies   |   a blood-speckled snake,

And a serpent’s tail   |   round the flat is twisted.”

And a serpent's tail around the flat is twisted.”

Eylimi was the name of a king, whose daughter was Svava; she was a Valkyrie, and rode air and sea. She gave Helgi this name, and shielded him oft thereafter in battle. Helgi spake:

Eylimi was the name of a king, whose daughter was Svava; she was a Valkyrie and rode through the air and across the sea. She gave Helgi this name and often shielded him in battle afterward. Helgi said:

10. “Hjorvarth, king,   |   unwholesome thy counsels,

__A_TAG_PLACEHOLDER_0__. “Hjorvarth, king,   |   your advice is harmful,

Though famed thou art   |   in leading the folk, [278]

Though you are famous in leading the people, [__A_TAG_PLACEHOLDER_0__]

Letting fire the homes   |   of heroes eat,

Letting fire consume the homes of heroes,

Who evil deed   |   had never done thee.

Who evil deed | had never done you.

11. “Yet Hrothmar still   |   the hoard doth hold,

11. “But Hrothmar still holds the treasure,

The wealth that once   |   our kinsmen wielded;

The wealth that our relatives once had;

Full seldom care   |   the king disturbs,

Full seldom care | the king disturbs,

Heir to dead men   |   he deems himself.”

Heir to dead men   |   he considers himself.”

Hjorvarth answered that he would give Helgi a following if he fain would avenge his mother’s father. Then Helgi got the sword that Svava had told him of. So he went, and Atli with him, and they slew Hrothmar, and they did many great deeds.

Hjorvarth replied that he would support Helgi if he wanted to take revenge for his grandfather. Then Helgi got the sword that Svava had mentioned to him. So he went, with Atli by his side, and they killed Hrothmar, and they accomplished many great feats.

(III)

(III)

He slew the giant Hati, whom he found sitting on a certain mountain. Helgi and Atli lay with their ships in Hatafjord. Atli kept watch during the first part of the night. Hrimgerth, Hati’s daughter, spake:

He killed the giant Hati, whom he found sitting on a certain mountain. Helgi and Atli anchored their ships in Hatafjord. Atli stood guard during the first part of the night. Hrimgerth, Hati’s daughter, spoke:

12. “Who are the heroes   |   in Hatafjord?

12. “Who are the heroes in Hatafjord?

The ships are covered with shields; [279]

The ships are covered with shields; [__A_TAG_PLACEHOLDER_0__]

Bravely ye look,   |   and little ye fear,

Bravely you look,   |   and you fear very little,

The name of the king would I know.”

The name of the king I want to know.

Atli spake:

Atli said:

13. “Helgi his name,   |   and never thou mayst

__A_TAG_PLACEHOLDER_0__. “His name is Helgi,   |   and you may never”

Harm to the hero bring;

Harm the hero brings;

With iron is fitted   |   the prince’s fleet,

With iron is fitted   |   the prince’s fleet,

Nor can witches work us ill.”

Nor can witches do us harm.”

Hrimgerth spake:

Hrimgerth said

14. “Who now, thou mighty   |   man, art thou?

14. “Who are you now, you powerful man?”

By what name art thou known to men?

By what name are you known to people?

He trusts thee well,   |   the prince who wills

He trusts you well,   |   the prince who wishes

That thou stand at the stem of his ship.”

That you stand at the front of his ship.

Atli spake:

Atli said:

15. “Atli am I,   |   and ill shalt thou find me,

__A_TAG_PLACEHOLDER_0__. "I'm Atli, and you're not going to like what you encounter with me."

Great hate for witches I have;

Great hatred for witches I have;

Oft have I been   |   in the dripping bows,

Oft have I been   |   in the dripping bows,

And to dusk-riders death have brought.

And to the riders of dusk, death has come.

16. “Corpse-hungry giantess,   |   how art thou called?

16. “Giantess who craves the dead,   |   what is your name?

Say, witch, who thy father was! [280]

Say, witch, who your father was! [__A_TAG_PLACEHOLDER_0__]

Nine miles deeper   |   down mayst thou sink,

Nine miles deeper | down may you sink,

And a tree grow tall on thy bosom.”

And a tree grows tall on your chest.”

Hrimgerth spake:

Hrimgerth said:

17. “Hrimgerth am I,   |   my father was Hati,

__A_TAG_PLACEHOLDER_0__. “I am Hrimgerth, | my father was Hati,

Of giants the most in might;

Strongest of the giants.

Many a woman   |   he won from her home,

Many a woman he won from her home,

Ere Helgi hewed him down.”

"Before Helgi took him down."

Atli spake:

Atli said:

18. “Witch, in front   |   of the ship thou wast,

__A_TAG_PLACEHOLDER_0__. “Witch, you were right in front of the ship,

And lay before the fjord;

And lie before the fjord;

To Ron wouldst have given   |   the ruler’s men,

To Ron would have given the ruler’s men,

If a spear had not stuck in thy flesh.”

If a spear hadn't pierced your flesh.

Hrimgerth spake:

Hrimgerth said:

19. “Dull art thou, Atli,   |   thou dreamest, methinks,

__A_TAG_PLACEHOLDER_0__. “You're pretty boring, Atli,   |   I think you're just daydreaming,

The lids lie over thine eyes;

The lids rest over your eyes;

By the leader’s ships   |   my mother lay,

By the leader’s ships   |   my mother lay,

Hlothvarth’s sons on the sea I slew.

Hlothvarth’s sons, I took down at sea.

[281]

[__A_TAG_PLACEHOLDER_0__]

20. “Thou wouldst neigh, Atli,   |   but gelded thou art,

__A_TAG_PLACEHOLDER_0__. “You would neigh, Atli,   |   but you're gelded,"

See, Hrimgerth hoists her tail;

See, Hrimgerth lifts her tail;

In thy hinder end   |   is thy heart, methinks,

In your back end | is your heart, I think,

Though thy speech is a stallion’s cry.”

Though your speech is a stallion’s cry.

Atli spake:

Atli said:

21. “A stallion I seem   |   if thou seekest to try me,

21. “I appear to be a stallion | if you want to challenge me,

And I leap to land from the sea;

And I jump down to land from the sea;

I shall smite thee to bits,   |   if so I will,

I will smash you to pieces, if that's what I want.

And heavy sinks Hrimgerth’s tail.”

And heavy sinks Hrimgerth's tail.

Hrimgerth spake:

Hrimgerth said:

22. “Go ashore then, Atli,   |   if sure of thy might,

__A_TAG_PLACEHOLDER_0__. “Go ashore then, Atli,   |   if you’re confident in your strength,

Let us come to Varin’s cove;

Let’s go to Varin’s cove;

Straight shall thy rounded   |   ribs be made

Straight shall your rounded ribs be made

If thou comest within my claws.”

If you come within my claws.

Atli spake:

Atli said:

23. “I will not go   |   till the warriors wake,

23. “I won’t leave   |   until the warriors are awake,

Again their chief to guard;

Again their leader to guard;

I should wonder not,   |   foul witch, if up

I shouldn't be surprised,   |   you disgusting witch, if up

From beneath our keel thou shouldst come.”

From below our keel, you should come.

Hrimgerth spake:

Hrimgerth said:

24. “Awake now, Helgi,   |   and Hrimgerth requite,

24. “Wake up now, Helgi,   |   and repay Hrimgerth,

That Hati to death thou didst hew; [282]

That Hati you chopped to death; [__A_TAG_PLACEHOLDER_0__]

If a single night   |   she can sleep by the prince,

If, for just one night, she can sleep next to the prince,

Then requited are all her ills.”

Then all her troubles are resolved.

Helgi spake:

Helgi said:

25. “’Tis Lothin shall have thee,—   |   thou’rt loathsome to men,—

__A_TAG_PLACEHOLDER_0__. “It’s Lothin who will have you,— | you’re repulsive to people,—

His home in Tholley he has;

He lives in Tholley;

Of the wild-dwellers worst   |   is the giant wise,

Of all the wild dwellers, the worst is the giant who is wise,

He is meet as a mate for thee.”

He is a good match for you.

Hrimgerth spake:

Hrimgerth said:

26. “More thou lovest her   |   who scanned the harbor,

__A_TAG_PLACEHOLDER_0__. “The more you love her   |   who looked out over the harbor,

Last night among the men;

Last night with the guys;

(The gold-decked maid   |   bore magic, methinks,

(The gold-decked maid   |   bore magic, I think,

When the land from the sea she sought,

When she searched for land from the sea,

And fast she kept your fleet;)

And she kept your fleet fast.

She alone is to blame   |   that I may not bring

She alone is to blame   |   that I may not bring

Death to the monarch’s men.”

"Death to the king's men."

Helgi spake:

Helgi said:

27. “Hrimgerth, mark,   |   if thy hurts I requite,

27. “Hrimgerth, listen,   |   if I repay your injuries,

Tell now the truth to the king; [283]

Tell the truth to the king now; [__A_TAG_PLACEHOLDER_0__]

Was there one who the ships   |   of the warrior warded,

Was there anyone whom the ships of the warrior protected,

Or did many together go?”

Or did many go together?”

Hrimgerth spake:

Hrimgerth said:

28. “Thrice nine there were,   |   but one rode first,

__A_TAG_PLACEHOLDER_0__. “There were thirty, but one went ahead,

A helmed maid white of hue;

A maid in a white helmet;

Their horses quivered,   |   there came from their manes

Their horses shivered, | strands from their manes

Dew in the dales so deep,

Dew in the valleys so deep,

(Hail on the woods so high,

(Hail on the woods so high,

Thence men their harvest have,

From there, men gather their harvest.

But ill was the sight I saw.)”

But it was a disturbing sight I witnessed.)”

Atli spake:

Atli said:

29. “Look eastward, Hrimgerth,   |   for Helgi has struck thee

__A_TAG_PLACEHOLDER_0__. “Look to the east, Hrimgerth,   |   for Helgi has hit you

Down with the runes of death;

Down with the runes of death;

Safe in harbor floats   |   the prince’s fleet,

Safe in harbor floats   |   the prince’s fleet,

And safe are the monarch’s men.”

And the king's men are safe.

Helgi spake:

Helgi said:

30. “It is day, Hrimgerth,   |   for Atli held thee

__A_TAG_PLACEHOLDER_0__. “It’s daytime, Hrimgerth, | because Atli has you.

Till now thy life thou must lose; [284]

Till now you must lose your life; [__A_TAG_PLACEHOLDER_0__]

As a harbor mark   |   men shall mock at thee,

As a harbor marker, men will make fun of you,

Where in stone thou shalt ever stand.”

Where in stone you shall always stand.”

(IV)

(IV)

King Helgi was a mighty warrior. He came to King Eylimi and sought the hand of his daughter, Svava. Then Helgi and Svava exchanged vows, and greatly they loved each other. Svava was at home with her father, while Helgi was in the field; Svava was still a Valkyrie as before.

King Helgi was a powerful warrior. He approached King Eylimi to ask for his daughter, Svava’s hand in marriage. Helgi and Svava exchanged vows, and they loved each other deeply. While Helgi was out in the field, Svava stayed at home with her father; she remained a Valkyrie as she always had been.

Hethin was at home with his father, King Hjorvarth, in Norway. Hethin was coming home alone from the forest one Yule-eve, and found a troll-woman; she rode [285]on a wolf, and had snakes in place of a bridle. She asked Hethin for his company. “Nay,” said he. She said, “Thou shalt pay for this at the king’s toast.” That evening the great vows were taken; the sacred boar was brought in, the men laid their hands thereon, and took their vows at the king’s toast. Hethin vowed that he would have Svava, Eylimi’s daughter, the beloved of his brother Helgi; then such great grief seized him that he went forth on wild paths southward over the land, and found Helgi, his brother. Helgi said:

Hethin was at home with his father, King Hjorvarth, in Norway. One Yule-eve, Hethin was coming home alone from the forest when he encountered a troll-woman; she was riding on a wolf and had snakes instead of a bridle. She asked Hethin to join her. “No,” he replied. She said, “You’ll regret that at the king’s toast.” That evening, the great vows were made; the sacred boar was brought in, the men placed their hands on it and took their vows at the king’s toast. Hethin vowed that he would take Svava, Eylimi’s daughter, who was beloved by his brother Helgi; then an immense sorrow overtook him, prompting him to wander southward across the land until he found Helgi, his brother. Helgi said:

31. “Welcome, Hethin!   |   what hast thou to tell

__A_TAG_PLACEHOLDER_0__. “Welcome, Hethin!   |   What do you have to share?

Of tidings new   |   that from Norway come?

Of new news that comes from Norway?

Wherefore didst leave   |   thy land, O prince,

Where did you leave your land, O prince,

And fared alone   |   to find us here?”

And came here alone to find us?

Hethin spake:

Hethin said:

32. “A deed more evil   |   I have done

__A_TAG_PLACEHOLDER_0__. “I've done something worse.”

Than, brother mine,   |   thou e’er canst mend;

Than, my brother, you can ever fix;

For I have chosen   |   the child of the king,

For I have chosen the king's child,

Thy bride, for mine   |   at the monarch’s toast.”

Thy bride, for mine   |   at the king’s toast.”

[286]

[__A_TAG_PLACEHOLDER_0__]

Helgi spake:

Helgi said:

33. “Grieve not, Hethin,   |   for true shall hold

__A_TAG_PLACEHOLDER_0__. “Don't be sad, Hethin, | for the truth will endure.

The words we both   |   by the beer have sworn;

The words we've both sworn by the beer;

To the isle a warrior   |   wills that I go,

To the island, a warrior   |   wants me to go,

(There shall I come   |   the third night hence;)

(There I will arrive   |   on the third night from now;)

And doubtful must be   |   my coming back,

And my return must be uncertain,

(So may all be well,   |   if fate so wills.)”

(So may all be well,   |   if fate so chooses.)”

Hethin spake:

Hethin said:

34. “Thou saidst once, Helgi,   |   that Hethin was

34. “You once said, Helgi,   |   that Hethin was

A friend full good,   |   and gifts didst give him;

A good friend, and he gave him gifts;

More seemly it were   |   thy sword to redden,

More fitting it would be | your sword to stain red,

Than friendship thus   |   to thy foe to give.”

Than friendship like this | to give to your enemy.

Helgi spoke thus because he foresaw his death, for his following-spirits had met Hethin when he saw the woman riding on the wolf. Alf was the name of a king, the son of Hrothmar, who had marked out a battle-place with [287]Helgi at Sigarsvoll after a stay of three nights. Then Helgi spake:

Helgi spoke this way because he anticipated his death, as his spirit companions had encountered Hethin when he saw the woman riding the wolf. Alf was a king, the son of Hrothmar, who had designated a battlefield with [__A_TAG_PLACEHOLDER_0__]Helgi at Sigarsvoll after a three-night stay. Then Helgi said:

35. “On a wolf there rode,   |   when dusk it was,

35. “A wolf was being ridden,   |   when it was dusk,

A woman who fain   |   would have him follow;

A woman who really wanted him to follow;

Well she knew   |   that now would fall

Well, she knew that now would fall

Sigrlin’s son   |   at Sigarsvoll.”

Sigrlin's son at Sigarsvoll.

There was a great battle, and there Helgi got a mortal wound.

There was a big battle, and that's where Helgi got a fatal injury.

36. Sigar riding   |   did Helgi send

__A_TAG_PLACEHOLDER_0__. Helgi sent Sigar to ride.

To seek out Eylimi’s   |   only daughter:

To find Eylimi’s only kid:

“Bid her swiftly   |   ready to be,

“Tell her to hurry up and be ready,”

If her lover   |   alive she would find.”

If her lover was alive, she would find him.

Sigar spake:

Sigar spoke:

37. “Hither now   |   has Helgi sent me,

37. “Here now | Helgi has sent me,

With thee, Svava,   |   thyself to speak;

With you, Svava,   |   you speak for yourself;

The hero said   |   he fain would see thee

The hero said   |   he would gladly see you

Ere life the nobly   |   born should leave.”

Ere life the nobly born should leave.

Svava spake:

Svava said:

38. “What chanced with Helgi,   |   Hjorvarth’s son?

38. “What happened with Helgi,   |   Hjorvarth’s son?

Hard to me   |   is harm now come;

Hard to me   |   is harm now come;

If the sea smote him,   |   or sword bit him,

If the sea struck him, | or a sword wounded him,

Ill shall I bring   |   to all his foes.”

Ill shall I bring   |   to all his foes.”

[288]

[__A_TAG_PLACEHOLDER_0__]

Sigar spake:

Sigar spoke:

39. “In the morn he fell   |   at Frekastein,

__A_TAG_PLACEHOLDER_0__. “In the morning he fell at Frekastein,

The king who was noblest   |   beneath the sun;

The king who was the noblest under the sun;

Alf has the joy   |   of victory all,

Alf has the joy of total victory,

Though need therefor   |   is never his.”

Though the need for it is never his.

Helgi spake:

Helgi said:

40. “Hail to thee, Svava!   |   thy sorrow rule,

40. “Greetings to you, Svava!   |   your sadness controls,

Our meeting last   |   in life is this;

Our final meeting in life is this;

Hard the wounds   |   of the hero bleed,

Hard the wounds   |   of the hero bleed,

And close to my heart   |   the sword has come.

And close to my heart   |   the sword has arrived.

41. “I bid thee, Svava,—   |   weep not, bride,—

__A_TAG_PLACEHOLDER_0__. “I ask you, Svava,— | don’t cry, bride,—

If thou wilt hearken   |   to these my words,

If you will listen to my words,

The bed for Hethin   |   have thou ready,

The bed for Hethin | have you ready,

And yield thy love   |   to the hero young.”

And give your love to the young hero.

Svava spake:

Svava said:

42. “A vow I had   |   in my dear-loved home,

42. “I made a promise in my beloved home,

When Helgi sought   |   with rings to have me,

When Helgi wanted to have me with rings,

That not of my will,   |   if the warrior died,

That’s not my choice,   |   if the warrior died,

Would I fold in my arms   |   a man unfamed.”

Would I fold my arms around a man without fame.

Hethin spake:

Hethin said:

43. “Kiss me, Svava,   |   I come not back, [289]

__A_TAG_PLACEHOLDER_0__. “Kiss me, Svava,   |   I'm not coming back, [__A_TAG_PLACEHOLDER_0__]

Rogheim to see,   |   or Rothulsfjoll,

Rogheim to see,   |   or Rothulsfjoll,

Till vengeance I have   |   for the son of Hjorvarth,

Till vengeance I have   |   for the son of Hjorvarth,

The king who was noblest   |   beneath the sun.”

The king who was the noblest under the sun.

Of Helgi and Svava it is said that they were born again. [269]

Of Helgi and Svava, it is said that they were reborn. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[272]

[__A_TAG_PLACEHOLDER_0__]

Prose: In the manuscript the sub-title, “Of Hjorvarth and Sigrlin,” stands as the title for the whole poem, though it clearly applies only to the first five stanzas. Most editions employ the title here given. Hjorvarth: the name is a not uncommon one; [273]there are two men of that name mentioned in the mythical-heroic genealogies of the Hyndluljoth (stanzas 23 and 28), and Hjorvarth appears in Helgakvitha Hundingsbana I (stanza 14) and II (prose after stanza 12) as a son of Hunding. This particular Hjorvarth is called by the annotator, but not directly so in the verse, a king of Norway. The name means “Sword-Guardian.” Four wives: polygamy, while very infrequent, appears occasionally in the Norse sagas. Alfhild: “Elf-Warrior.” Hethin: “Fur-Clothed” (?). Særeith: “Sea-Rider.” Sinrjoth: “Ever-Red.” The fourth wife, not here named, may be Sigrlin. It has been suggested that Særeith and Sinrjoth may be northern and southern forms of the same name, as also Humlung and Hymling, their sons. Svafnir: the annotator calls him king of Svavaland, apparently a place on the mainland which could be reached from Norway either by land or by sea. Sigrlin: “The Conquering Serpent.” Atli: Norse form of the Gothic Attila (Etzel). Alof: perhaps a feminine form of Olaf. A bird: compare the counsel given by the birds to Sigurth after the slaying of Fafnir (Fafnismol, stanzas 32–38). This is one of the many curious resemblances between the Helgi and the Sigurth stories. [274]

Prose: In the manuscript, the subtitle “Of Hjorvarth and Sigrlin” serves as the title for the entire poem, even though it only really relates to the first five stanzas. Most editions use the title presented here. Hjorvarth: this name is fairly common; [__A_TAG_PLACEHOLDER_0__] there are two individuals with that name mentioned in the mythical-heroic genealogies of the Hyndluljoth (stanzas 23 and 28), and Hjorvarth appears in Helgakvitha Hundingsbana I (stanza 14) and II (prose after stanza 12) as a son of Hunding. This specific Hjorvarth is referred to by the annotator, but not directly in the verse, as a king of Norway. The name means “Sword-Guardian.” Four wives: although rare, polygamy is occasionally mentioned in the Norse sagas. Alfhild: “Elf-Warrior.” Hethin: “Fur-Clothed” (?). Særeith: “Sea-Rider.” Sinrjoth: “Ever-Red.” The fourth wife, not named here, might be Sigrlin. It has been proposed that Særeith and Sinrjoth could be northern and southern variations of the same name, as might Humlung and Hymling, their sons. Svafnir: the annotator refers to him as king of Svavaland, seemingly a location on the mainland accessible from Norway either by land or sea. Sigrlin: “The Conquering Serpent.” Atli: the Norse version of the Gothic Attila (Etzel). Alof: possibly a feminine form of Olaf. A bird: compare the advice given by the birds to Sigurth after he killed Fafnir (Fafnismol, stanzas 32–38). This is one of many intriguing similarities between the Helgi and Sigurth stories. [__A_TAG_PLACEHOLDER_0__]

1. Glasir’s wood: Snorri in the Skaldskaparmal quotes a half stanza to the effect that “Glasir stands with golden leaves before Othin’s hall,” and calls it “the fairest wood among gods and men.” The phrase as used here seems to mean little.

__A_TAG_PLACEHOLDER_0__. Glasir’s wood: Snorri in the Skaldskaparmal quotes part of a stanza saying that “Glasir stands with golden leaves in front of Othin’s hall,” and refers to it as “the most beautiful wood among gods and humans.” The phrase in this context doesn’t seem to convey much.

4. The bird’s demands would indicate that it is in reality one of the gods. Gold-horned cattle: cf. Thrymskvitha, 23. There [275]are other references to gilding the horns of cattle, particularly for sacrificial purposes.

__A_TAG_PLACEHOLDER_0__. The bird's behavior suggests that it is, in fact, one of the gods. Gold-horned cattle: see Thrymskvitha, 23. There [__A_TAG_PLACEHOLDER_0__]are other mentions of gilding cattle horns, especially for sacrifices.

Prose. The annotator contradicts himself here, as he had already stated that Atli was on his way home.

Prose. The annotator is being inconsistent here because he already mentioned that Atli was heading home.

5. Possibly the remains of two stanzas, or perhaps a line has been added. Sæmorn: this river is nowhere else mentioned.

__A_TAG_PLACEHOLDER_0__. It might be the remnants of two stanzas, or maybe a line has been inserted. Sæmorn: this river is not mentioned anywhere else.

Prose. Sigrlin and Alof, protected by the latter’s father, Franmar, have fled before the ravaging army of Sigrlin’s rejected [276]suitor, Hrothmar. The beginning of a new section (II) is indicated in the manuscript only by the unusually large capital letter with which “Hjorvarth” begins. No name, etc.: this probably means that Helgi had always been so silent that he would answer to no name, with the result that he had none. Valkyries: cf. Voluspo, 31 and note. The annotator insists here and in the prose after stanza 9 that Svava was a Valkyrie, but there is nothing in the verse to prove it, or, indeed, to identify the Svava of the last section of the poem with the person who gave Helgi his name. In the Volsungasaga Sigmund himself names his son Helgi, and gives him a sword, following Helgakvitha Hundingsbana I.

Prose. Sigrlin and Alof, under the protection of Alof's father, Franmar, have escaped from the destructive army of Sigrlin’s spurned [__A_TAG_PLACEHOLDER_0__] suitor, Hrothmar. The start of a new section (II) is marked in the manuscript only by the unusually large capital letter that begins “Hjorvarth.” No name, etc.: this likely suggests that Helgi had always been so quiet that he didn’t respond to any name, resulting in him having none. Valkyries: see Voluspo, 31 and note. The annotator emphasizes here and in the prose after stanza 9 that Svava was a Valkyrie, but there is nothing in the verse to support that claim, or to connect the Svava of the last part of the poem with the person who gave Helgi his name. In the Volsungasaga, Sigmund himself names his son Helgi and gives him a sword, following Helgakvitha Hundingsbana I.

6. Battle-tree: poetic phrase for “warrior.” Shining fields: the words in the manuscript may form a proper name, Rothulsvoll, having this meaning.

__A_TAG_PLACEHOLDER_0__. Battle-tree: a poetic term for “warrior.” Shining fields: the words in the manuscript might refer to a proper name, Rothulsvoll, which has this meaning.

7. Gift: not only was it customary to give gifts with the naming [277]of a child, but the practice frequently obtained when a permanent epithet was added to the name of an adult.

__A_TAG_PLACEHOLDER_0__. Gift: it was common to give gifts at the naming [__A_TAG_PLACEHOLDER_0__] of a child, and this practice often continued when an adult's name included a permanent nickname.

8. Sigarsholm (“Isle of Sigar”): a place not identified, but probably related to the Sigarsvoll where Helgi was slain (stanza 35).

__A_TAG_PLACEHOLDER_0__. Sigarsholm (“Isle of Sigar”): a location that hasn't been pinpointed, but is likely connected to Sigarsvoll where Helgi was killed (stanza 35).

9. The sword is carved with magic runes and with snakes. Fame: the original word is uncertain.

__A_TAG_PLACEHOLDER_0__. The sword is engraved with magical runes and snakes. Fame: the original word is unclear.

Prose. Eylimi: this name is another link with the Sigurth story, as it is likewise the name of the father of Sigurth’s mother, Hjordis.

Prose. Eylimi: this name is another connection to the Sigurth story, as it is also the name of the father of Sigurth's mother, Hjordis.

10. With this stanza begins a new episode, that of Helgi’s [278]victory over King Hrothmar, who had killed his mother’s father (cf. prose after stanza 5). It has been suggested, in consequence, that stanzas 10–11 may be a separate fragment. The verse tells nothing of the battle, merely giving Helgi’s reproaches to his father for having left Svafnir’s death and the burning of Svavaland unavenged.

__A_TAG_PLACEHOLDER_0__. With this stanza starts a new chapter, that of Helgi’s [__A_TAG_PLACEHOLDER_0__]victory over King Hrothmar, who had killed his mother’s father (see the prose after stanza 5). It's been suggested that stanzas 10–11 might be a separate piece. The verse doesn’t recount the battle at all; it simply captures Helgi's frustrations with his father for not avenging Svafnir’s death and the burning of Svavaland.

Prose. The manuscript does not indicate any break, but the episode which forms the basis of the Hrimgertharmol (stanzas 12–30) clearly begins with the slaying of the giant Hati (“The Hateful”). Hatafjord: “Hati’s Fjord.” Hrimgerth: “Frost-Shrouded” (?). [279]

Prose. The manuscript doesn’t show any breaks, but the part that the Hrimgertharmol (stanzas 12–30) is based on clearly starts with the killing of the giant Hati (“The Hateful”). Hatafjord: “Hati’s Fjord.” Hrimgerth: “Frost-Shrouded” (?). [__A_TAG_PLACEHOLDER_0__]

13. Iron: the keels of Norse ships were sometimes fitted with iron “shoes” at bow and stern, but it is not certain that this practice much antedated the year 1000, and thus this line has raised some question as to the antiquity of this stanza, if not of the entire Hrimgertharmol, which may have been composed as late as the eleventh century.

__A_TAG_PLACEHOLDER_0__. Iron: the bottoms of Norse ships were sometimes equipped with iron “shoes” at the front and back, but it’s not clear that this practice existed much before the year 1000, and so this line has raised some questions about the age of this stanza, if not of the whole Hrimgertharmol, which could have been written as late as the eleventh century.

15. The manuscript does not indicate the speaker. The pun on “Atli” and “atall” (meaning “ill”) is untranslatable. [280]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t identify the speaker. The play on words with “Atli” and “atall” (which means “ill”) cannot be translated. [__A_TAG_PLACEHOLDER_0__]

17. The manuscript does not indicate the speaker.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking.

18. From this point to the end the manuscript does not indicate the speakers. Ron: wife of the sea-god Ægir, who draws drowning men into the sea with her net. There is no other reference to the wounding of Hrimgerth.

__A_TAG_PLACEHOLDER_0__. From this point on, the manuscript doesn't specify who is speaking. Ron: the wife of the sea-god Ægir, who pulls drowning men into the sea with her net. There is no other mention of Hrimgerth being wounded.

19. Apparently both Hrimgerth and her mother, Hati’s wife, had sought to destroy Helgi’s ships, and had actually killed some of his companions, the sons of Hlothvarth, concerning whom nothing more is known. Many editors assume that a stanza containing a speech by Atli has been lost after stanza 19. [281]

__A_TAG_PLACEHOLDER_0__. Apparently, both Hrimgerth and her mother, Hati’s wife, wanted to destroy Helgi’s ships and had actually killed some of his companions, the sons of Hlothvarth, about whom nothing more is known. Many editors believe that a stanza featuring a speech by Atli has been lost after stanza 19. [__A_TAG_PLACEHOLDER_0__]

20. Apparently Hrimgerth has assumed the form of a mare.

__A_TAG_PLACEHOLDER_0__. It seems that Hrimgerth has taken on the shape of a mare.

22. Varin’s cove: the name of Varin appears twice in place names in Helgakvitha Hundingsbana I (stanzas 27 and 39). The sagas mention a mythical King Varin who lived at Skorustrond in Rogaland (Norway). [282]

__A_TAG_PLACEHOLDER_0__. Varin’s cove: the name Varin shows up twice in place names in Helgakvitha Hundingsbana I (stanzas 27 and 39). The sagas mention a legendary King Varin who lived at Skorustrond in Rogaland (Norway). [__A_TAG_PLACEHOLDER_0__]

25. Of the giant Lothin (“The Shaggy”) and his home in Tholley (“Pine Island”) nothing is known. Cf. Skirnismol, 35.

__A_TAG_PLACEHOLDER_0__. Nothing is known about the giant Lothin (“The Shaggy”) and his home in Tholley (“Pine Island”). See Skirnismol, 35.

26. Something is clearly wrong with this stanza, and the manuscript indicates line 6 as the beginning of a new one. Perhaps a line (between lines 4 and 5) has been lost, or perhaps the lines in parenthesis are interpolations. Hrimgerth here refers to Svava, or to the protectress with whom the annotator has identified her, as having saved Helgi and his ships from the vengeance of the giantesses. In the original line 1 includes Helgi’s name, which makes it metrically incorrect. [283]

__A_TAG_PLACEHOLDER_0__. Something's definitely off with this stanza, and the manuscript marks line 6 as the start of a new one. It’s possible that a line got lost (between lines 4 and 5), or maybe the lines in parentheses are additions. Hrimgerth here refers to Svava, or to the protector that the annotator associates her with, as having saved Helgi and his ships from the wrath of the giantesses. In the original, line 1 includes Helgi’s name, which makes it metrically incorrect. [__A_TAG_PLACEHOLDER_0__]

28. Again something is clearly wrong, and the last three lines look like interpolations, though some editors have tried to reconstruct two full stanzas. The passage suggests the identification of the Valkyries with the clouds.

__A_TAG_PLACEHOLDER_0__. Once again, something is obviously off, and the last three lines seem to be added later, although some editors have attempted to piece together two complete stanzas. The section implies a connection between the Valkyries and the clouds.

29. Some editions give this speech to Helgi. Eastward: Atli and Helgi have held Hrimgerth in talk till sunrise, and the sun’s rays turn her into stone. But dwarfs rather than giants were the victims of sunlight; cf. Alvissmol, stanzas 16 and 35. [284]

__A_TAG_PLACEHOLDER_0__. Some editions attribute this speech to Helgi. Eastward: Atli and Helgi have been chatting with Hrimgerth until sunrise, and the sunlight turns her into stone. But it was dwarfs, not giants, who were affected by the sunlight; see Alvissmol, stanzas 16 and 35. [__A_TAG_PLACEHOLDER_0__]

30. Most editions give this stanza to Atli. With this the Hrimgertharmol ends, and after the next prose passage the meter reverts to that of the earlier sections.

__A_TAG_PLACEHOLDER_0__. Most editions attribute this stanza to Atli. This concludes the Hrimgertharmol, and after the next prose section, the meter returns to that of the earlier parts.

Prose. The manuscript does not indicate a new section of the poem. Eylimi: cf. note on prose after stanza 9. Valkyrie: here, as before, the annotator has apparently nothing but his own imagination on which to base his statement. Svava in the ensuing stanzas certainly does not behave like a Valkyrie. Norway: the annotator doubtless based this statement on the reference to Norway in line 2 of stanza 31. Yule-eve: the Yule feast, marking the new year, was a great event in the heathen North. It was a time of feasting and merrymaking, vows (“New Year’s resolutions”), ghosts and witches; the spirits had their greatest power on Yule-eve. The king’s toast: vows made at the passing of the king’s cup at the Yule feast were particularly sacred. Sacred boar: a boar consecrated to Freyr, an integral part of the Yule rites. Hethin’s vow, which is, of course, the vengeance of the troll-woman, is too sacred to be broken, but he immediately realizes the horror of his oath. [285]

Prose. The manuscript does not mark a new section of the poem. Eylimi: see the note on prose after stanza 9. Valkyrie: just like before, it seems the annotator has only his own imagination to support his claim. Svava in the following stanzas clearly does not act like a Valkyrie. Norway: the annotator probably made this statement based on the mention of Norway in line 2 of stanza 31. Yule-eve: the Yule feast, celebrating the new year, was a major event in the pagan North. It was a time for feasting and celebration, making vows (“New Year’s resolutions”), along with the presence of ghosts and witches; spirits were believed to be most powerful on Yule-eve. The king’s toast: vows made while passing the king’s cup during the Yule feast were considered especially sacred. Sacred boar: a boar dedicated to Freyr, an essential part of the Yule rituals. Hethin’s vow, which is, of course, the revenge of the troll-woman, is too sacred to break, but he quickly realizes the horror of his promise. [__A_TAG_PLACEHOLDER_0__]

31. From Norway: Bugge uses this phrase as evidence that the poem was composed in one of the Icelandic settlements of the western islands, but as the annotator himself seems to have thought that Hethin came to Helgi by land (“on wild paths southward”), this argument does not appear to have much weight.

__A_TAG_PLACEHOLDER_0__. From Norway: Bugge uses this phrase as proof that the poem was written in one of the Icelandic settlements in the western islands, but since the annotator himself seems to believe that Hethin reached Helgi by land (“on wild paths southward”), this argument doesn't seem very strong.

32. The second line is conjectural; a line has clearly been lost from this stanza, and various emendations have been suggested. [286]

__A_TAG_PLACEHOLDER_0__. The second line is a guess; it’s clear that a line is missing from this stanza, and different corrections have been proposed. [__A_TAG_PLACEHOLDER_0__]

33. Perhaps this is the remnant of two stanzas, or perhaps two lines (probably the ones in parenthesis) have been interpolated. The isle: duels were commonly fought on islands, probably to guard against treacherous interference, whence the usual name for a duel was “isle-going.” A duel was generally fought three days after the challenge. Reckoning the lapse of time by nights instead of days was a common practice throughout the German and Scandinavian peoples.

__A_TAG_PLACEHOLDER_0__. This might be leftover from two stanzas, or it could be that two lines (likely the ones in parentheses) were added later. The isle: duels were often fought on islands, probably to prevent any sneaky interference, which is why the common term for a duel was “isle-going.” A duel typically took place three days after the challenge was issued. Counting the time by nights instead of days was a common practice among the German and Scandinavian people.

Prose. Some editors place all or part of this prose passage after stanza 35. Following-spirits: the “fylgja” was a female guardian spirit whose appearance generally betokened death. The belief was common throughout the North, and has come down to recent times in Scottish and Irish folk-lore. Individuals and sometimes whole families had these following-spirits, but it was most unusual for a person to have more than one of them. Alf: son of the Hrothmar who killed Helgi’s grandfather, and [287]who was in turn later killed by Helgi. Sigarsvoll (“Sigar’s Field”): cf. stanza 8 and note; the Sigar in question may be the man who appears as Helgi’s messenger in stanzas 36–39.

Prose. Some editors place all or part of this prose passage after stanza 35. Following-spirits: the “fylgja” was a female guardian spirit whose appearance usually signified death. This belief was widespread in the North and has persisted in Scottish and Irish folklore. Individuals and sometimes entire families had these following-spirits, but it was quite rare for a person to have more than one. Alf: son of Hrothmar who killed Helgi’s grandfather, and [__A_TAG_PLACEHOLDER_0__] who was later killed by Helgi. Sigarsvoll (“Sigar’s Field”): see stanza 8 and note; the Sigar in question may be the person who appears as Helgi’s messenger in stanzas 36–39.

36. Sigar (“The Victorious”): cf. the foregoing note. [288]

__A_TAG_PLACEHOLDER_0__. Sigar ("The Victorious"): see the previous note. [__A_TAG_PLACEHOLDER_0__]

39. Frekastein (“Wolf-Crag”): the name appears several times in the Helgi lays applied to battlefields; cf. Helgakvitha Hundingsbana I, 46 and 55, and II, 18 and 24. Need: i.e., Alf deserves no credit for the victory, which was due to the troll-woman’s magic. [289]

__A_TAG_PLACEHOLDER_0__. Frekastein (“Wolf-Crag”): this name comes up several times in the Helgi poems referring to battlefields; see Helgakvitha Hundingsbana I, 46 and 55, and II, 18 and 24. Need: meaning, Alf shouldn't get any credit for the victory; it was actually thanks to the troll-woman's magic. [__A_TAG_PLACEHOLDER_0__]

41. One or two editors ascribe this stanza to Hethin.

__A_TAG_PLACEHOLDER_0__. One or two editors attribute this stanza to Hethin.

43. A few editions make the extraordinary blunder of ascribing this speech to the dying Helgi. The point, of course, is that Hethin will satisfy Svava’s vow by becoming famous as the slayer of Alf. Rogheim (“Home of Battle”) and Rothulsfjoll (“Sun-Mountain”): nowhere else mentioned; Hethin means simply that he will not come back to Svava till he has won fame.

__A_TAG_PLACEHOLDER_0__. A few versions make the huge mistake of attributing this speech to the dying Helgi. The main point is that Hethin will fulfill Svava’s vow by becoming famous as the slayer of Alf. Rogheim (“Home of Battle”) and Rothulsfjoll (“Sun-Mountain”): neither is mentioned anywhere else; Hethin means that he won’t return to Svava until he has achieved fame.

Prose. Regarding this extraordinary bit see the prose note at the end of Helgakvitha Hundingsbana II. Gering thinks the reborn Helgi Hjorvarthsson was Helgi Hundingsbane, while Svava, according to the annotator himself, became Sigrun. The point seems to be simply that there were so many Helgi stories current, and the hero died in so many irreconcilable ways, that tradition had to have him born over again, not once only but several times, to accommodate his many deaths, and to avoid splitting him up into several Helgis. Needless to say, the poems themselves know nothing of this rebirth, and we owe the suggestion entirely to the annotator, who probably got it from current tradition. [290]

Prose. For more on this fascinating detail, see the prose note at the end of Helgakvitha Hundingsbana II. Gering believes that the reborn Helgi Hjorvarthsson was Helgi Hundingsbane, while Svava, as noted by the annotator, became Sigrun. The idea seems to be that there were so many different Helgi stories circulating, and the hero faced many contradictory deaths, that tradition needed to have him reborn multiple times to account for his various endings, and to prevent splitting him into several Helgis. It goes without saying that the poems themselves don’t mention this rebirth, and we owe the idea entirely to the annotator, who likely got it from the existing tradition. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HELGAKVITHA HUNDINGSBANA I

The First Lay of Helgi Hundingsbane

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The general subject of the Helgi lays is considered in the introduction to Helgakvitha Hjorvarthssonar, and it is needless here to repeat the statements there made. The first lay of Helgi Hundingsbane is unquestionably one of the latest of the Eddic poems, and was composed probably not earlier than the second quarter of the eleventh century. It presents several unusual characteristics. For one thing, it is among the few essentially narrative poems in the whole collection, telling a consecutive story in verse, and, except for the abusive dialogue between Sinfjotli and Gothmund, which clearly was based on another and older poem, it does so with relatively little use of dialogue. It is, in fact, a ballad, and in the main an exceedingly vigorous one. The annotator, who added his prose narrative notes so freely in the other Helgi poems, here found nothing to do. The available evidence indicates that narrative verse was a relatively late development in Old Norse poetry, and it is significant that most of the poems which consist chiefly, not of dialogue, but of narrative stanzas, such as the first Helgi Hundingsbane lay and the two Atli lays, can safely be dated, on the basis of other evidence, after the year 1000.

The general topic of the Helgi lays is discussed in the introduction to Helgakvitha Hjorvarthssonar, so there's no need to repeat what’s been said there. The first lay of Helgi Hundingsbane is definitely one of the more recent Eddic poems, composed probably no earlier than the second quarter of the eleventh century. It features several unique characteristics. For one, it’s among the few truly narrative poems in the entire collection, telling a continuous story in verse, and aside from the confrontational exchange between Sinfjotli and Gothmund, which clearly draws from an older poem, it relies on dialogue to a much lesser extent. In fact, it can be considered a ballad, and it’s generally very dynamic. The annotator, who usually added lots of prose narrative notes in the other Helgi poems, had nothing to add here. The available evidence suggests that narrative verse developed relatively late in Old Norse poetry, and it’s noteworthy that most poems that primarily contain narrative stanzas rather than dialogue, like the first Helgi Hundingsbane lay and the two Atli lays, can be reliably dated to after the year 1000 based on other evidence.

The first Helgi Hundingsbane lay is again differentiated from most of the Eddic poems by the character of its language. It is full of those verbal intricacies which were the delight of the Norse skalds, and which made Snorri’s dictionary of poetic phrases an absolute necessity. Many of these I have paraphrased in the translation; some I have simplified or wholly avoided. A single line will serve to indicate the character of this form of complex diction (stanza 56, line 4): “And the horse of the giantess   |   raven’s-food had.” This means simply that wolves (giantesses habitually rode on wolves) ate the bodies of the dead.

The first Helgi Hundingsbane is different from most of the Eddic poems in the way its language is crafted. It’s packed with verbal features that were a source of joy for the Norse skalds, which made Snorri’s dictionary of poetic phrases essential. I've paraphrased many of these in the translation; some I’ve simplified or completely left out. One line illustrates the nature of this complex diction (stanza 56, line 4): “And the horse of the giantess | raven’s-food had.” This simply means that wolves (giantesses typically rode on wolves) ate the bodies of the dead.

Except for its intricacies of diction, and the possible loss of a stanza here and there, the poem is comparatively simple. The story belongs in all its essentials to the Helgi tradition, with the Volsung cycle brought in only to the extent of making Helgi the son of Sigmund, and in the introduction of Sinfjotli, son of Sigmund and his sister Signy, in a passage which has [291]little or nothing to do with the course of the narrative, and which looks like an expansion of a passage from some older poem, perhaps from the “old Volsung lay” to which the annotator of the second Helgi Hundingsbane lay refers (prose after stanza 12). There are many proper names, some of which betray the confusion caused by the blending of the two sets of traditions; for example, Helgi appears indiscriminately as an Ylfing (which presumably he was before the Volsung story became involved) and as a Volsung. Granmar and his sons are called Hniflungs (Nibelungen) in stanza 50, though they seem to have had no connection with this race. The place names have aroused much debate as to the localization of the action, but while some of them probably reflect actual places, there is so much geographical confusion, and such a profusion of names which are almost certainly mythical, that it is hard to believe that the poet had any definite locations in mind.

Aside from its complex word choices and the potential omission of a stanza here and there, the poem is relatively straightforward. The story fundamentally belongs to the Helgi tradition, with the Volsung cycle included only to establish Helgi as the son of Sigmund and to introduce Sinfjotli, Sigmund’s son with his sister Signy, in a section that has [__A_TAG_PLACEHOLDER_0__]little or nothing to do with the main plot, which appears to be an elaboration of a part from some older poem, possibly from the “old Volsung lay” mentioned by the annotator of the second Helgi Hundingsbane lay (prose after stanza 12). There are many proper names, some of which reveal the confusion created by the merging of these two traditions; for instance, Helgi appears interchangeably as an Ylfing (which he likely was before the Volsung narrative became intertwined) and as a Volsung. Granmar and his sons are referred to as Hniflungs (Nibelungen) in stanza 50, even though they seem to have had no ties to this lineage. The place names have sparked much debate regarding the settings of the actions, but while some likely reflect real locations, there is so much geographical confusion and such an abundance of names that are almost certainly mythical, making it hard to believe the poet had any specific locations in mind.

[__A_TAG_PLACEHOLDER_0__]

1. In olden days,   |   when eagles screamed,

__A_TAG_PLACEHOLDER_0__. In the past, | when eagles cried,

And holy streams   |   from heaven’s crags fell,

And holy streams | from heaven's cliffs fell,

Was Helgi then,   |   the hero-hearted,

Was Helgi then,   |   the hero-hearted,

Borghild’s son,   |   in Bralund born.

Borghild's son, | born in Bralund.

2. ’Twas night in the dwelling,   |   and Norns there came,

__A_TAG_PLACEHOLDER_0__. It was night in the home,   |   and the Norns arrived,

Who shaped the life   |   of the lofty one;

Who influenced the life of the elevated one;

They bade him most famed   |   of fighters all

They called him the most famous of all fighters.

And best of princes   |   ever to be.

And the greatest of princes   |   always to be.

[292]

[__A_TAG_PLACEHOLDER_0__]

3. Mightily wove they   |   the web of fate,

__A_TAG_PLACEHOLDER_0__. They skillfully spun the web of destiny,

While Bralund’s towns   |   were trembling all;

While Bralund's towns were all shaking;

And there the golden   |   threads they wove,

And there the golden   |   threads they wove,

And in the moon’s hall   |   fast they made them.

And in the moon's light | they quickly made them.

4. East and west   |   the ends they hid,

__A_TAG_PLACEHOLDER_0__. East and west   |   the ends they concealed,

In the middle the hero   |   should have his land;

In the middle, the hero should have his land;

And Neri’s kinswoman   |   northward cast

And Neri’s relative | looked northward

A chain, and bade it   |   firm ever to be.

A chain, and ordered it to be strong forever.

5. Once sorrow had   |   the Ylfings’ son,

__A_TAG_PLACEHOLDER_0__. Once grief had   |   the Ylfings’ son,

And grief the bride   |   who the loved one had borne.

And grief the bride   |   who had lost her loved one.

    *    *    *    *    *    *

*    *    *    *    *    *

Quoth raven to raven,   |   on treetop resting,

Quoth raven to raven,   |   on treetop resting,

Seeking for food,   |   “There is something I know.

Seeking food,   |   “I know something.

[293]

[__A_TAG_PLACEHOLDER_0__]

6. “In mail-coat stands   |   the son of Sigmund,

__A_TAG_PLACEHOLDER_0__. “In a mail coat stands   |   the son of Sigmund,

A half-day old;   |   now day is here;

A half-day old;   |   now the day is here;

His eyes flash sharp   |   as the heroes’ are,

His eyes flash sharp as the heroes' do,

He is friend of the wolves;   |   full glad are we.”

He is a friend of the wolves; | we are very happy.

7. The warrior throng   |   a ruler thought him,

__A_TAG_PLACEHOLDER_0__. The crowd of warriors   |   a leader considered him,

Good times, they said,   |   mankind should see;

Good times, they said, | mankind should experience;

The king himself   |   from battle-press came,

The king himself came from the heat of battle,

To give the prince   |   a leek full proud.

To give the prince a fully proud leek.

8. Helgi he named him,   |   and Hringstathir gave him,

__A_TAG_PLACEHOLDER_0__. He named him Helgi,   |   and Hringstathir gave him,

Solfjoll, Snæfjoll,   |   and Sigarsvoll,

Solfjoll, Snæfjoll, and Sigarsvoll,

Hringstoth, Hotun,   |   and Himinvangar,

Hringstoth, Hotun, and Himinvangar

And a blood-snake bedecked   |   to Sinfjotli’s brother.

And a blood-snake adorned to Sinfjotli’s brother.

[294]

[__A_TAG_PLACEHOLDER_0__]

9. Mighty he grew   |   in the midst of his friends,

__A_TAG_PLACEHOLDER_0__. He grew strong and powerful among his friends,

The fair-born elm,   |   in fortune’s glow;

The well-born elm, | in fortune's light;

To his comrades gold   |   he gladly gave,

To his friends, he happily gave gold,

The hero spared not   |   the blood-flecked hoard.

The hero did not hold back from the bloodstained treasure.

10. Short time for war   |   the chieftain waited,

__A_TAG_PLACEHOLDER_0__. Brief pause for battle   |   the leader waited,

When fifteen winters   |   old he was;

When he was fifteen years old;

Hunding he slew,   |   the hardy wight

Hunding he killed, | the tough warrior

Who long had ruled   |   o’er lands and men.

Who had long ruled over lands and people.

11. Of Sigmund’s son   |   then next they sought

11. They then looked for Sigmund’s son |

Hoard and rings,   |   the sons of Hunding;

Hoard and rings,   |   the sons of Hunding;

They bade the prince   |   requital pay

They told the prince to pay for what he owed.

For booty stolen   |   and father slain.

For stolen treasure   |   and father killed.

12. The prince let not   |   their prayers avail,

__A_TAG_PLACEHOLDER_0__. The prince did not allow their prayers to be of any help,

Nor gold for their dead   |   did the kinsmen get;

Nor did the relatives get gold for their dead;

Waiting, he said,   |   was a mighty storm

Waiting, he said,   |   was a powerful storm

Of lances gray   |   and Othin’s grimness.

Of gray lances and Othin’s grimness.

13. The warriors forth   |   to the battle went,

__A_TAG_PLACEHOLDER_0__. The warriors went out to battle,

The field they chose   |   at Logafjoll; [295]

The area they picked  |   at Logafjoll; [__A_TAG_PLACEHOLDER_0__]

Frothi’s peace   |   midst foes they broke,

Frothi’s peace   |   among enemies they shattered,

Through the isle went hungrily   |   Vithrir’s hounds.

Through the isle went hungrily Vithrir’s hounds.

14. The king then sat,   |   when he had slain

__A_TAG_PLACEHOLDER_0__. The king then took a seat,   |   after he had killed

Eyjolf and Alf,   |   ’neath the eagle-stone;

Eyjolf and Alf,   |   under the eagle stone;

Hjorvarth and Hovarth,   |   Hunding’s sons,

Hjorvarth and Hovarth, | Hunding’s sons,

The kin of the spear-wielder,   |   all had he killed.

The family of the spear-thrower,   |   he had killed them all.

15. Then glittered light   |   from Logafjoll,

__A_TAG_PLACEHOLDER_0__. Then light sparkled   |   from Logafjoll,

And from the light   |   the flashes leaped;

And from the light | the flashes jumped;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

16. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

High under helms   |   on heaven’s field;

High under helms   |   on heaven’s field;

Their byrnies all   |   with blood were red,

Their shirts were all stained with blood,

And from their spears   |   the sparks flew forth.

And sparks flew from their spears.

[296]

[__A_TAG_PLACEHOLDER_0__]

17. Early then   |   in wolf-wood asked

__A_TAG_PLACEHOLDER_0__. Early then  |   in wolf-wood asked

The mighty king   |   of the southern maid,

The powerful king of the southern maiden,

If with the hero   |   home would she

If the hero is with her, would she be at home?

Come that night;   |   the weapons clashed.

Come that night;   |   the weapons clashed.

18. Down from her horse   |   sprang Hogni’s daughter,—

__A_TAG_PLACEHOLDER_0__. Hogni’s daughter jumped down from her horse,—

The shields were still,—   |   and spake to the hero:

The shields were still,—   |   and spoke to the hero:

“Other tasks   |   are ours, methinks,

“Other tasks   |   are ours, I think,

Than drinking beer   |   with the breaker of rings.

Than drinking beer with the ring holder.

19. “My father has pledged   |   his daughter fair

__A_TAG_PLACEHOLDER_0__. “My dad has promised his beautiful daughter

As bride to Granmar’s   |   son so grim;

As the bride to Granmar's son, so serious;

But, Helgi, I   |   once Hothbrodd called

But, Helgi, I once heard Hothbrodd say

As fine a king   |   as the son of a cat.

As great a king as the son of a cat.

[297]

[__A_TAG_PLACEHOLDER_0__]

20. “Yet the hero will come   |   a few nights hence,

__A_TAG_PLACEHOLDER_0__. “But the hero will arrive a few nights later,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Unless thou dost bid him   |   the battle-ground seek,

Unless you tell him to seek the battlefield,

Or takest the maid   |   from the warrior mighty.”

Or take the maid from the mighty warrior.

Helgi spake:

Helgi said:

21. “Fear him not,   |   though Isung he felled,

__A_TAG_PLACEHOLDER_0__. “Don’t be afraid of him,   |   even though he brought down Isung,

First must our courage   |   keen be tried,

First, our courage must be put to the test,

Before unwilling   |   thou fare with the knave;

Before you go with the scoundrel reluctantly;

Weapons will clash,   |   if to death I come not.”

Weapons will clash,   |   if I do not meet my death.

22. Messengers sent   |   the mighty one then,

__A_TAG_PLACEHOLDER_0__. Messengers sent   |   the powerful one then,

By land and by sea,   |   a host to seek,

By land and by sea,   |   a crowd to find,

Store of wealth   |   of the water’s gleam,

Store of wealth   |   of the water’s shine,

And men to summon,   |   and sons of men.

And men to call,   |   and sons of men.

23. “Bid them straightway   |   seek the ships,

__A_TAG_PLACEHOLDER_0__. “Tell them to go right away and look for the ships,

And off Brandey   |   ready to be!”

And off Brandey   |   ready to be!

There the chief waited   |   till thither were come

There the chief waited until they arrived there.

Men by hundreds   |   from Hethinsey.

Men by the hundreds | from Hethinsey.

[298]

[__A_TAG_PLACEHOLDER_0__]

24. Soon off Stafnsnes   |   stood the ships,

__A_TAG_PLACEHOLDER_0__. Soon off Stafnsnes   |   the ships were anchored,

Fair they glided   |   and gay with gold;

Fair they glided | and happy with gold;

Then Helgi spake   |   to Hjorleif asking:

Then Helgi said to Hjorleif asking:

“Hast thou counted   |   the gallant host?”

“Have you counted | the brave army?”

25. The young king answered   |   the other then:

__A_TAG_PLACEHOLDER_0__. The young king replied to the other:

“Long were it to tell   |   from Tronueyr

“Long were it to tell   |   from Tronueyr

The long-stemmed ships   |   with warriors laden

The long-stemmed ships   |   with warriors loaded

That come from without   |   into Orvasund.

That come from outside   |   into Orvasund.

26. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“There are hundreds twelve   |   of trusty men,

“There are one hundred and twelve of trustworthy men,

But in Hotun lies   |   the host of the king,

But in Hotun lies the king's host,

Greater by half;   |   I have hope of battle.”

Greater by half;   |   I hope for a fight.

27. The ship’s-tents soon   |   the chieftain struck,

__A_TAG_PLACEHOLDER_0__. The tents of the ship were quickly set up by the chieftain,

And waked the throng   |   of warriors all; [299]

And woke up the crowd   |   of warriors all; [__A_TAG_PLACEHOLDER_0__]

(The heroes the red   |   of dawn beheld;)

(The heroes the red   |   of dawn beheld;)

And on the masts   |   the gallant men

And on the masts   |   the brave men

Made fast the sails   |   in Varinsfjord.

Made fast the sails in Varinsfjord.

28. There was beat of oars   |   and clash of iron,

__A_TAG_PLACEHOLDER_0__. There was the sound of rowing and the clash of metal,

Shield smote shield   |   as the ships’-folk rowed;

Shield clashed against shield as the sailors rowed;

Swiftly went   |   the warrior-laden

Quickly went   |   the warrior-laden

Fleet of the ruler   |   forth from the land.

Fleet of the ruler   |   out from the land.

29. So did it sound,   |   when together the sisters

__A_TAG_PLACEHOLDER_0__. So it sounded,   |   when the sisters were together

Of Kolga struck   |   with the keels full long,

Of Kolga struck   |   with the keels full long,

As if cliffs were broken   |   with beating surf,

As if cliffs were shattered by crashing waves,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

30. Helgi bade higher   |   hoist the sails,

__A_TAG_PLACEHOLDER_0__. Helgi ordered to raise the sails,

Nor did the ships’-folk   |   shun the waves,

Nor did the crew avoid the waves,

Though dreadfully   |   did Ægir’s daughters

Though dreadfully did Ægir’s daughters

Seek the steeds   |   of the sea to sink.

Seek the horses of the sea to sink.

31. But from above   |   did Sigrun brave

__A_TAG_PLACEHOLDER_0__. But from above   |   Sigrun was brave

Aid the men   |   and all their faring; [300]

Aid the men   |   and all their journeying; [__A_TAG_PLACEHOLDER_0__]

Mightily came   |   from the claws of Ron

Mightily came   |   from the claws of Ron

The leader’s sea-beast   |   off Gnipalund.

The leader’s sea monster | off Gnipalund.

32. At evening there   |   in Unavagar

__A_TAG_PLACEHOLDER_0__. In the evening, there in Unavagar

Floated the fleet   |   bedecked full fair;

Floated the fleet   |   beautifully adorned;

But they who saw   |   from Svarin’s hill,

But those who looked from Svarin’s hill,

Bitter at heart   |   the host beheld.

Bitter at heart   |   the host watched.

33. Then Gothmund asked,   |   goodly of birth,

__A_TAG_PLACEHOLDER_0__. Then Gothmund asked, well-bred,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“Who is the monarch   |   who guides the host,

“Who is the ruler   |   who leads the group,

And to the land   |   the warriors leads?”

And to the land | the warriors lead?”

34. Sinfjotli answered,   |   and up on an oar

__A_TAG_PLACEHOLDER_0__. Sinfjotli replied,   |   and lifted an oar

Raised a shield all red   |   with golden rim; [301]

Raised a shield, all red   |   with a golden edge; [__A_TAG_PLACEHOLDER_0__]

A sea-sentry was he,   |   skilled to speak,

A sea watchman was he,   |   skilled in conversation,

And in words with princes   |   well to strive.

And in words with princes   |   it's good to compete.

35. “Say tonight   |   when you feed the swine,

__A_TAG_PLACEHOLDER_0__. “Say tonight   |   when you feed the pigs,

And send your bitches   |   to seek their swill,

And send your people   |   to find their drinks,

That out of the East   |   have the Ylfings come,

That from the East have the Ylfings come,

Greedy for battle,   |   to Gnipalund.

Greedy for a fight,   |   to Gnipalund.

36. “There will Hothbrodd   |   Helgi find,

__A_TAG_PLACEHOLDER_0__. “Helgi will locate Hothbrodd,

In the midst of the fleet,   |   and flight he scorns;

In the middle of the fleet, | and he looks down on flight;

Often has he   |   the eagles gorged,

Often has he the eagles gorged,

Whilst thou at the quern   |   wert slave-girls kissing.”

While you at the mill were slave girls kissing.

Gothmund spake:

Gothmund said:

37. “Hero, the ancient   |   sayings heed,

__A_TAG_PLACEHOLDER_0__. “Hero, pay attention to the ancient sayings,

And bring not lies   |   to the nobly born.

And don’t bring lies to those of noble birth.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

38. “Thou hast eaten   |   the entrails of wolves,

__A_TAG_PLACEHOLDER_0__. “You have eaten   |   the insides of wolves,

And of thy brothers   |   the slayer been;

And among your brothers, there is the killer.

Oft wounds to suck   |   thy cold mouth sought,

Oftentimes, you sought to suck wounds with your cold mouth,

And loathed in rocky   |   dens didst lurk.”

And hated in rocky dens did you hide.

[302]

[__A_TAG_PLACEHOLDER_0__]

Sinfjotli spake:

Sinfjotli said:

39. “A witch in Varin’s   |   isle thou wast,

__A_TAG_PLACEHOLDER_0__. “You were a witch on Varin’s isle,

A woman false,   |   and lies didst fashion;

A false woman, and you shaped lies;

Of the mail-clad heroes   |   thou wouldst have

Of the mail-clad heroes   |   you would have

No other, thou saidst,   |   save Sinfjotli only.

No one else, you said, except for Sinfjotli.

40. “A Valkyrie wast thou,   |   loathly witch,

__A_TAG_PLACEHOLDER_0__. “You were a Valkyrie,   |   an ugly witch,

Evil and base,   |   in Allfather’s home;

Evil and lowly, | in the Allfather’s home;

The warriors all   |   must ever fight,

The warriors all must always fight,

Woman subtle,   |   for sake of thee.

Woman is subtle, for your sake.

41. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

. . . . . . . .   |   . . . . . . . .

Nine did we   |   in Sogunes

Nine did we   |   in Sogunes

Of wolf-cubs have;   |   I their father was.”

Of wolf cubs have;   |   I their father was.”

[303]

[__A_TAG_PLACEHOLDER_0__]

Gothmund spake:

Gothmund said:

42. “Thou didst not father   |   Fenrir’s-wolves,

__A_TAG_PLACEHOLDER_0__. “You did not father   |   Fenrir’s wolves,

Though older thou art   |   than all I know;

Though you are older than anyone I know;

For they gelded thee   |   in Gnipalund,

For they castrated you in Gnipalund,

The giant-women   |   at Thorsnes once.

The giant women at Thorsnes once.

43. “Under houses the stepson   |   of Siggeir lay,

__A_TAG_PLACEHOLDER_0__. “Beneath the houses, the stepson of Siggeir lay,

Fain of the wolf’s cry   |   out in the woods;

Fain of the wolf’s cry   |   out in the woods;

Evil came then   |   all to thy hands,

Evil came then   |   all into your hands,

When thy brothers’   |   breasts thou didst redden,

When you stained your brothers' chests,

Fame didst thou win   |   for foulest deeds.

You achieved fame for the most disgraceful actions.

44. “In Bravoll wast thou   |   Grani’s bride,

__A_TAG_PLACEHOLDER_0__. “In Bravoll you were   |   Grani’s wife,

Golden-bitted   |   and ready to gallop;

Golden-bitted   |   and ready to run;

I rode thee many   |   a mile, and down

I rode you many a mile, and down

Didst sink, thou giantess,   |   under the saddle.”

Did you sink, you giantess, under the saddle?

Sinfjotli spake:

Sinfjotli said:

45. “A brainless fellow   |   didst seem to be,

__A_TAG_PLACEHOLDER_0__. “You seemed to be a clueless guy,

When once for Gollnir   |   goats didst milk, [304]

When Gollnir used to milk the goats, [__A_TAG_PLACEHOLDER_0__]

And another time   |   when as Imth’s daughter

And another time   |   when I was Imth’s daughter

In rags thou wentest;   |   wilt longer wrangle?”

In rags you went;   |   will you argue longer?”

Gothmund spake:

Gothmund said:

46. “Sooner would I   |   at Frekastein

__A_TAG_PLACEHOLDER_0__. “I would prefer at Frekastein

Feed the ravens   |   with flesh of thine

Feed the ravens | with your flesh

Than send your bitches   |   to seek their swill,

Than send your friends   |   to seek their drinks,

Or feed the swine;   |   may the fiends take you!”

Or feed the pigs;   |   may the demons take you!”

Helgi spake:

Helgi said:

47. “Better, Sinfjotli,   |   thee ’twould beseem

__A_TAG_PLACEHOLDER_0__. “Better, Sinfjotli,   |   it would suit you

Battle to give   |   and eagles to gladden,

Battle to give | and eagles to cheer,

Than vain and empty   |   words to utter,

Than vain and empty words to say,

Though ring-breakers oft   |   in speech do wrangle.

Though ring-breakers often argue in conversation.

48. “Good I find not   |   the sons of Granmar,

__A_TAG_PLACEHOLDER_0__. “I don't think the sons of Granmar are good at all,

But for heroes ’tis seemly   |   the truth to speak;

But for heroes, it's right to speak the truth;

At Moinsheimar   |   proved the men

At Moinsheimar   |   proved the men

That hearts for the wielding   |   of swords they had.”

That they had hearts for wielding swords.

49. Mightily then   |   they made to run

__A_TAG_PLACEHOLDER_0__. They ran with great energy

Sviputh and Sveggjuth   |   to Solheimar; [305]

Sviputh and Sveggjuth   |   to Solheimar; [__A_TAG_PLACEHOLDER_0__]

(By dewy dales   |   and chasms dark,

(By dewy valleys   |   and dark chasms,

Mist’s horse shook   |   where the men went by;)

Mist’s horse shook | where the men went by;)

The king they found   |   at his courtyard gate,

The king they found at his courtyard gate,

And told him the foeman   |   fierce was come.

And told him the enemy | fierce had come.

50. Forth stood Hothbrodd,   |   helmed for battle,

__A_TAG_PLACEHOLDER_0__. Hothbrodd stepped forward,  |   ready for battle,

Watched the riding   |   of his warriors;

Watched the riding of his warriors;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“Why are the Hniflungs   |   white with fear?”

“Why are the Hniflungs white with fear?”

Gothmund spake:

Gothmund said:

51. “Swift keels lie   |   hard by the land,

__A_TAG_PLACEHOLDER_0__. “Fast ships rest close to shore,

(Mast-ring harts   |   and mighty yards,

(Mast-ring hearts   |   and mighty yards,

Wealth of shields   |   and well-planed oars;)

Wealth of shields | and finely crafted oars;)

The king’s fair host,   |   the Ylfings haughty;

The king's gracious host,   |   the Ylfings proud;

Fifteen bands   |   to land have fared,

Fifteen bands   |   to land have fared,

But out in Sogn   |   are seven thousand.

But out in Sogn   |   there are seven thousand.

[306]

[__A_TAG_PLACEHOLDER_0__]

52. “At anchor lying   |   off Gnipalund

__A_TAG_PLACEHOLDER_0__. "Anchored at Gnipalund

Are fire-beasts black,   |   all fitted with gold;

Are fire-beasts black,   |   all decked out in gold;

There wait most   |   of the foeman’s men,

There wait most of the enemy's men,

Nor will Helgi long   |   the battle delay.”

Nor will Helgi delay the battle for long.

Hothbrodd spake:

Hothbrodd said:

53. “Bid the horses run   |   to the Reginthing,

__A_TAG_PLACEHOLDER_0__. “Tell the horses to run   |   to the Reginthing,

Melnir and Mylnir   |   to Myrkwood now,

Melnir and Mylnir   |   to Myrkwood now,

(And Sporvitnir   |   to Sparinsheith;)

(And Sporvitnir   |   to Sparinsheith;)

Let no man seek   |   henceforth to sit

Let no one try to sit

Who the flame of wounds   |   knows well to wield.

Who knows well how to wield the flame of wounds.

54. “Summon Hogni,   |   the sons of Hring,

__A_TAG_PLACEHOLDER_0__. “Call Hogni,   |   the sons of Hring,

Atli and Yngvi   |   and Alf the Old;

Atli and Yngvi | and Alf the Old;

Glad they are   |   of battle ever;

Glad they are   |   of battle ever;

Against the Volsungs   |   let us go.”

Against the Volsungs   |   let's go.”

[307]

[__A_TAG_PLACEHOLDER_0__]

55. Swift as a storm   |   there smote together

__A_TAG_PLACEHOLDER_0__. Fast like a storm | they collided together

The flashing blades   |   at Frekastein;

The flashing blades at Frekastein;

Ever was Helgi,   |   Hunding’s slayer,

Ever was Helgi,   |   Hunding’s slayer,

First in the throng   |   where warriors fought;

First in the crowd   |   where warriors battled;

(Fierce in battle,   |   slow to fly,

(Fierce in battle,   |   slow to flee,

Hard the heart   |   of the hero was.)

Hard the heart   |   of the hero was.)

56. From heaven there came   |   the maidens helmed,—

__A_TAG_PLACEHOLDER_0__. From heaven there came  |   the maidens in helmets,—

The weapon-clang grew,—   |   who watched o’er the king;

The sound of weapons clanging increased, —   |   who kept watch over the king;

Spake Sigrun fair,—   |   the wound-givers flew,

Spoke Sigrun beautifully,— | the warriors charged,

And the horse of the giantess   |   raven’s-food had:—

And the giantess had a horse that could feast on ravens:—

57. “Hail to thee, hero!   |   full happy with men,

__A_TAG_PLACEHOLDER_0__. “Hail to you, hero!   |   truly happy among people,

Offspring of Yngvi,   |   shalt ever live,

Offspring of Yngvi,   |   you shall live forever,

For thou the fearless   |   foe hast slain

For you, the fearless   |   enemy has been killed

Who to many the dread   |   of death had brought.

Who to many has brought the fear of death.

[308]

[__A_TAG_PLACEHOLDER_0__]

58. “Warrior, well   |   for thyself hast won

__A_TAG_PLACEHOLDER_0__. “Warrior, good job | you've earned it for yourself.

Red rings bright   |   and the noble bride;

Red rings are bright   |   and the noble bride;

Both now, warrior,   |   thine shall be,

Both now, warrior, | yours shall be,

Hogni’s daughter   |   and Hringstathir,

Hogni’s daughter | and Hringstathir,

Wealth and triumph;   |   the battle wanes.”

Wealth and success;   |   the struggle fades away.”

[290]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[291]

[__A_TAG_PLACEHOLDER_0__]

1. The manuscript contains the superscription: “Here begins the lay of Helgi Hundingsbane and h. (Hothbrodd?) The lay of the Volsungs.” Eagles, etc.: the screaming of eagles and water pouring from heaven were portents of the birth of a hero. Borghild: Sigmund’s first wife; Bralund was her home, not Sigmund’s.

__A_TAG_PLACEHOLDER_0__. The manuscript starts with the title: “Here begins the tale of Helgi Hundingsbane and h. (Hothbrodd?) The tale of the Volsungs.” Eagles, etc.: the cries of eagles and rain falling from the sky were signs of a hero’s birth. Borghild: Sigmund’s first wife; Bralund was her home, not Sigmund’s.

2. Norns: cf. Voluspo, 20 and note. Here it is the Norns who [292]preside over Helgi’s early destiny, and not a Valkyrie, as in Helgakvitha Hjorvarthssonar.

__A_TAG_PLACEHOLDER_0__. Norns: see Voluspo, 20 and note. Here, the Norns are the ones who [__A_TAG_PLACEHOLDER_0__]influence Helgi’s early fate, not a Valkyrie, as seen in Helgakvitha Hjorvarthssonar.

3. Line 2 is largely guesswork, the manuscript being obscure. Moon’s hall: the sky.

__A_TAG_PLACEHOLDER_0__. Line 2 is mostly speculation, as the manuscript is unclear. Moon’s hall: the sky.

4. East, etc.: the Norns give Helgi fame in the East, West, and North; in the North his renown is particularly to endure. This suggests that the poet was aware of the spread of the Helgi story over many lands. Neri’s kinswoman: evidently one of the Norns, but nothing further is known of Neri, and the word may not be a proper name at all.

__A_TAG_PLACEHOLDER_0__. East, etc.: the Norns grant Helgi fame in the East, West, and North; in the North, his reputation is especially likely to last. This indicates that the poet recognized the Helgi story's circulation across different regions. Neri’s kinswoman: clearly one of the Norns, but not much else is known about Neri, and the term may not be a proper name at all.

5. The manuscript indicates no gap, but it looks as though something had been lost after line 2. Ylfings’ son: Sigmund is evidently meant, though calling him an Ylfing (cf. Hyndluljoth, 11 and note) is a manifest error. Helgi, in the tradition as it came from Denmark, was undoubtedly an Ylfing, and the poet, in order to combine the two legends, has to treat the Ylfings and Volsungs as if they were the same family. [293]

__A_TAG_PLACEHOLDER_0__. The manuscript shows no break, but it seems like something was lost after line 2. Ylfings’ son: It’s clear that it refers to Sigmund, although calling him an Ylfing (see Hyndluljoth, 11 and note) is definitely a mistake. Helgi, as the story came from Denmark, was definitely an Ylfing, and the poet, to merge the two legends, has to treat the Ylfings and Volsungs as if they were part of the same family. [__A_TAG_PLACEHOLDER_0__]

6. Sigmund: the chief link between the Helgi and Sigurth stories. He was the son of Volsung, great-grandson of Othin. His children by his first wife, Borghild, were Helgi and Hamund (belonging to the Helgi cycle); his son by his second wife, Hjordis, was Sigurth. An incestuous connection with his sister, Signy (cf. Wagner’s Siegmund and Sieglinde) resulted in the birth of Sinfjotli (cf. Fra Dautha Sinfjotla and note).

__A_TAG_PLACEHOLDER_0__. Sigmund: the main connection between the Helgi and Sigurth stories. He was the son of Volsung and the great-grandson of Othin. His children with his first wife, Borghild, were Helgi and Hamund (from the Helgi cycle); his son with his second wife, Hjordis, was Sigurth. An incestuous relationship with his sister, Signy (see Wagner’s Siegmund and Sieglinde) led to the birth of Sinfjotli (see Fra Dautha Sinfjotla and note).

7. The king: Sigmund, who gives his son a symbol of the lands which he bestows on him. Regarding the leek, cf. Voluspo, 4; Guthrunarkvitha I, 17, and Sigrdrifumol, 7.

__A_TAG_PLACEHOLDER_0__. The king: Sigmund, who gives his son a symbol of the territories he is granting him. For the leek, see Voluspo, 4; Guthrunarkvitha I, 17, and Sigrdrifumol, 7.

8. Hringstathir (“Ring-Stead”): quite possibly the historical Ringsted, long a possession of the Danish kings, and thus a relic of the old Helgi tradition. Hringstoth may be another form of the same name. Solfjoll (“Sun-Mountain”) and Snæfjoll (“Snow-Mountain”) are fictitious names. Regarding Sigarsvoll cf. Helgakvitha Hjorvarthssonar, stanzas 8 and 35. Saxo mentions a Danish king named Sigar, and the frequency with which the name appears in the Helgi poems may be taken as a reminiscence of Denmark. Hotun (“High Place”): possibly the village of Tune in Seeland. Himinvangar (“Heaven’s Field”): an imaginary place. Blood-snake: a sword. Sinfjotli: cf. note on stanza 6. [294]

__A_TAG_PLACEHOLDER_0__. Hringstathir (“Ring-Stead”): likely the historical Ringsted, long owned by the Danish kings, and thus a remnant of the old Helgi tradition. Hringstoth may be another variation of the same name. Solfjoll (“Sun-Mountain”) and Snæfjoll (“Snow-Mountain”) are fictional names. About Sigarsvoll, see Helgakvitha Hjorvarthssonar, stanzas 8 and 35. Saxo mentions a Danish king named Sigar, and the frequent occurrence of the name in the Helgi poems can be seen as a memory of Denmark. Hotun (“High Place”): possibly the village of Tune in Seeland. Himinvangar (“Heaven’s Field”): an imaginary location. Blood-snake: a sword. Sinfjotli: see note on stanza 6. [__A_TAG_PLACEHOLDER_0__]

9. Elm: a not uncommon word for “man.” Blood-flecked: i.e., won in battle.

__A_TAG_PLACEHOLDER_0__. Elm: a fairly common term for “man.” Blood-flecked: meaning, earned in battle.

10. Fifteen: until early in the eleventh century a Norwegian or Icelandic boy became “of age” at twelve, and Maurer cites this passage as added proof of the poem’s lateness. Hunding: the annotator (introductory prose to Helgakvitha Hundingsbana II) calls him king of Hundland, which shows no great originality. Saxo mentions a Hunding who was a Saxon king ruling in Jutland, probably the origin of Helgi’s traditional foe.

__A_TAG_PLACEHOLDER_0__. Fifteen: until the early 1100s, a Norwegian or Icelandic boy came of age at twelve, and Maurer points to this passage as further evidence that the poem is from a later period. Hunding: the annotator (in the introductory prose to Helgakvitha Hundingsbana II) refers to him as the king of Hundland, which lacks originality. Saxo mentions a Hunding who was a Saxon king in Jutland, likely the source of Helgi’s traditional enemy.

12. Storm, etc.: war.

__A_TAG_PLACEHOLDER_0__. Storm, etc.: conflict.

13. Logafjoll (“Flame-Mountain”): a mythical name. Frothi: [295]a: traditional king of Denmark, whose peaceful reign was so famous that “Frothi’s peace” became a by-word for peace of any kind. Vithrir’s hounds: wolves; Vithrir is Othin, and his hounds are the wolves Freki and Geri.

__A_TAG_PLACEHOLDER_0__. Logafjoll (“Flame-Mountain”): a legendary name. Frothi: [__A_TAG_PLACEHOLDER_0__]a: the traditional king of Denmark, known for his peaceful reign so much that “Frothi’s peace” became a term used for any kind of peace. Vithrir’s hounds: wolves; Vithrir is Odin, and his hounds are the wolves Freki and Geri.

14. In this poem Helgi kills all the sons of Hunding, but in the poems of the Sigurth cycle, and the prose notes attached thereto, Sigmund and his father-in-law, Eylimi, are killed by Hunding’s sons, on whom Sigurth subsequently takes vengeance (cf. Fra Dautha Sinfjotla and Regïnsmol).

__A_TAG_PLACEHOLDER_0__. In this poem, Helgi defeats all of Hunding's sons, but in the poems of the Sigurth cycle, along with the related prose notes, Hunding's sons kill Sigmund and his father-in-law, Eylimi, which leads to Sigurth taking revenge on them later (see Fra Dautha Sinfjotla and Regïnsmol).

15. No gap indicated in the manuscript, but almost certainly something has been lost mentioning more specifically the coming of the Valkyries. The lightning which accompanies them suggests again their identification with the clouds (cf. Helgakvitha Hjorvarthssonar, 28).

__A_TAG_PLACEHOLDER_0__. There's no pause noted in the manuscript, but it's almost certain that something has been omitted that specifically mentions the arrival of the Valkyries. The lightning that comes with them suggests once again their connection with the clouds (see Helgakvitha Hjorvarthssonar, 28).

16. Some editions fill out the first line: “He saw there mighty maidens riding.” The manuscript indicates line 4 as the beginning of a new stanza. [296]

__A_TAG_PLACEHOLDER_0__. Some editions elaborate on the first line: “He saw powerful maidens riding.” The manuscript shows that line 4 marks the start of a new stanza. [__A_TAG_PLACEHOLDER_0__]

17. Wolf-wood: dark forest; the original word is not altogether clear. Southern: this variety of Valkyrie, like the swan-maidens of the Völundarkvitha, was clearly regarded as of southern (i.e., German) origin. Here again there is a confusion of traditions; the Valkyries of the Voluspo were as essentially Norse as any part of the older mythology. I doubt if a poet much earlier than the author of the first Helgi Hundingsbane lay would have made his Sigrun, daughter of Hogni, a Valkyrie. It is to be noted that the same complication appears in the Sigurth story, where the undoubted Valkyrie, Brynhild-Sigrdrifa (the latter name is really only an epithet) is hopelessly mixed up with the quite human Brynhild, daughter of Buthli.

__A_TAG_PLACEHOLDER_0__. Wolf-wood: dark forest; the original term isn't entirely clear. Southern: this type of Valkyrie, similar to the swan-maidens from the Völundarkvitha, was clearly seen as having southern (i.e., German) roots. Again, there's a mix-up of traditions; the Valkyries in the Voluspo were just as much Norse as any part of the older mythology. I doubt if a poet much earlier than the writer of the first Helgi Hundingsbane lay would have made his Sigrun, daughter of Hogni, a Valkyrie. It's worth noting that the same confusion shows up in the Sigurth story, where the definite Valkyrie, Brynhild-Sigrdrifa (the latter name is really just a title) is hopelessly mixed with the entirely human Brynhild, daughter of Buthli.

18. Breaker of rings: generous prince, because the breaking of rings was the customary form of distributing gold.

__A_TAG_PLACEHOLDER_0__. Breaker of rings: a generous prince, since breaking rings was the traditional way to give out gold.

19. Granmar: the annotator gives an account of him and his family in the prose following stanza 12 of Helgakvitha Hundingsbana II.

__A_TAG_PLACEHOLDER_0__. Granmar: the annotator shares details about him and his family in the prose that comes after stanza 12 of Helgakvitha Hundingsbana II.

20. No gap indicated in the manuscript; some editors combine the stanza with the fragmentary stanza 21, and others fill in with “And home will carry   |   Hogni’s daughter.” [297]

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscript; some editors merge the stanza with the incomplete stanza 21, while others add “And home will carry   |   Hogni’s daughter.” [__A_TAG_PLACEHOLDER_0__]

21. The manuscript has only lines 1 and 4 with the word “first” of line 2, and does not indicate Helgi as the speaker. The Volsungasaga, which follows this poem pretty closely, expands Helgi’s speech, and lines 2–3 are conjectural versifications of the saga’s prose. Isung: nothing is known of him beyond the fact, here indicated, that Hothbrodd killed him.

__A_TAG_PLACEHOLDER_0__. The manuscript contains only lines 1 and 4 along with the word "first" from line 2, and it doesn't specify that Helgi is the speaker. The Volsungasaga, which closely follows this poem, elaborates on Helgi's speech, and lines 2–3 are inferred versions of the saga's prose. Isung: nothing is known about him apart from the detail mentioned here that Hothbrodd killed him.

22. Water’s gleam: gold.

__A_TAG_PLACEHOLDER_0__. Water’s shine: gold.

23. Brandey (“Brand-Isle”): not mentioned elsewhere. Hethinsey (“Hethin’s Isle”): possibly the island of Hiddensee, east of Rügen. [298]

__A_TAG_PLACEHOLDER_0__. Brandey (“Brand-Isle”): not referenced anywhere else. Hethinsey (“Hethin’s Isle”): likely the island of Hiddensee, located east of Rügen. [__A_TAG_PLACEHOLDER_0__]

24. Stafnsnes (“Steersman’s Cape”): an unidentifiable promontory. Fair: a guess, as the adjective in the manuscript is obscure. Hjorleif does not appear elsewhere, and seems to be simply one of Helgi’s lieutenants.

__A_TAG_PLACEHOLDER_0__. Stafnsnes (“Steersman’s Cape”): an unknown point of land. Fair: a guess, since the adjective in the manuscript is unclear. Hjorleif doesn’t show up anywhere else and seems to just be one of Helgi’s officers.

25. Tronueyr: “Crane-Strand.” Long-stemmed: literally “long-headed,” as the high, curving stem of a Norse ship was often carved to represent a head and neck. Orvasund: almost certainly the Danish Öresund, off Seeland. Such bits of geography as this followed Helgi persistently.

__A_TAG_PLACEHOLDER_0__. Tronueyr: “Crane-Strand.” Long-stemmed: meaning “long-headed,” since the high, curved stem of a Norse ship was often carved to look like a head and neck. Orvasund: most likely refers to the Danish Öresund, near Seeland. These geographic details consistently followed Helgi.

26. No gap indicated in the manuscript. Hotun: cf. stanza 8 and note.

__A_TAG_PLACEHOLDER_0__. No gap indicated in the manuscript. Hotun: see stanza 8 and note.

27. Line 3 seems to have been interpolated from line 4 of Helgakvitha Hundingsbana II, 42. Ship’s-tents: the awnings spread over the deck to shelter the crews from sun and rain when the ships were at anchor. Varinsfjord: cf. Helgakvitha Hjorvarthssonar, 22 and note. [299]

__A_TAG_PLACEHOLDER_0__. Line 3 appears to have been added from line 4 of Helgakvitha Hundingsbana II, 42. Ship’s-tents: the covers over the deck used to protect the crew from sun and rain when the ships were docked. Varinsfjord: see Helgakvitha Hjorvarthssonar, 22 and note. [__A_TAG_PLACEHOLDER_0__]

28. The manuscript indicates line 3 as the beginning of a new stanza, and some editions follow this arrangement, making lines 1–2 a separate stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a new stanza, and some editions follow this layout, treating lines 1–2 as a separate stanza.

29. The manuscript indicates no gap, and some editions combine the stanza with lines 3–4 of stanza 28. Sisters of Kolga: the waves, Kolga (“The Gold”) being one of the daughters of the sea-god, Ægir. As the Volsungasaga says, “Now there was a great storm.”

__A_TAG_PLACEHOLDER_0__. The manuscript shows no break, and some versions merge this stanza with lines 3–4 of stanza 28. Sisters of Kolga: the waves, Kolga (“The Gold”) being one of the daughters of the sea god, Ægir. As the Volsungasaga states, “Now there was a great storm.”

30. Helgi demonstrates his courage, whatever one may think of his seamanship. Ægir’s daughters: the waves; cf. stanza 29 and note. [300]

__A_TAG_PLACEHOLDER_0__. Helgi shows his bravery, regardless of what anyone thinks about his sailing skills. Ægir’s daughters: the waves; see stanza 29 and note. [__A_TAG_PLACEHOLDER_0__]

31. Sigrun here appears again as a Valkyrie. Ron: Ægir’s wife; cf. Helgakvitha Hjorvarthssonar, 18 and note. Sea-beast: ship. Gnipalund: “Crag-Wood.”

__A_TAG_PLACEHOLDER_0__. Sigrun appears again here as a Valkyrie. Ron: Ægir’s wife; see Helgakvitha Hjorvarthssonar, 18 and note. Sea-beast: ship. Gnipalund: “Crag-Wood.”

32. Unavagar: “Friendly Waves.” Svarin’s hill: the hill where Granmar had his dwelling.

__A_TAG_PLACEHOLDER_0__. Unavagar: “Friendly Waves.” Svarin’s hill: the hill where Granmar lived.

33. Here begins the long dialogue between Gothmund, one of Granmar’s sons, and Sinfjotli, Helgi’s half-brother. Two lines (stanza 33, lines 3–4) are quoted by the annotator in the prose note following stanza 16 of the second Helgi Hundingsbane lay, and the dialogue, in much abbreviated form, together with Helgi’s admonition to Sinfjotli to cease talking, is closely paralleled in stanzas 22–27 of that poem. It has been suggested that this whole passage (stanzas 33–48) is an interpolation, perhaps from “the Old Volsung lay.” This may be, but it seems more probable that the poet used an older poem simply as the basis for this passage, borrowing a little but making up a great deal more. The manuscript indicates no gap in stanza 33.

__A_TAG_PLACEHOLDER_0__. Here starts the long conversation between Gothmund, one of Granmar’s sons, and Sinfjotli, Helgi’s half-brother. Two lines (stanza 33, lines 3–4) are quoted by the annotator in the prose note following stanza 16 of the second Helgi Hundingsbane lay, and the dialogue, in a much shortened form, along with Helgi’s advice to Sinfjotli to stop talking, is closely mirrored in stanzas 22–27 of that poem. Some have suggested that this entire section (stanzas 33–48) is an addition, possibly from “the Old Volsung lay.” This might be true, but it seems more likely that the poet used an older poem as the foundation for this section, borrowing a bit but creating a lot more. The manuscript shows no gap in stanza 33.

34. Sinfjotli: cf. note on stanza 6. Red: raising a red shield was the signal for war. [301]

__A_TAG_PLACEHOLDER_0__. Sinfjotli: see note on stanza 6. Red: lifting a red shield was the signal for battle. [__A_TAG_PLACEHOLDER_0__]

35. Ylfings: cf. stanza 5 and note.

__A_TAG_PLACEHOLDER_0__. Ylfings: see stanza 5 and note.

36. Quern: turning the hand mill was, throughout antiquity, the task of slaves.

__A_TAG_PLACEHOLDER_0__. Quern: operating the hand mill has always been a job for slaves throughout history.

37. The manuscript does not name the speakers in this dialogue. No gap indicated in the manuscript, and editors have attempted various combinations of stanzas 37 and 38.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify the speakers in this dialogue. There's no break noted in the manuscript, and editors have tried different arrangements of stanzas 37 and 38.

38. Wolves: the Volsungasaga tells that Sigmund and Sinfjotli lived in the woods for a time as werewolves. Brothers: [302]Sinfjotli killed the two sons of his mother, Signy, and her husband, Siggeir, as part of the vengeance wreaked on Siggeir for the treacherous murder of Sigmund’s father, Volsung, and nine of his brothers (cf. Fra Dautha Sinfjotla and note). The manuscript marks line 3 as the beginning of a new stanza.

__A_TAG_PLACEHOLDER_0__. Wolves: the Volsungasaga describes how Sigmund and Sinfjotli lived in the woods for a while as werewolves. Brothers: [__A_TAG_PLACEHOLDER_0__]Sinfjotli killed the two sons of his mother, Signy, and her husband, Siggeir, as part of the revenge taken on Siggeir for the treacherous murder of Sigmund’s father, Volsung, and nine of his brothers (cf. Fra Dautha Sinfjotla and note). The manuscript indicates that line 3 marks the start of a new stanza.

39. Varin’s isle: cf. stanza 27 and note, and Helgakvitha Hjorvarthssonar, 22. Reproaching a man with having been a woman and borne children was not uncommon.

__A_TAG_PLACEHOLDER_0__. Varin’s isle: see stanza 27 and note, and Helgakvitha Hjorvarthssonar, 22. It was not unusual to shame a man for having been a woman and having given birth.

40. This stanza may be an interpolation in the dialogue passage. Allfather: Othin. We have no information regarding Gothmund’s career, but it looks as though Sinfjotli were drawing solely on his imagination for his taunts, whereas Gothmund’s insults have a basis in Sinfjotli’s previous life.

__A_TAG_PLACEHOLDER_0__. This stanza might be an addition to the dialogue. Allfather: Othin. We don’t have any details about Gothmund’s background, but it seems like Sinfjotli is just using his imagination for his taunts, while Gothmund’s insults are rooted in Sinfjotli’s past.

41. No gap indicated in the manuscript; some editors combine the two lines with stanza 40, some regard them as the first instead of the last lines of a separate stanza, and some assume the lacuna here indicated. Sogunes (“Saga’s Cape”): of the goddess Saga little is known; cf. Grimnismol, 7. [303]

__A_TAG_PLACEHOLDER_0__. There's no gap shown in the manuscript; some editors merge these two lines with stanza 40, others see them as the opening instead of the closing lines of a separate stanza, and some assume the missing part here indicated. Sogunes (“Saga’s Cape”): not much is known about the goddess Saga; see Grimnismol, 7. [__A_TAG_PLACEHOLDER_0__]

42. Fenrir’s-wolves: wolves in general. Thorsnes: “Thor’s Cape.”

__A_TAG_PLACEHOLDER_0__. Fenrir’s-wolves: wolves in general. Thorsnes: “Thor’s Cape.”

43. The phrase “under houses,” which follows the manuscript, may be an error for “in wolf-caves.” Line 3 (or 4) may be an interpolation. The manuscript indicates line 5 as the beginning of a new stanza. Siggeir: cf. stanza 38, note.

__A_TAG_PLACEHOLDER_0__. The phrase “under houses,” that comes after the manuscript, might be a mistake for “in wolf-caves.” Line 3 (or 4) could be an addition. The manuscript shows line 5 as the start of a new stanza. Siggeir: see stanza 38, note.

44. Several editions assign this stanza to Sinfjotli instead of to Gothmund. Bravoll (“Field of the Brow”): not elsewhere mentioned in the poems. Grani: Sigurth’s horse (cf. Völundarkvitha, 16 and note); Gothmund means that Sinfjotli had turned into a mare, after the fashion of Loki (cf. Grimnismol, 44, note). The meaning of line 4 in the original is uncertain.

__A_TAG_PLACEHOLDER_0__. Several editions attribute this stanza to Sinfjotli instead of Gothmund. Bravoll (“Field of the Brow”): not mentioned anywhere else in the poems. Grani: Sigurth’s horse (see Völundarkvitha, 16 and note); Gothmund suggests that Sinfjotli transformed into a mare, similar to Loki (see Grimnismol, 44, note). The meaning of line 4 in the original is unclear.

45. A few editions give this stanza to Gothmund. Gollnir: [304]possibly a giant. Imth: nothing is known of him or his daughter.

__A_TAG_PLACEHOLDER_0__. Some versions attribute this stanza to Gothmund. Gollnir: [__A_TAG_PLACEHOLDER_0__]possibly a giant. Imth: there’s nothing known about him or his daughter.

46. A few editions give this stanza to Sinfjotli. Frekastein: cf. Helgakvitha Hjorvarthssonar, 39 and note. A stanza may have been lost after stanza 46, parallel to stanza 25 of the second Helgi Hundingsbane lay.

__A_TAG_PLACEHOLDER_0__. Some editions attribute this stanza to Sinfjotli. Frekastein: see Helgakvitha Hjorvarthssonar, 39 and note. A stanza might be missing after stanza 46, similar to stanza 25 of the second Helgi Hundingsbane lay.

47. Ring-breakers: cf. stanza 18 and note.

__A_TAG_PLACEHOLDER_0__. Ring-breakers: see stanza 18 and note.

48. Moinsheimar: a battlefield of which nothing is known, where, however, the sons of Granmar appear to have fought bravely.

__A_TAG_PLACEHOLDER_0__. Moinsheimar: a battlefield that's unknown, but it seems that Granmar's sons fought valiantly there.

49. Here the scene shifts to the shore among Hothbrodd’s followers. [305]Sviputh and Sveggjuth (“Swift” and “Lithe”): horses’ names. Mist’s horse: the Valkyrie’s name is the same as the English word “mist,” and the “horse” on which the mist rides is the earth. The two lines in parenthesis may be interpolated, or line 5 may begin a new stanza, as the manuscript indicates.

__A_TAG_PLACEHOLDER_0__. Now the scene changes to the shore with Hothbrodd’s followers. [__A_TAG_PLACEHOLDER_0__]Sviputh and Sveggjuth (“Swift” and “Lithe”): names of the horses. Mist’s horse: the Valkyrie’s name is the same as the English word “mist,” and the “horse” that the mist rides is the earth. The two lines in parentheses might be added in later, or line 5 could start a new stanza, as the manuscript suggests.

50. No gap indicated in the manuscript. Hniflungs: cf. introductory note.

__A_TAG_PLACEHOLDER_0__. No gap shown in the manuscript. Hniflungs: see introductory note.

51. Lines 2–3 may be interpolated, or a new stanza may begin, as the manuscript indicates, with line 5. Many editors combine lines 5–6 with all or part of stanza 52. Possibly Gothmund is not the speaker. Mast-ring harts: ships, so called from the ring attaching the yard to the mast. Ylfings: cf. stanza 5 and note. Sogn: this name, which actually belongs in western Norway, seems to have been used here with no particular significance.

__A_TAG_PLACEHOLDER_0__. Lines 2–3 might be inserted, or a new stanza could start, as the manuscript shows, with line 5. Many editors merge lines 5–6 with all or part of stanza 52. It's possible that Gothmund isn't the speaker. Mast-ring harts: ships, named for the ring that connects the yard to the mast. Ylfings: see stanza 5 and note. Sogn: this name, which actually refers to an area in western Norway, seems to have been used here without any specific meaning.

52. The manuscript indicates line 3 as beginning a new stanza; some editors combine lines 3–4 with all or part of stanza [306]53, while others assume the loss of two lines following line 4. Fire-beasts: dragons, i.e., ships. The Norse ships of war, as distinguished from merchant vessels, were often called dragons because of their shape and the carving of their stems.

__A_TAG_PLACEHOLDER_0__. The manuscript shows that line 3 starts a new stanza; some editors merge lines 3–4 with all or part of stanza [__A_TAG_PLACEHOLDER_0__]53, while others think there are two missing lines after line 4. Fire-beasts: dragons, meaning ships. The Norse warships, as opposed to merchant ships, were often referred to as dragons due to their shape and the designs carved on their fronts.

53. The manuscript does not indicate the speaker, and a few editors assume the loss of one or two lines embodying the phrase “Hothbrodd spake.” In the manuscript line 3, which many editors have suspected of being spurious, stands before line 2. Possibly lines 4–5 are the remains of a separate stanza. Reginthing (“The Great Council”): apparently the council-place for the whole country, as distinct from the local council, or “herathsthing.” Melnir (“Bit-Bearer”), Mylnir (“The Biter”) and Sporvitnir (“Spur-Wolf”): horses’ names. Myrkwood: a not uncommon name for a dark forest; cf. Lokasenna, 42, and Atlakvitha, 3. Sparinsheith (“Sparin’s Heath”): nothing more is known of Sparin or his heath. Flame of wounds: sword.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking, and a few editors believe there’s a loss of one or two lines containing the phrase “Hothbrodd spake.” In line 3 of the manuscript, which many editors think might be a later addition, appears before line 2. It’s possible that lines 4–5 are remnants of a different stanza. Reginthing (“The Great Council”): likely the main council location for the entire country, as opposed to the local council, or “herathsthing.” Melnir (“Bit-Bearer”), Mylnir (“The Biter”), and Sporvitnir (“Spur-Wolf”): names of horses. Myrkwood: a common name for a dark forest; see Lokasenna, 42, and Atlakvitha, 3. Sparinsheith (“Sparin’s Heath”): there’s no additional information about Sparin or his heath. Flame of wounds: sword.

54. Hogni: the father of Sigrun; cf. Helgakvitha Hundingsbana [307]II, 18. Of Hring and his sons nothing further is known. Volsungs: here for the first time the poet gives Helgi and Sinfjotli the family name to which, as sons of Sigmund Volsungsson, they are entitled.

__A_TAG_PLACEHOLDER_0__. Hogni: the father of Sigrun; see Helgakvitha Hundingsbana [__A_TAG_PLACEHOLDER_0__]II, 18. Nothing more is known about Hring and his sons. Volsungs: this is the first time the poet refers to Helgi and Sinfjotli by the family name they rightfully have as the sons of Sigmund Volsungsson.

55. The manuscript indicates line 5 as the beginning of a new stanza, but many editors have rejected lines 5–6 as spurious, while others regard them as the first half of a stanza the last two lines of which have been lost.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 5 as the start of a new stanza, but many editors have dismissed lines 5–6 as not authentic, while others see them as the first half of a stanza whose last two lines are missing.

56. Wound-givers: probably this means “Valkyries,” but there is considerable doubt as to the original word. Horse, etc.: i.e., the wolf (because giantesses customarily had wolves for their steeds) ate corpses (the food of birds of prey).

__A_TAG_PLACEHOLDER_0__. Wound-givers: this likely refers to “Valkyries,” although there's some uncertainty about the original term. Horse, etc.: meaning the wolf (since giantesses typically rode wolves) consumed bodies (which are the food for birds of prey).

57. Yngvi: one of the sons of Halfdan the Old, and traditional ancestor of the Ynglings, with whom the Ylfings seem to have been confused (cf. Hyndluljoth, 11 and note). The confusion between the Ylfings (or Ynglings) and Volsungs was carried far [308]enough so that Sigurth himself is once called a descendant of Yngvi (Reginsmol, 14). Gering identifies the name of Yngvi with the god Freyr, but the Volsungs certainly claimed descent from Othin, not Freyr, and there is nothing to indicate that Helgi in the Danish tradition was supposed to be descended from Freyr, whereas his descent from Yngvi Halfdansson fits well with the rest of his story. However, cf. Sigurtharkvitha en skamma, 24 and note.

__A_TAG_PLACEHOLDER_0__. Yngvi: one of the sons of Halfdan the Old, and the traditional ancestor of the Ynglings, whom the Ylfings seem to have been mixed up with (see Hyndluljöð, 11 and note). The mix-up between the Ylfings (or Ynglings) and Volsungs went on far enough that Sigurth is once referred to as a descendant of Yngvi (Reginsmol, 14). Gering connects the name Yngvi with the god Freyr, but the Volsungs definitely claimed descent from Othin, not Freyr, and there's nothing to suggest that Helgi in the Danish tradition was thought to be descended from Freyr, while his descent from Yngvi Halfdansson aligns well with the rest of his story. However, see Sigurtharkvitha en skamma, 24 and note.

58. This entire stanza may be an interpolation; nearly every edition has a different way of dealing with it. Hringstathir: as this place had been given to Helgi by his father (cf. stanza 8 and note), the poet has apparently made a mistake in naming it here as a conquest from Granmar’s sons, unless, indeed, they had previously captured it from Helgi, which seems unlikely. [309]

__A_TAG_PLACEHOLDER_0__. This whole stanza might be an addition; almost every version handles it differently. Hringstathir: since Helgi's father gave him this place (see stanza 8 and note), it seems the poet mistakenly refers to it as a conquest from Granmar's sons, unless they had taken it from Helgi first, which seems improbable. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HELGAKVITHA HUNDINGSBANA II

The Second Lay of Helgi Hundingsbane

[__A_TAG_PLACEHOLDER_0__]

Intro Note

As the general nature of the Helgi tradition has been considered in the introductory note to Helgakvitha Hjorvarthssonar, it is necessary here to discuss only the characteristics of this particular poem. The second Helgi Hundingsbane lay is in most respects the exact opposite of the first one: it is in no sense consecutive; it is not a narrative poem, and all or most of it gives evidence of relatively early composition, its origin probably going well back into the tenth century.

As the general nature of the Helgi tradition has been considered in the introductory note to Helgakvitha Hjorvarthssonar, it's necessary here to discuss only the characteristics of this specific poem. The second Helgi Hundingsbane lay is, in most ways, the complete opposite of the first one: it isn’t consecutive at all; it’s not a narrative poem, and most of it shows signs of being written relatively early, likely dating back to the tenth century.

It is frankly nothing but a piece of, in the main, very clumsy patchwork, made up of eight distinct fragments, pieced together awkwardly by the annotator with copious prose notes. One of these fragments (stanzas 13–16) is specifically identified as coming from “the old Volsung lay.” What was that poem, and how much more of the extant Helgi-lay compilation was taken from it, and did the annotator know more of it than he included in his patchwork? Conclusive answers to these questions have baffled scholarship, and probably always will do so. My own guess is that the annotator knew little or nothing more than he wrote down; having got the first Helgi Hundingsbane lay, which was obviously in fairly good shape, out of the way, he proceeded to assemble all the odds and ends of verse about Helgi which he could get hold of, putting them together on the basis of the narrative told in the first Helgi lay and of such stories as his knowledge of prose sagas may have yielded.

It’s honestly just a rough collection, mainly a very clumsy patchwork, made up of eight different pieces awkwardly combined by the annotator with lots of written notes. One of these pieces (stanzas 13–16) is specifically noted as coming from “the old Volsung lay.” What was that poem, how much more of the existing Helgi-lay compilation was sourced from it, and did the annotator know more about it than what he included in his patchwork? Clear answers to these questions have puzzled scholars, and probably always will. I personally think the annotator knew very little or even nothing more than what he wrote down; after handling the first Helgi Hundingsbane lay, which was obviously in decent shape, he moved on to gather all the random bits of verse about Helgi that he could find, piecing them together based on the story told in the first Helgi lay and whatever he recalled from prose sagas.

Section I (stanzas 1–4) deals with an early adventure of Helgi’s, in which he narrowly escapes capture when he ventures into Hunding’s home in disguise. Section II (stanzas 5–12) is a dialogue between Helgi and Sigrun at their first meeting. Section III (stanzas 13–16, the “old Volsung lay” group) is another dialogue between Helgi and Sigrun when she invokes his aid to save her from Hothbrodd. Section IV (stanzas 17–21), which may well be from the same poem as Section III, is made up of speeches by Helgi and Sigrun after the battle in which Hothbrodd is killed; stanza 21, however, is certainly an interpolation from another poem, as it is in a different meter. Section V (stanzas 22–27) is the dispute between Sinfjotli and Gothmund, evidently [310]in an older form than the one included in the first Helgi Hundingsbane lay. Section VI (stanzas 28–37) gives Dag’s speech to his sister, Sigrun, telling of Helgi’s death, her curse on her brother and her lament for her slain husband. Section VII (stanza 38) is the remnant of a dispute between Helgi and Hunding, here inserted absurdly out of place. Section VIII (stanzas 39–50) deals with the return of the dead Helgi and Sigrun’s visit to him in the burial hill.

Section I (stanzas 1–4) focuses on one of Helgi’s early adventures, where he narrowly escapes being captured while sneaking into Hunding’s home in disguise. Section II (stanzas 5–12) features a conversation between Helgi and Sigrun during their first encounter. Section III (stanzas 13–16, the “old Volsung lay” group) is another exchange between Helgi and Sigrun, where she asks for his help to save her from Hothbrodd. Section IV (stanzas 17–21), which is likely from the same poem as Section III, consists of speeches by Helgi and Sigrun after the battle where Hothbrodd is killed; however, stanza 21 is definitely an addition from another poem, as it uses a different meter. Section V (stanzas 22–27) features the argument between Sinfjotli and Gothmund, clearly in an older version than the one found in the first Helgi Hundingsbane lay. Section VI (stanzas 28–37) includes Dag’s speech to his sister, Sigrun, recounting Helgi’s death, her curse on her brother, and her mourning for her slain husband. Section VII (stanza 38) is a leftover from a dispute between Helgi and Hunding, which feels awkwardly placed here. Section VIII (stanzas 39–50) covers the return of the dead Helgi and Sigrun’s visit to him in the burial mound.

Sijmons maintains that sections I and II are fragments of the Kara lay mentioned by the annotator in his concluding prose note, and that sections IV, VI, and VIII are from a lost Helgi-Sigrun poem, while Section III comes, of course, from the “old Volsung lay.” This seems as good a guess as any other, conclusive proof being quite out of the question.

Sijmons argues that sections I and II are parts of the Kara lay referenced by the annotator in his final prose note, and that sections IV, VI, and VIII come from a lost Helgi-Sigrun poem, while Section III, of course, originates from the “old Volsung lay.” This appears to be as reasonable a hypothesis as any other, since definitive proof is unlikely.

Were it not for sections VI and VIII the poem would be little more than a battle-ground for scholars, but those two sections are in many ways as fine as anything in Old Norse poetry. Sigrun’s curse of her brother for the slaying of Helgi and her lament for her dead husband, and the extraordinary vividness of the final scene in the burial hill, have a quality which fully offsets the baffling confusion of the rest of the poem.

Were it not for sections VI and VIII, the poem would be little more than a battleground for scholars, but those two sections are, in many ways, as impressive as anything in Old Norse poetry. Sigrun’s curse of her brother for killing Helgi and her lament for her dead husband, along with the striking vividness of the final scene in the burial hill, have a quality that completely balances out the confusing parts of the rest of the poem.

[__A_TAG_PLACEHOLDER_0__]

King Sigmund, the son of Volsung, had as wife Borghild, from Bralund. They named their son Helgi, after Helgi Hjorvarthsson; Hagal was Helgi’s foster-father. Hunding was the name of a powerful king, and Hundland is named from him. He was a mighty warrior, and had many sons with him on his campaigns. There was enmity and strife between these two, King Hunding and [311]King Sigmund, and each slew the other’s kinsmen. King Sigmund and his family were called Volsungs and Ylfings.

King Sigmund, the son of Volsung, was married to Borghild from Bralund. They named their son Helgi, after Helgi Hjorvarthsson; Hagal was Helgi’s foster father. Hunding was the name of a powerful king, and Hundland is named after him. He was a mighty warrior and had many sons who accompanied him on his campaigns. There was hostility and conflict between these two, King Hunding and [__A_TAG_PLACEHOLDER_0__]King Sigmund, and each killed the other’s relatives. King Sigmund and his family were known as the Volsungs and Ylfings.

Helgi went as a spy to the home of King Hunding in disguise. Hæming, a son of King Hunding’s, was at home. When Helgi went forth, then he met a young herdsman, and said:

Helgi went to King Hunding's home in disguise as a spy. Hæming, one of King Hunding’s sons, was there. As Helgi approached, he encountered a young herdsman and said:

1. “Say to Hæming   |   that Helgi knows

__A_TAG_PLACEHOLDER_0__. “Tell Hæming   |   that Helgi is aware

Whom the heroes   |   in armor hid;

Whom the heroes   |   in armor concealed;

A gray wolf had they   |   within their hall,

A gray wolf had they within their hall,

Whom King Hunding   |   Hamal thought.”

Whom King Hunding | Hamal thought.”

Hamal was the name of Hagal’s son. King Hunding [312]sent men to Hagal to seek Helgi, and Helgi could not save himself in any other way, so he put on the clothes of a bond-woman and set to work at the mill. They sought Helgi but found him not.

Hamal was Hagal’s son. King Hunding [__A_TAG_PLACEHOLDER_0__] sent men to Hagal to look for Helgi, and Helgi couldn't escape any other way, so he dressed as a female servant and started working at the mill. They looked for Helgi but didn’t find him.

2. Then Blind spake out,   |   the evil-minded:

__A_TAG_PLACEHOLDER_0__. Then Blind spoke up,   |   the wicked-minded:

“Of Hagal’s bond-woman   |   bright are the eyes;

“Of Hagal’s bond-woman | bright are the eyes;

Yon comes not of churls   |   who stands at the quern;

Yon comes not from commoners   |   who stands at the mill;

The millstones break,   |   the boards are shattered.

The millstones are broken,   |   the boards are shattered.

3. “The hero has   |   a doom full hard,

__A_TAG_PLACEHOLDER_0__. “The hero faces a very tough fate,

That barley now   |   he needs must grind;

That barley now   |   he has to grind;

Better befits   |   his hand to feel

Better befits   |   his hand to feel

The hilt of the sword   |   than the millstone’s handle.”

The hilt of the sword   |   than the millstone’s handle.”

Hagal answered and said:

Hagal replied and said:

4. “Small is the wonder   |   if boards are splintered;

__A_TAG_PLACEHOLDER_0__. “It's no surprise   |   if the wood is splintered;

By a monarch’s daughter   |   the mill is turned; [313]

By a king's daughter   |   the mill is turned; [__A_TAG_PLACEHOLDER_0__]

Once through clouds   |   she was wont to ride,

Once through clouds | she used to ride,

And battles fought   |   like fighting men,

And battles fought   |   like warriors,

(Till Helgi a captive   |   held her fast;

(Till Helgi a captive   |   held her fast;

Sister she is   |   of Sigar and Hogni,

Sister she is | of Sigar and Hogni,

Thus bright are the eyes   |   of the Ylfings’ maid.)”

Thus bright are the eyes of the Ylfings’ maid.)”

Helgi escaped and went to a fighting ship. He slew King Hunding, and thenceforth was called Helgi Hundingsbane.

Helgi escaped and went to a warship. He killed King Hunding, and from that point on, he was known as Helgi Hundingsbane.

(II)

(II)

He lay with his host in Brunavagar, and they had there a strand-slaughtering, and ate the flesh raw. Hogni was the name of a king. His daughter was Sigrun; she was a Valkyrie and rode air and water; she was Svava reborn. Sigrun rode to Helgi’s ship and said:

He stayed with his host in Brunavagar, and they had a strand-slaughtering, eating the meat raw. A king named Hogni had a daughter named Sigrun; she was a Valkyrie who rode through air and water; she was Svava reborn. Sigrun rode to Helgi’s ship and said:

5. “Who rules the ship   |   by the shore so steep?

5 “Who controls the ship   |   by the steep shore?

Where is the home   |   ye warriors have?

Where is the home you warriors have?

Why do ye bide   |   in Brunavagar,

Why do you stay in Brunavagar,

Or what the way   |   that ye wish to try?”

Or what way do you want to try?

[314]

[__A_TAG_PLACEHOLDER_0__]

Helgi spake:

Helgi said:

6. “Hamal’s the ship   |   by the shore so steep,

6. “Hamal’s the ship   |   by the steep shore,

Our home in Hlesey   |   do we have;

Our home in Hlesey | do we have;

For fair wind bide we   |   in Brunavagar,

For a good wind, we wait in Brunavagar,

Eastward the way   |   that we wish to try.”

Eastward is the direction   |   that we want to explore.”

Sigrun spake:

Sigrun said:

7. “Where hast thou, warrior,   |   battle wakened,

__A_TAG_PLACEHOLDER_0__. “Where have you, warrior,   |   battle awakened,

Or gorged the birds   |   of the sisters of Guth?

Or did the birds gorge themselves on the sisters of Guth?

Why is thy byrnie   |   spattered with blood,

Why is your shirt stained with blood,

Why helmed dost feast   |   on food uncooked?”

Why do you feast on uncooked food?

Helgi spake:

Helgi said:

8. “Latest of all,   |   the Ylfings’ son

__A_TAG_PLACEHOLDER_0__. “Most recently, the son of the Ylfings

On the western sea,   |   if know thou wilt,

On the western sea,   |   if you want to know,

Captured bears   |   in Bragalund,

Captured bears in Bragalund,

And fed the eagles   |   with edge of sword.

And fed the eagles with the edge of a sword.

Now is it shown   |   why our shirts are bloody,

Now it’s shown | why our shirts are bloody,

And little our food   |   with fire is cooked.”

And little of our food | with fire is cooked.”

[315]

[__A_TAG_PLACEHOLDER_0__]

Sigrun spake:

Sigrun said:

9. “Of battle thou tellest,   |   and there was bent

9. “You talk about battle, | and there was a struggle

Hunding the king   |   before Helgi down;

Hunding the king | before Helgi down;

There was carnage when thou   |   didst avenge thy kin,

There was chaos when you avenged your family,

And blood flowed fast   |   on the blade of the sword.”

And blood flowed quickly on the blade of the sword.

Helgi spake:

Helgi said

10. “How didst thou know   |   that now our kin,

__A_TAG_PLACEHOLDER_0__. “How did you know   |   that now our family,

Maiden wise,   |   we have well avenged?

Maiden wise,   |   have we taken our revenge?

Many there are   |   of the sons of the mighty

Many of the sons of the mighty

Who share alike   |   our lofty race.”

Who share alike   |   our noble kind.”

Sigrun spake:

Sigrun said:

11. “Not far was I   |   from the lord of the folk,

__A_TAG_PLACEHOLDER_0__. “I wasn’t far from the leader of the people,

Yester morn,   |   when the monarch was slain;

Yestermorning, | when the king was killed;

Though crafty the son   |   of Sigmund, methinks,

Though clever, the son of Sigmund, I think,

When he speaks of the fight   |   in slaughter-runes.

When he talks about the fight   |   in battle scars.

12. “On the long-ship once   |   I saw thee well,

__A_TAG_PLACEHOLDER_0__. “On the longship once  | I saw you well,

When in the blood-stained   |   bow thou wast, [316]

When in the blood-stained   |   you were, [__A_TAG_PLACEHOLDER_0__]

(And round thee icy   |   waves were raging;)

(And around you icy | waves were raging;)

Now would the hero   |   hide from me,

Now the hero would hide from me,

But to Hogni’s daughter   |   is Helgi known.”

But to Hogni’s daughter, Helgi is known.

(III)

(III)

Granmar was the name of a mighty king, who dwelt at Svarin’s hill. He had many sons; one was named Hothbrodd, another Gothmund, a third Starkath. Hothbrodd was in a kings’ meeting, and he won the promise of having Sigrun, Hogni’s daughter, for his wife. But when she heard this, she rode with the Valkyries over air and sea to seek Helgi. Helgi was then at Logafjoll, and had fought with Hunding’s sons; there he killed Alf and Eyolf, Hjorvarth and Hervarth. He was all weary with battle, and sat under the eagle-stone. There Sigrun found him, and ran to throw her arms about his neck, and kissed him, and told him her tidings, as is set forth in the old Volsung lay:

Granmar was the name of a powerful king who lived at Svarin’s hill. He had several sons; one was named Hothbrodd, another Gothmund, and a third Starkath. Hothbrodd was at a meeting of kings, where he secured the promise of marrying Sigrun, Hogni’s daughter. But when she found out, she rode with the Valkyries across the skies and seas to find Helgi. Helgi was at Logafjoll, having fought against Hunding’s sons; there he killed Alf and Eyolf, Hjorvarth and Hervarth. Exhausted from battle, he sat under the eagle-stone. It was there that Sigrun found him, rushed to wrap her arms around his neck, kissed him, and shared her news, as detailed in the ancient Volsung lay:

13. Sigrun the joyful   |   chieftain sought,

__A_TAG_PLACEHOLDER_0__. Sigrun the joyful   |   the chieftain sought,

Forthwith Helgi’s   |   hand she took; [317]

Forthwith Helgi’s   |   hand she took; [__A_TAG_PLACEHOLDER_0__]

She greeted the hero   |   helmed and kissed him,

She greeted the hero | helmed and kissed him,

The warrior’s heart   |   to the woman turned.

The warrior's heart   |   turned to the woman.

14. From her heart the daughter   |   of Hogni spake,

__A_TAG_PLACEHOLDER_0__. The daughter of Hogni spoke from her heart,

Dear was Helgi,   |   she said, to her;

Dear was Helgi,   |   she said, to her;

“Long with all   |   my heart I loved

“Long with all my heart I loved

Sigmund’s son   |   ere ever I saw him.

Sigmund’s son | before I ever saw him.

15. “At the meeting to Hothbrodd   |   mated I was,

15. “At the meeting to Hothbrodd   |   I was paired up,

But another hero   |   I fain would have;

But I would gladly have another hero;

Though, king, the wrath   |   of my kin I fear,

Though, king, I fear the anger of my family,

Since I broke my father’s   |   fairest wish.”

Since I broke my father’s | fairest wish.”

Helgi spake:

Helgi said:

16. “Fear not ever   |   Hogni’s anger,

“Don’t ever fear Hogni’s rage,

Nor yet thy kinsmen’s   |   cruel wrath;

Nor your relatives' harsh anger;

Maiden, thou   |   with me shalt live,

Maiden, you will live with me,

Thy kindred, fair one,   |   I shall not fear.”

Thy family, beautiful one, | I won’t be afraid.

[318]

[__A_TAG_PLACEHOLDER_0__]

(IV)

(IV)

Helgi then assembled a great sea-host and went to Frekastein. On the sea he met a perilous storm; lightning flashed overhead and the bolts struck the ship. They saw in the air that nine Valkyries were riding, and recognized Sigrun among them. Then the storm abated, and they came safe and sound to land. Granmar’s sons sat on a certain mountain as the ships sailed toward the land. Gothmund leaped on a horse and rode for news to a promontory near the harbor; the Volsungs were even then lowering their sails. Then Gothmund said, as is written before in the Helgi lay:

Helgi then gathered a huge fleet and headed to Frekastein. While at sea, they encountered a fierce storm; lightning flashed above and struck the ship. They saw in the sky that nine Valkyries were riding, recognizing Sigrun among them. Then the storm passed, and they safely made it to land. Granmar’s sons were sitting on a mountain as the ships approached the shore. Gothmund jumped on a horse and rode to a headland near the harbor; the Volsungs were just lowering their sails. Gothmund then said, as mentioned earlier in the Helgi lay:

“Who is the king   |   who captains the fleet,

“Who is the king   |   who leads the fleet,

And to the land   |   the warriors leads?”

And to the land   |   the warriors leads?”

Sinfjotli, Sigmund’s son, answered him, and that too is written.

Sinfjotli, Sigmund's son, replied to him, and that's noted as well.

Gothmund rode home with his tidings of the host; [319]then Granmar’s sons summoned an army. Many kings came there; there were Hogni, Sigrun’s father, and his sons Bragi and Dag. There was a great battle, and all Granmar’s sons were slain and all their allies; only Dag, Hogni’s son, was spared, and he swore loyalty to the Volsungs. Sigrun went among the dead and found Hothbrodd at the coming of death. She said:

Gothmund rode home with news about the army; [__A_TAG_PLACEHOLDER_0__] then Granmar’s sons gathered an army. Many kings joined them; among them were Hogni, Sigrun’s father, and his sons Bragi and Dag. There was a fierce battle, and all of Granmar’s sons and their allies were killed; only Dag, Hogni’s son, survived, and he pledged his loyalty to the Volsungs. Sigrun walked among the dead and found Hothbrodd as death approached. She said:

17. “Never shall Sigrun   |   from Sevafjoll,

__A_TAG_PLACEHOLDER_0__. “Sigrun will never leave Sevafjoll,

Hothbrodd king,   |   be held in thine arms;

Hothbrodd king,   |   be held in your arms;

Granmar’s sons   |   full cold have grown,

Granmar’s sons | full cold have grown,

And the giant-steeds gray   |   on corpses gorge.”

And the giant gray horses | feast on corpses.

Then she sought out Helgi, and was full of joy. He said:

Then she found Helgi and was really happy. He said:

18. “Maid, not fair   |   is all thy fortune,

__A_TAG_PLACEHOLDER_0__. “Girl, your luck is not great,

The Norns I blame   |   that this should be;

The Norns I blame for this happening;

This morn there fell   |   at Frekastein

This morning, at Frekastein,

Bragi and Hogni   |   beneath my hand.

Bragi and Hogni   |   underneath my hand.

19. “At Hlebjorg fell   |   the sons of Hrollaug,

__A_TAG_PLACEHOLDER_0__. “At Hlebjorg, the sons of Hrollaug fell,”

Starkath the king   |   at Styrkleifar; [320]

Starkath the king   |   at Styrkleifar; [__A_TAG_PLACEHOLDER_0__]

Fighters more noble   |   saw I never,

Fighters more noble never have I seen,

The body fought when   |   the head had fallen.

The body struggled even after the head had fallen.

20. “On the ground full low   |   the slain are lying,

20. “On the ground lying flat   |   the dead are spread out,

Most are there   |   of the men of thy race;

Most of the men from your group are there;

Nought hast thou won,   |   for thy fate it was

Naught have you won,   |   for it was your fate

Brave men to bring   |   to the battle-field.”

Brave men to bring   |   to the battlefield.”

Then Sigrun wept.   |   Helgi said:

Then Sigrun cried.   |   Helgi said:

21. “Grieve not, Sigrun,   |   the battle is gained,

__A_TAG_PLACEHOLDER_0__. “Don’t be sad, Sigrun,   |   the battle is won,

The fighter can shun not his fate.”

The fighter can't escape his fate.

Sigrun spake:

Sigrun said:

“To life would I call   |   them who slaughtered lie,

“To life would I call them who slaughtered lie,

If safe on thy breast I might be.”

If I could feel safe on your chest.

[321]

[__A_TAG_PLACEHOLDER_0__]

(V)

(V)

This Gothmund the son of Granmar spoke:

This Gothmund, the son of Granmar, said:

22. “What hero great   |   is guiding the ships?

__A_TAG_PLACEHOLDER_0__. “Who is the great hero guiding the ships?

A golden flag   |   on the stem he flies;

A golden flag   |   he flies on the stem;

I find not peace   |   in the van of your faring,

I don't find peace in the way you travel,

And round the fighters   |   is battle-light red.”

And around the fighters | is battle-light red.”

Sinfjotli spake:

Sinfjotli said

23. “Here may Hothbrodd   |   Helgi find,

__A_TAG_PLACEHOLDER_0__. “Here Hothbrodd can find Helgi,

The hater of flight,   |   in the midst of the fleet;

The person who hates flying,   |   surrounded by the group;

The home of all   |   thy race he has,

The home of all   |   your race he has,

And over the realm   |   of the fishes he rules.”

And over the realm of the fish he rules.”

[322]

[__A_TAG_PLACEHOLDER_0__]

Gothmund spake:

Gothmund spoke:

24. “First shall swords   |   at Frekastein

__A_TAG_PLACEHOLDER_0__. “First, swords will clash at Frekastein

Prove our worth   |   in place of words;

Prove our value   |   instead of just talking;

Time is it, Hothbrodd,   |   vengeance to have,

Time is it, Hothbrodd,   |   to have revenge,

If in battle worsted   |   once we were.”

If we were defeated in battle, then that was how it was.

Sinfjotli spake:

Sinfjotli said:

25. “Better, Gothmund,   |   to tend the goats,

25. “It’s better, Gothmund,   |   to take care of the goats,

And climb the rocks   |   of the mountain cliffs;

And climb the rocks of the mountain cliffs;

A hazel switch   |   to hold in thy hand

A hazel branch   |   to hold in your hand

More seemly were   |   than the hilt of a sword.”

More fitting were   |   than the hilt of a sword.”

Helgi spake:

Helgi said:

26. “Better, Sinfjotli,   |   thee ’twould beseem

__A_TAG_PLACEHOLDER_0__. “Better, Sinfjotli,   |   it would suit you

Battles to give,   |   and eagles to gladden,

Battles to give,   |   and eagles to please,

Than vain and empty   |   speech to utter,

Than vain and empty speech to express,

Though warriors oft   |   with words do strive.

Though warriors often strive with words.

27. “Good I find not   |   the sons of Granmar,

27. “I don’t find anything good about the sons of Granmar,

But for heroes ’tis seemly   |   the truth to speak;

But for heroes it's fitting to speak the truth;

At Moinsheimar   |   proved the men

At Moinsheimar   |   proved the men

That hearts for the wielding   |   of swords they had,

That they had hearts for wielding swords,

(And ever brave   |   the warriors are.)”

(And always brave   |   the warriors are.)”

[323]

[__A_TAG_PLACEHOLDER_0__]

(VI)

(VI)

Helgi took Sigrun to wife, and they had sons. Helgi did not reach old age. Dag, the son of Hogni, offered sacrifice to Othin to be avenged for his father’s death; Othin gave Dag his spear. Dag found Helgi, his brother-in-law, at a place which is called Fjoturlund. He thrust the spear through Helgi’s body. Then Helgi fell, and Dag rode to Sevafjoll and told Sigrun the tidings:

Helgi married Sigrun, and they had sons. Helgi didn’t live to old age. Dag, Hogni’s son, made a sacrifice to Othin to get revenge for his father’s death; Othin gave Dag his spear. Dag found his brother-in-law Helgi at a place called Fjoturlund. He stabbed Helgi with the spear. Then Helgi fell, and Dag rode to Sevafjoll to tell Sigrun the news:

28. “Sad am I, sister,   |   sorrow to tell thee,

__A_TAG_PLACEHOLDER_0__. “I’m sad, sister,   |   I'm sorry to say,

Woe to my kin   |   unwilling I worked;

Woe to my family   |   I worked unwillingly;

In the morn there fell   |   at Fjoturlund

In the morning, it fell at Fjoturlund.

The noblest prince   |   the world has known,

The noblest prince | the world has known,

(And his heel he set   |   on the heroes’ necks.)”

(And he placed his heel   |   on the heroes’ necks.)”

Sigrun spake:

Sigrun said:

29. “Now may every   |   oath thee bite

__A_TAG_PLACEHOLDER_0__. “Now may every oath you take come back to haunt you.

That with Helgi   |   sworn thou hast,

That you have sworn with Helgi,

By the water   |   bright of Leipt,

By the water   |   bright of Leipt,

And the ice-cold   |   stone of Uth.

And the ice-cold stone of Uth.

[324]

[__A_TAG_PLACEHOLDER_0__]

30. “The ship shall sail not   |   in which thou sailest,

30. “The ship won’t sail that you’re on,”

Though a favoring wind   |   shall follow after;

Though a helpful wind will follow after;

The horse shall run not   |   whereon thou ridest,

The horse won't run where you ride,

Though fain thou art   |   thy foe to flee.

Though you are eager to flee from your enemy.

31. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“The sword shall bite not   |   which thou bearest,

“The sword won’t hurt you if you carry it,”

Till thy head itself   |   it sings about.

Till your head itself   |   it sings about.

32. “Vengeance were mine   |   for Helgi’s murder,

32. “Revenge is mine for Helgi’s murder,

Wert thou a wolf   |   in the woods without,

Weren't you a wolf in the woods outside,

Possessing nought   |   and knowing no joy,

Possessing nothing | and knowing no happiness,

Having no food   |   save corpses to feed on.”

Having no food   |   except for corpses to feed on.”

Dag spake:

Day spoke:

33. “Mad art thou, sister,   |   and wild of mind,

33. “You’re crazy, sister,   |   and out of control in your thinking,

Such a curse   |   on thy brother to cast;

Such a curse on your brother to throw;

Othin is ruler   |   of every ill,

Othin is the ruler of every harm,

Who sunders kin   |   with runes of spite.

Who breaks apart family with hateful words.

34. “Thy brother rings   |   so red will give thee,

__A_TAG_PLACEHOLDER_0__. “Your brother rings | so red will give you,

All Vandilsve   |   and Vigdalir; [325]

All Vandilsve and Vigdalir; [__A_TAG_PLACEHOLDER_0__]

Take half my land   |   to pay the harm,

Take half my land   |   to pay for the damage,

Ring-decked maid,   |   and as meed for thy sons.”

Ring-decked maid,   |   and as reward for your sons.”

Sigrun spake:

Sigrun said:

35. “I shall sit not happy   |   at Sevafjoll,

__A_TAG_PLACEHOLDER_0__. “I won't sit happily   |   at Sevafjoll,

Early or late,   |   my life to love,

Early or late,   |   my life to love,

If the light cannot show,   |   in the leader’s band,

If the light can't shine,   |   in the leader's group,

Vigblær bearing him   |   back to his home,

Vigblær taking him back to his home,

(The golden-bitted;   |   I shall greet him never.)

(The golden-bitted;   |   I will never greet him.)

36. “Such the fear   |   that Helgi’s foes

36. “Such was the fear   |   that Helgi’s enemies

Ever felt,   |   and all their kin,

Ever felt,   |   and all their family,

As makes the goats   |   with terror mad

As drives the goats mad with terror

Run from the wolf   |   among the rocks.

Run from the wolf   |   among the rocks.

37. “Helgi rose   |   above heroes all

__A_TAG_PLACEHOLDER_0__. “Helgi stood out   |   above all the heroes

Like the lofty ash   |   above lowly thorns,

Like the tall ash   |   above humble thorns,

Or the noble stag,   |   with dew besprinkled,

Or the noble stag,   |   with dew sprinkled,

Bearing his head   |   above all beasts,

Bearing his head   |   above all beasts,

(And his horns gleam bright   |   to heaven itself.)”

(And his horns shine bright   |   to heaven itself.)”

A hill was made in Helgi’s memory. And when he [326]came to Valhall, then Othin bade him rule over everything with himself.

A hill was created in Helgi’s memory. And when he [__A_TAG_PLACEHOLDER_0__] arrived at Valhalla, Odin asked him to rule over everything alongside himself.

(VII)

(VII)

Helgi said:

Helgi said:

38. “Thou shalt, Hunding,   |   of every hero

__A_TAG_PLACEHOLDER_0__. “You shall, Hunding,   |   of every hero

Wash the feet,   |   and kindle the fire,

Wash the feet,   |   and start the fire,

Tie up dogs,   |   and tend the horses,

Tie up the dogs and take care of the horses.

And feed the swine   |   ere to sleep thou goest.”

And feed the pigs before you go to sleep.

(VIII)

(VIII)

One of Sigrun’s maidens went one evening to Helgi’s hill, and saw that Helgi rode to the hill with many men. The maiden said:

One of Sigrun’s maidens went to Helgi’s hill one evening and saw that Helgi rode up to the hill with a lot of men. The maiden said:

39. “Is this a dream   |   that methinks I see,

__A_TAG_PLACEHOLDER_0__. “Is this a dream   |   that I think I see,

Or the doom of the gods,   |   that dead men ride, [327]

Or the fate of the gods,   |   that dead men ride, [__A_TAG_PLACEHOLDER_0__]

And hither spurring   |   urge your steeds,

And here, urging your horses on,

Or is home-coming now   |   to the heroes granted?”

Or is coming home now   |   given to the heroes?

Helgi spake:

Helgi said:

40. “No dream is this   |   that thou thinkest to see,

__A_TAG_PLACEHOLDER_0__. “This isn’t just a dream that you think you see,

Nor the end of the world,   |   though us thou beholdest,

Nor is it the end of the world,   |   though you see us,

And hither spurring   |   we urge our steeds,

And here we go, urging our horses forward,

Nor is home-coming now   |   to the heroes granted.”

Nor is the return home now granted to the heroes.

The maiden went home and said to Sigrun:

The girl went home and said to Sigrun:

41. “Go forth, Sigrun,   |   from Sevafjoll,

__A_TAG_PLACEHOLDER_0__. “Go ahead, Sigrun,   |   from Sevafjoll,

If fain the lord   |   of the folk wouldst find;

If the lord of the people wants to find;

(The hill is open,   |   Helgi is come;)

(The hill is open,   |   Helgi has arrived;)

The sword-tracks bleed;   |   the monarch bade

The sword marks bleed; | the king ordered

That thou his wounds   |   shouldst now make well.”

That you should now heal his wounds.

Sigrun went in the hill to Helgi, and said:

Sigrun went up the hill to Helgi and said:

42. “Now am I glad   |   of our meeting together,

42. “Now I’m happy   |   about our meeting together,

As Othin’s hawks,   |   so eager for prey,

As Othin's hawks, | so eager for prey,

When slaughter and flesh   |   all warm they scent,

When slaughter and flesh | all warm they smell,

Or dew-wet see   |   the red of day.

Or dew-wet see   |   the red of day.

[328]

[__A_TAG_PLACEHOLDER_0__]

43. “First will I kiss   |   the lifeless king,

__A_TAG_PLACEHOLDER_0__. “First, I'll kiss   |   the dead king,

Ere off the bloody   |   byrnie thou cast;

Ere you throw off the bloody byrnie;

With frost thy hair   |   is heavy, Helgi,

With frost, your hair is heavy, Helgi,

And damp thou art   |   with the dew of death;

And you're damp   |   with the dew of death;

(Ice-cold hands   |   has Hogni’s kinsman,

(Ice-cold hands   |   has Hogni’s kinsman,

What, prince, can I   |   to bring thee ease?)”

What, prince, can I do to make you feel better?

Helgi spake:

Helgi said:

44. “Thou alone, Sigrun   |   of Sevafjoll,

__A_TAG_PLACEHOLDER_0__. “You alone, Sigrun   |   of Sevafjoll,

Art cause that Helgi   |   with dew is heavy;

Art cause that Helgi   |   with dew is heavy;

Gold-decked maid,   |   thy tears are grievous,

Gold-decked maid,   |   your tears are painful,

(Sun-bright south-maid,   |   ere thou sleepest;)

(Sun-bright southern girl,   |   before you sleep;)

Each falls like blood   |   on the hero’s breast,

Each falls like blood   |   on the hero’s chest,

(Burned-out, cold,   |   and crushed with care.)

(Burned out, cold,   |   and carefully crushed.)

45. “Well shall we drink   |   a noble draught,

__A_TAG_PLACEHOLDER_0__. “Let’s have a drink, a fine one,

Though love and lands   |   are lost to me;

Though love and lands are lost to me;

No man a song   |   of sorrow shall sing,

No man shall sing a song of sorrow,

Though bleeding wounds   |   are on my breast; [329]

Though bleeding wounds are on my chest; [__A_TAG_PLACEHOLDER_0__]

Now in the hill   |   our brides we hold,

Now on the hill   |   we hold our brides,

The heroes’ loves,   |   by their husbands dead.”

The heroes' loves,   |   by their husbands dead.

Sigrun made ready a bed in the hill.

Sigrun prepared a bed in the hill.

46. “Here a bed   |   I have made for thee, Helgi,

46. “Here is a bed I’ve made for you, Helgi,

To rest thee from care,   |   thou kin of the Ylfings;

To free you from worry,   |   you kin of the Ylfings;

I will make thee sink   |   to sleep in my arms,

I will let you fall asleep in my arms,

As once I lay   |   with the living king.”

As I once lay with the living king.

Helgi spake:

Helgi said:

47. “Now do I say   |   that in Sevafjoll

__A_TAG_PLACEHOLDER_0__. “Now I say that in Sevafjoll

Aught may happen,   |   early or late,

Aught can happen, | early or late,

Since thou sleepest clasped   |   in a corpse’s arms,

Since you sleep wrapped up in a corpse's arms,

So fair in the hill,   |   the daughter of Hogni!

So lovely on the hill,   |   the daughter of Hogni!

(Living thou comest,   |   a daughter of kings.)

(Living you come,   |   a daughter of kings.)

48. “Now must I ride   |   the reddened ways,

__A_TAG_PLACEHOLDER_0__. “Now I have to ride  | the bloodstained paths,

And my bay steed set   |   to tread the sky;

And my bay horse started to walk through the sky;

Westward I go   |   to wind-helm’s bridges,

Westward I go   |   to wind-helm’s bridges,

Ere Salgofnir wakes   |   the warrior throng.”

Ere Salgofnir wakes   |   the warrior crowd.”

Then Helgi and his followers rode on their way, and [330]the women went home to the dwelling. Another evening Sigrun bade the maiden keep watch at the hill. And at sunset when Sigrun came to the hill she said:

Then Helgi and his followers continued on their journey, and [__A_TAG_PLACEHOLDER_0__]the women returned home to the house. One evening, Sigrun asked the girl to keep watch at the hill. When Sigrun arrived at the hill at sunset, she said:

49. “Now were he come,   |   if come he might,

__A_TAG_PLACEHOLDER_0__. “Now, if he had arrived, | if he could come,

Sigmund’s son,   |   from Othin’s seat;

Sigmund’s son,   |   from Othin's throne;

Hope grows dim   |   of the hero’s return

Hope fades   |   of the hero’s return

When eagles sit   |   on the ash-tree boughs,

When eagles sit on the ash tree branches,

And men are seeking   |   the meeting of dreams.”

And people are looking for the connection of dreams.

The Maiden said:

The Maiden said:

50. “Mad thou wouldst seem   |   alone to seek,

50. “You would seem crazy if you were seeking alone,

Daughter of heroes,   |   the house of the dead;

Daughter of heroes,   |   the house of the dead;

For mightier now   |   at night are all

For stronger now   |   at night are all

The ghosts of the dead   |   than when day is bright.”

The ghosts of the dead   |   than when the day is bright.”

Sigrun was early dead of sorrow and grief. It was believed in olden times that people were born again, but that is now called old wives’ folly. Of Helgi and Sigrun it is said that they were born again; he became Helgi Haddingjaskati, and she Kara the daughter of Halfdan, as is told in the Lay of Kara, and she was a Valkyrie. [309]

Sigrun died young from sorrow and grief. In ancient times, people believed in reincarnation, but today that's considered an old wives' tale. It's said that Helgi and Sigrun were reborn; he became Helgi Haddingjaskati, and she became Kara, the daughter of Halfdan, as recounted in the Lay of Kara, and she was a Valkyrie. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[310]

[__A_TAG_PLACEHOLDER_0__]

Prose. In the manuscript the poem is headed “Of the Volsungs,” but most editions give it the title used here. Sigmund: cf. Helgakvitha Hundingsbana I, 6 and note, which also mentions Volsung, Borghild and Bralund: cf. Helgakvitha Hundingsbana I, 1 and note. Helgi: the annotator’s explanation that the child [311]was named after Helgi Hjorvarthsson is a naive way of getting around the difficulties created by the two sets of Helgi stories. He might equally well have said that the new Helgi was the old one born again, as he accounts for Sigrun in this way (“she was Svava reborn”). Hagal: not elsewhere mentioned; it was a common custom to have boys brought up by foster-parents. Hunding and Hundland: cf. Helgakvitha Hundingsbana I, 10 and note. Volsungs and Ylfings: regarding this confusion of family names cf. Helgakvitha Hundingsbana I, 5 and note. Hæming: his name does not appear in the list of Hunding’s sons. It is quite possible that these opening stanzas (1–4) do not refer to Hunding at all.

Prose. In the manuscript, the poem is titled “Of the Volsungs,” but most editions use the title presented here. Sigmund: see Helgakvitha Hundingsbana I, 6 and note, which also mentions Volsung, Borghild, and Bralund: see Helgakvitha Hundingsbana I, 1 and note. Helgi: the note from the annotator stating that the child [__A_TAG_PLACEHOLDER_0__] was named after Helgi Hjorvarthsson is a simplistic way of addressing the complications caused by the two sets of Helgi stories. He could have just as easily claimed that the new Helgi was the old one reborn, much like how he explains Sigrun (“she was Svava reborn”). Hagal: not mentioned elsewhere; it was common for boys to be raised by foster-parents. Hunding and Hundland: see Helgakvitha Hundingsbana I, 10 and note. Volsungs and Ylfings: regarding this mix-up of family names, see Helgakvitha Hundingsbana I, 5 and note. Hæming: his name isn’t in the list of Hunding’s sons. It’s quite possible that these opening stanzas (1–4) don’t refer to Hunding at all.

1. Helgi appears to have stayed with Hunding under the name of Hamal, but now, thinking himself safe, he sends word of who he really is. Hunding: it has been suggested that the compiler may have inserted this name to fit what he thought the story ought to be, in place of Hæming, or even Hadding. If stanzas 1–4 are a fragment of the Karuljoth (Lay of Kara), this latter suggestion is quite reasonable, for in that poem, which we do not possess, but which supplied material for the compilers of the Hromundar saga Greipssonar, Helgi appears as Helgi Haddingjaskati (cf. final prose note). Nothing beyond this one name connects stanzas 1–4 with Hunding. [312]

__A_TAG_PLACEHOLDER_0__. Helgi seems to have stayed with Hunding under the name Hamal, but now, feeling secure, he reveals his true identity. Hunding: it’s been suggested that the compiler might have added this name to fit his vision of the story, instead of Hæming or even Hadding. If stanzas 1–4 are a fragment of the Karuljoth (Lay of Kara), this latter suggestion makes a lot of sense, because in that poem, which we don’t have but which provided material for the compilers of the Hromundar saga Greipssonar, Helgi is referred to as Helgi Haddingjaskati (see final prose note). Nothing besides this one name links stanzas 1–4 to Hunding. [__A_TAG_PLACEHOLDER_0__]

Prose. Hagal: Helgi’s foster-father, who naturally protects him.

Prose. Hagal: Helgi's guardian and protector.

2. The manuscript indicates line 2 as the beginning of the stanza, the copyist evidently regarding line 1 as prose. This has caused various rearrangements in the different editions. Blind: leader of the band sent to capture Helgi.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 2 as the start of the stanza, while the copyist clearly considers line 1 to be prose. This has led to several rearrangements in different editions. Blind: leader of the group sent to capture Helgi.

3. The manuscript marks line 3 as the beginning of a stanza. Barley: the word literally means “foreign grain,” and would afford an interesting study to students of early commerce.

__A_TAG_PLACEHOLDER_0__. The manuscript highlights line 3 as the start of a stanza. Barley: the term literally means “foreign grain,” and could provide an intriguing subject for students of early commerce.

4. Possibly two stanzas with one line lost, or perhaps the lines in parenthesis are spurious; each editor has his own guess. Sigar and Hogni: it seems unlikely that Hagal refers to the Hogni who was Sigrun’s father, for this part of the story has nothing whatever to do with Sigrun. As Hagal is, of course, deliberately [313]lying, it is useless to test any part of his speech for accuracy.

__A_TAG_PLACEHOLDER_0__. There might be two stanzas with one line missing, or maybe the lines in parentheses are not genuine; each editor has their own theory. Sigar and Hogni: it seems doubtful that Hagal is referring to the Hogni who was Sigrun’s father, since this part of the story has nothing to do with Sigrun. Since Hagal is clearly [__A_TAG_PLACEHOLDER_0__]lying, it’s pointless to analyze any aspect of his speech for truth.

Prose. No division indicated in the manuscript. Brunavagar (“Bruni’s Sea”): mentioned only in this section. Strand-slaughtering: a killing on the shore of cattle stolen in a raid. Hogni and Sigrun: cf. Helgakvitha Hundingsbana I, 17 and note; the annotator’s notion of Sigrun as the reincarnated Svava (cf. Helgakvitha Hjorvarthssonar, concluding prose note) represents a naive form of scholarship. There is nothing in stanzas 5–12 which clearly identifies Sigrun as a Valkyrie, or which, except for the last line of stanza 12, identifies the speaker as Sigrun. Some editors, therefore, call her simply “the Valkyrie,” while [314]Vigfusson, who thinks this section is also a remnant of the Karuljoth, calls her Kara.

Prose. No division indicated in the manuscript. Brunavagar (“Bruni’s Sea”): mentioned only in this section. Strand-slaughtering: the killing of cattle stolen during a raid on the shore. Hogni and Sigrun: see Helgakvitha Hundingsbana I, 17 and note; the annotator’s idea of Sigrun as the reincarnated Svava (see Helgakvitha Hjorvarthssonar, concluding prose note) represents a simplistic form of scholarship. There is nothing in stanzas 5–12 that clearly identifies Sigrun as a Valkyrie, or that, except for the last line of stanza 12, identifies the speaker as Sigrun. Some editors, therefore, refer to her simply as “the Valkyrie,” while [__A_TAG_PLACEHOLDER_0__]Vigfusson, who believes this section is also a remnant of the Karuljoth, calls her Kara.

6. The manuscript does not indicate the speakers. Hamal: Helgi’s assumption of this name seems to link this section (stanzas 5–12) with stanza 1. Hlesey (“Island of Hler”—i.e., Ægir, the sea-god): generally identified as the Danish island of Läsö; cf. Harbarthsljoth, 37 and note.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking. Hamal: Helgi taking on this name appears to connect this section (stanzas 5–12) with stanza 1. Hlesey (“Island of Hler”—i.e., Ægir, the sea god): usually recognized as the Danish island of Läsö; see Harbarthsljoth, 37 and note.

7. Guth: a Valkyrie (cf. Voluspo, 31); the birds of her sisters are the kites and ravens.

__A_TAG_PLACEHOLDER_0__. Guth: a Valkyrie (see Voluspo, 31); her sisters' birds are the kites and ravens.

8. The manuscript indicates line 5 as the beginning of a new stanza; some editors reject lines 1–2, while others make lines 5–6 into a fragmentary stanza. Ylfings: cf. introductory prose and note. Bragalund (“Bragi’s Wood”): a mythical place. Bears: presumably Berserkers, regarding whom cf. Hyndluljoth, 23. [315]

__A_TAG_PLACEHOLDER_0__. The manuscript shows line 5 as the start of a new stanza; some editors discard lines 1–2, while others treat lines 5–6 as a partial stanza. Ylfings: see the introductory prose and note. Bragalund (“Bragi’s Wood”): a legendary location. Bears: likely referring to Berserkers, see Hyndluljoth, 23. [__A_TAG_PLACEHOLDER_0__]

10. Helgi’s meaning in lines 3–4 is that, although he has already declared himself an Ylfing (stanza 8, line 1), there are many heroes of that race, and he does not understand how Sigrun knows him to be Helgi.

__A_TAG_PLACEHOLDER_0__. Helgi means in lines 3–4 that, even though he has already identified himself as an Ylfing (stanza 8, line 1), there are many heroes from that lineage, and he doesn’t see how Sigrun recognizes him as Helgi.

11. Slaughter-runes: equivocal or deceptive speech regarding the battle. The word “rune” had the meaning of “magic” or “mystery” long before it was applied to the signs or characters with which it was later identified.

__A_TAG_PLACEHOLDER_0__. Slaughter-runes: ambiguous or misleading language about the fight. The term “rune” originally meant “magic” or “mystery” long before it became associated with the symbols or characters it’s known for today.

12. Some editors reject line 3, others line 5. The manuscript omits Helgi’s name in line 5, thereby destroying both the sense and the meter. Vigfusson, following his Karuljoth theory (cf. [316]note on prose following stanza 4), changes Hogni to Halfdan, father of Kara.

__A_TAG_PLACEHOLDER_0__. Some editors are okay with line 3, while others prefer line 5. The manuscript leaves out Helgi’s name in line 5, messing up the meaning and the rhythm. Vigfusson, based on his Karuljoth theory (see [__A_TAG_PLACEHOLDER_0__]note on prose after stanza 4), changes Hogni to Halfdan, who is Kara’s father.

Prose. The manuscript indicates no division. Most of this prose passage is evidently based on Helgakvitha Hundingsbana I; the only new features are the introduction of Starkath as a third son of Granmar, which is clearly an error based on a misunderstanding of stanza 19, and the reference to the kings’ meeting, based on stanza 15. Kings’ meetings, or councils, were by no means unusual; the North in early days was prolific in kings. For the remaining names, cf. Helgakvitha Hundingsbana I: [317]Granmar, stanza 19; Hothbrodd, stanza 19; Gothmund, stanza 33; Svarin’s hill, stanza 32; Logafjoll, stanza 13; Alf, Eyjolf, Hjorvarth and Hervarth, stanza 14. The old Volsung lay: cf. Introductory Note.

Prose. The manuscript shows no divisions. Most of this prose is clearly derived from Helgakvitha Hundingsbana I; the only new details are the inclusion of Starkath as a third son of Granmar, which seems to be a mistake stemming from a misunderstanding of stanza 19, and the mention of the kings’ meeting, taken from stanza 15. Meetings or councils of kings were quite common; early North was rich in kings. For the other names, see Helgakvitha Hundingsbana I: [__A_TAG_PLACEHOLDER_0__]Granmar, stanza 19; Hothbrodd, stanza 19; Gothmund, stanza 33; Svarin’s hill, stanza 32; Logafjoll, stanza 13; Alf, Eyjolf, Hjorvarth, and Hervarth, stanza 14. The old Volsung lay: see Introductory Note.

13. Some editions combine lines 3–4, or line 4, with part of stanza 14.

__A_TAG_PLACEHOLDER_0__. Some editions merge lines 3–4 or line 4 with a part of stanza 14.

14. The lines of stanzas 14 and 15 are here rearranged in accordance with Bugge’s emendation; in the manuscript they stand as follows: lines 3–4 of stanza 14; stanza 15; lines 1–2 of stanza 14. This confusion has given rise to various editorial conjectures.

__A_TAG_PLACEHOLDER_0__. The lines from stanzas 14 and 15 have been rearranged according to Bugge’s changes; in the manuscript, they appear as follows: lines 3–4 of stanza 14; stanza 15; lines 1–2 of stanza 14. This mix-up has led to various editorial guesses.

Prose. The manuscript indicates no division. Here again, the annotator has drawn practically all his information from Helgakvitha [318]Hundingsbana I, which he specifically mentions and even quotes. The only new features are the names of Hogni’s sons, Bragi and Dag. Bragi is mentioned in stanza 18, though it is not there stated that he is Hogni’s son. Dag, who figures largely in stanzas 28–34, is a puzzle, for the verse never names him, and it is an open question where the annotator got his name. Frekastein: cf. Helgakvitha Hjorvarthssonar, 39 and note. As is written: the two lines are quoted, with a change of two words, from Helgakvitha Hundingsbana I, 33. Sinfjotli: cf. Helgakvitha Hundingsbana I, 6 and note, and stanzas 33–48, in which the whole dialogue is given. Loyalty: apparently the annotator got this bit of information out of stanza 29, in which Sigrun refers to the oaths which her brother had sworn to Helgi. [319]

Prose. The manuscript shows no divisions. Once again, the annotator has taken almost all his information from Helgakvitha [__A_TAG_PLACEHOLDER_0__]Hundingsbana I, which he specifically cites and even quotes. The only new details are the names of Hogni’s sons, Bragi and Dag. Bragi is mentioned in stanza 18, although it doesn’t explicitly say that he is Hogni’s son. Dag, who plays a significant role in stanzas 28–34, is a mystery because the verse never names him, raising questions about where the annotator got his name. Frekastein: see Helgakvitha Hjorvarthssonar, 39 and note. As is written: these two lines are quoted, with two words changed, from Helgakvitha Hundingsbana I, 33. Sinfjotli: see Helgakvitha Hundingsbana I, 6 and note, and stanzas 33–48, which feature the entire dialogue. Loyalty: it seems the annotator derived this piece of information from stanza 29, in which Sigrun references the oaths her brother had sworn to Helgi. [__A_TAG_PLACEHOLDER_0__]

17. Sevafjoll (“Wet Mountain”): mentioned only in this poem. Giant-steeds: wolves, the usual steeds of giantesses; cf. Helgakvitha Hundingsbana I, 56.

__A_TAG_PLACEHOLDER_0__. Sevafjoll (“Wet Mountain”): mentioned only in this poem. Giant-steeds: wolves, the typical mounts of giantesses; cf. Helgakvitha Hundingsbana I, 56.

18. Maid: the word thus rendered is the same doubtful one which appears in Völundarkvitha, 1 and 5, and which may mean specifically a Valkyrie (Gering translates it “helmed” or “heroic”) or simply “wise.” Cf. Völundarkvitha, note on introductory prose. Norns: cf. Voluspo, 20 and note. In stanza 33 Dag similarly lays the blame for the murder he has committed on Othin. Bragi: probably Sigrun’s brother.

__A_TAG_PLACEHOLDER_0__. Maid: the term used here is the same ambiguous one that appears in Völundarkvitha, 1 and 5, which could specifically refer to a Valkyrie (Gering translates it as “helmed” or “heroic”) or just mean “wise.” See Völundarkvitha, note on introductory prose. Norns: see Voluspo, 20 and note. In stanza 33, Dag similarly places the blame for the murder he has committed on Othin. Bragi: likely Sigrun’s brother.

19. This stanza looks like an interpolation, and there is little [320]or nothing to connect it with the slaying of Granmar’s sons. In the manuscript line 2, indicated as the beginning of a stanza, precedes line 1. Hlebjorg (“Sea-Mountain”) and Styrkleifar (“Battle-Cliffs”): place names not elsewhere mentioned. Of Hrollaug’s sons nothing further is known. Starkath: this name gives a hint of the origin of this stanza, for Saxo Grammaticus tells of the slaying of the Swedish hero Starkath (“The Strong”) the son of Storverk, and describes how his severed head bit the ground in anger (cf. line 4). In all probability this stanza is from an entirely different poem, dealing with the Starkath story, and the annotator’s attempt to identify the Swedish hero as a third son of Granmar is quite without foundation.

__A_TAG_PLACEHOLDER_0__. This stanza seems like an addition, and there's little [__A_TAG_PLACEHOLDER_0__]to link it to the killing of Granmar’s sons. In the manuscript, line 2, marked as the start of a stanza, comes before line 1. Hlebjorg (“Sea-Mountain”) and Styrkleifar (“Battle-Cliffs”): place names that aren't mentioned anywhere else. We know nothing more about Hrollaug’s sons. Starkath: this name hints at the source of this stanza, as Saxo Grammaticus recounts the killing of the Swedish hero Starkath (“The Strong”), son of Storverk, and describes how his severed head struck the ground in anger (see line 4). It's highly likely that this stanza comes from a completely different poem about the Starkath story, and the annotator's effort to identify the Swedish hero as a third son of Granmar is completely unfounded.

21. The difference of meter would of itself be enough to indicate that this stanza comes from an entirely different poem. A few editions assign the whole stanza to Helgi, but lines 3–4 are almost certainly Sigrun’s, and the manuscript begins line 3 with a large capital letter following a period. [321]

__A_TAG_PLACEHOLDER_0__. The difference in meter alone is enough to show that this stanza is from a completely different poem. Some editions credit the entire stanza to Helgi, but lines 3–4 are most likely Sigrun’s, and the manuscript starts line 3 with a large capital letter after a period. [__A_TAG_PLACEHOLDER_0__]

22. With this stanza begins the dispute between Gothmund and Sinfjotli which, together with Helgi’s rebuke to his half-brother, appears at much greater length in Helgakvitha Hundingsbana I, 33–48. It is introduced here manifestly in the wrong place. The version here given is almost certainly the older of the two, but the resemblance is so striking, and in some cases (notably in Helgi’s rebuke) the stanzas are so nearly identical, that it seems probable that the composer of the first Helgi Hundingsbane lay borrowed directly from the poem of which the present dialogue is a fragment. Flag: the banner (“gunnfani,” cf. “gonfalon”) here serves as the signal for war instead of the red shield mentioned in Helgakvitha Hundingsbana I, 34. Battle-light: perhaps the “northern lights.”

__A_TAG_PLACEHOLDER_0__. This stanza starts the argument between Gothmund and Sinfjotli, which, along with Helgi’s reprimand to his half-brother, is explored in much greater detail in Helgakvitha Hundingsbana I, 33–48. It clearly appears here out of context. The version provided here is almost certainly the older of the two, but the similarities are so striking, and in some cases (especially in Helgi’s reprimand) the stanzas are nearly identical, that it seems likely the composer of the first Helgi Hundingsbane directly borrowed from the poem of which this dialogue is a fragment. Flag: the banner (“gunnfani,” cf. “gonfalon”) here acts as the signal for war instead of the red shield mentioned in Helgakvitha Hundingsbana I, 34. Battle-light: possibly referring to the “northern lights.”

23. Lines 3–4 are obscure, and in the manuscript show signs of error. Helgi had not at this time, so far as we know, conquered any of Hothbrodd’s land. The realm of the fishes, in line 4, presumably means the sea, but the word here translated “fishes” is obscure, and many editors treat it as a proper name, “the realm of the Fjorsungs,” but without further suggestion as to who or what the Fjorsungs are. [322]

__A_TAG_PLACEHOLDER_0__. Lines 3–4 are unclear, and the manuscript shows signs of errors. As far as we know, Helgi hadn’t conquered any of Hothbrodd’s land at this time. The realm of the fishes in line 4 likely refers to the sea, but the word translated as “fishes” is unclear. Many editors consider it a proper name, “the realm of the Fjorsungs,” but they don’t provide any further information about who or what the Fjorsungs are. [__A_TAG_PLACEHOLDER_0__]

24. The word here translated swords is a conjectural emendation; the manuscript implies merely an invitation to continue the quarrel at Frekastein. Hothbrodd: apparently he is here considered as present during the dispute; some editors, in defiance of the meter, have emended the line to mean “Time is it for Hothbrodd   |   vengeance to have.”

__A_TAG_PLACEHOLDER_0__. The word translated here as swords is a guess from editors; the manuscript only suggests an invitation to keep the argument going at Frekastein. Hothbrodd: he seems to be viewed as present during the conflict; some editors, ignoring the meter, have changed the line to mean “It’s time for Hothbrodd   |   to get revenge.”

26–27. Cf. Helgakvitha Hundingsbana I, 47–48, which are nearly identical. Stanza 27 in the manuscript is abbreviated to the first letters of the words, except for line 5, which does not appear in the other poem, and which looks like an interpolation. [323]

__A_TAG_PLACEHOLDER_0__. See Helgakvitha Hundingsbana I, 47–48, which are almost the same. Stanza 27 in the manuscript is shortened to just the initial letters of the words, except for line 5, which is missing in the other poem and appears to be an addition. [__A_TAG_PLACEHOLDER_0__]

Prose. Here begins a new section of the poem, dealing with Helgi’s death at the hands of Dag, Sigrun’s brother. The note is based wholly on stanzas 28–34, except for the introduction of Dag’s name (cf. note on prose following stanza 16), and the reference to Othin’s spear, the weapon which made victory certain, and which the annotator brought in doubtless on the strength of Dag’s statement that Othin was responsible for Helgi’s death (stanza 33). Fjoturlund (“Fetter-Wood”): mentioned only here and in stanza 28.

Prose. This marks the start of a new section of the poem, which focuses on Helgi's death at the hands of Dag, Sigrun’s brother. The note is entirely based on stanzas 28–34, except for the mention of Dag’s name (see note on prose following stanza 16), and the reference to Othin’s spear, the weapon that guaranteed victory, which the annotator included, probably because of Dag’s claim that Othin was responsible for Helgi’s death (stanza 33). Fjoturlund (“Fetter-Wood”): mentioned only here and in stanza 28.

28. Line 5 looks like an interpolation.

__A_TAG_PLACEHOLDER_0__. Line 5 seems like an addition.

29. Leipt: this river is mentioned in Grimnismol, 28. Uth: a [324]daughter of the sea-god Ægir; regarding her sacred stone we know nothing. According to the annotator, Dag’s life had been spared because he swore loyalty to Helgi.

__A_TAG_PLACEHOLDER_0__. Leipt: this river is mentioned in Grimnismol, 28. Uth: a [__A_TAG_PLACEHOLDER_0__]daughter of the sea-god Ægir; we don’t know anything about her sacred stone. According to the annotator, Dag’s life was spared because he pledged loyalty to Helgi.

31. No gap indicated in the manuscript, but most editors have assumed that either the first or the last two lines have been lost. Bugge adds a line: “The shield shall not help thee   |   which thou holdest.”

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscript, but most editors think that either the first line or the last two lines are missing. Bugge adds a line: “The shield won't help you   |   that you're holding.”

34. Vandilsve (“Vandil’s Shrine”): who Vandil was we do not [325]know; this and Vigdalir (“Battle-Dale”) are purely mythical places.

__A_TAG_PLACEHOLDER_0__. Vandilsve (“Vandil’s ShrineIt seems that your request is missing the text that you would like me to modernize. Please provide the short phrases, and I'll be happy to assist you.): we don’t know who Vandil was; this and Vigdalir (“Battle-Dale”) are purely mythical locations.

35. Line 5 may be spurious. Vigblær (“Battle-Breather”): Helgi’s horse.

__A_TAG_PLACEHOLDER_0__. Line 5 might be inaccurate. Vigblær (“Battle-Breather”): Helgi’s horse.

37. Line 5 (or possibly line 4) may be spurious. Cf. Guthrunarkvitha I, 17, and Guthrunarkvitha II, 2.

__A_TAG_PLACEHOLDER_0__. Line 5 (or maybe line 4) might be inaccurate. See Guthrunarkvitha I, 17, and Guthrunarkvitha II, 2.

Prose. Valhall, etc.: there is no indication as to where the annotator got this notion of Helgi’s sharing Othin’s rule. It is [326]most unlikely that such an idea ever found place in any of the Helgi poems, or at least in the earlier ones; probably it was a late development of the tradition in a period when Othin was no longer taken seriously.

Prose. Valhall, etc.: there’s no evidence of where the annotator came up with the idea that Helgi shared Othin’s rule. It is [__A_TAG_PLACEHOLDER_0__]highly unlikely that such a concept ever appeared in any of the Helgi poems, at least not in the earlier ones; it was likely a later addition to the tradition during a time when Othin was no longer taken seriously.

38. This stanza apparently comes from an otherwise lost passage containing a contest of words between Helgi and Hunding; indeed the name of Hunding may have been substituted for another one beginning with “H,” and the stanza originally have had no connection with Helgi at all. The annotator inserts it here through an obvious misunderstanding, taking it to be Helgi’s application of the power conferred on him by Othin.

__A_TAG_PLACEHOLDER_0__. This stanza seems to come from a lost section that featured a word contest between Helgi and Hunding; in fact, the name Hunding might have replaced another name that started with “H,” and the stanza might not have originally related to Helgi at all. The annotator placed it here due to a clear misunderstanding, thinking it was Helgi’s use of the power granted to him by Othin.

39. Here begins the final section (stanzas 39–50), wherein Sigrun visits the dead Helgi in his burial hill. Doom of the gods: the phrase “ragna rök” has been rather unfortunately Anglicized into the word “ragnarok” (the Norse term is not a proper name), [327]and rök, “doom,” has been confused with rökkr, “darkness,” and so translated “dusk of the Gods,” or “Götterdämmerung.”

__A_TAG_PLACEHOLDER_0__. Here begins the final section (stanzas 39–50), where Sigrun visits the deceased Helgi in his burial mound. Doom of the gods: the term “ragna rök” has unfortunately been Anglicized into the word “ragnarok” (the Norse term is not a proper name), [__A_TAG_PLACEHOLDER_0__] and rök, “doom,” has been confused with rökkr, “darkness,” and thus translated as “dusk of the Gods,” or “Twilight of the Gods.”

40. In the manuscript most of this stanza is abbreviated to the first letters of the words.

__A_TAG_PLACEHOLDER_0__. In the manuscript, most of this stanza is shortened to just the first letters of the words.

41. Line 3 (or possibly line 2) may be spurious. Sword-tracks: wounds. One edition places stanza 48 after stanza 41, and another does the same with stanza 50. [328]

__A_TAG_PLACEHOLDER_0__. Line 3 (or maybe line 2) might be incorrect. Sword-tracks: injuries. One version puts stanza 48 after stanza 41, and another does the same for stanza 50. [__A_TAG_PLACEHOLDER_0__]

43. Possibly lines 5–6 are spurious, or part of a stanza the rest of which has been lost. It has also been suggested that two lines may have been lost after line 2, making a new stanza of lines 3–6. Kinsman: literally “son-in-law.”

__A_TAG_PLACEHOLDER_0__. It's possible that lines 5–6 are not original or that they were part of a stanza that has since been lost. There's also a suggestion that two lines might have been lost after line 2, creating a new stanza with lines 3–6. Kinsman: literally “son-in-law.”

44. Lines 4 and 6 have been marked by various editors as probably spurious. Others regard lines 1–2 as the beginning of a stanza the rest of which has been lost, or combine lines 5–6 with lines 5–6 of stanza 45 to make a new stanza. South-maid: cf. Helgakvitha Hundingsbana I, 17 and note.

__A_TAG_PLACEHOLDER_0__. Lines 4 and 6 have been flagged by several editors as possibly not authentic. Some believe lines 1–2 mark the start of a stanza that has since been lost, while others suggest combining lines 5–6 with lines 5–6 of stanza 45 to form a new stanza. South-maid: see Helgakvitha Hundingsbana I, 17 and note.

45. Both lines 3–4 and lines 5–6 have been suspected by editors of being interpolated, and the loss of two lines has also been suggested. Brides: the plural here is perplexing. Gering insists that only Sigrun is meant, and translates the word as singular, but both “brides” and “loves” are uncompromisingly plural in [329]the text. Were the men of Helgi’s ghostly following likewise visited by their wives? The annotator may have thought so, for in the prose he mentions the “women” returning to the house, although, of course, this may refer simply to Sigrun and the maid.

__A_TAG_PLACEHOLDER_0__. Editors have suspected that lines 3–4 and 5–6 were added later, and there's also a suggestion that two lines might be missing. Brides: the plural form is confusing. Gering argues that it only refers to Sigrun and translates it as singular, but both “brides” and “loves” are definitely plural in [__A_TAG_PLACEHOLDER_0__]the text. Did the men who followed Helgi’s ghost also have visits from their wives? The annotator might have thought so, as he mentions the “women” coming back to the house, although this could just mean Sigrun and the maid.

47. Line 5 (or possibly line 4) may be interpolated.

__A_TAG_PLACEHOLDER_0__. Line 5 (or maybe line 4) might be added in.

48. Wind-helm: the sky; the bridge is Bifrost, the rainbow (cf. Grimnismol, 29). Salgofnir (“Hall-Crower”): the cock Gollinkambi who awakes the gods and warriors for the last battle. [330]

__A_TAG_PLACEHOLDER_0__. Wind-helm: the sky; the bridge is Bifrost, the rainbow (see Grimnismol, 29). Salgofnir (“Hall-Crower”): the rooster Gollinkambi who wakes the gods and warriors for the final battle. [__A_TAG_PLACEHOLDER_0__]

49. Many editors assign this speech to the maid. Line 5 (or 4) may be spurious. Meeting of dreams (“Dream-Thing”): sleep.

__A_TAG_PLACEHOLDER_0__. Many editors give this speech to the maid. Line 5 (or 4) might be questionable. Meeting of dreams (“Dream-Thing”): sleep.

Prose. The attitude of the annotator is clearly revealed by his contempt for those who put any faith in such “old wives’ folly” as the idea that men and women could be reborn. As in the case of Helgi Hjorvarthsson, the theory of the hero’s rebirth seems to have developed in order to unite around a single Helgi [331]the various stories in which the hero is slain. The Lay of Kara (Karuljoth) is lost, although, as has been pointed out, parts of the Helgakvitha Hundingsbana II may be remnants of it, but we find the main outlines of the story in the Hromundar saga Greipssonar, whose compilers appear to have known the Karuljoth. In the saga Helgi Haddingjaskati (Helgi the Haddings’-Hero) is protected by the Valkyrie Kara, who flies over him in the form of a swan (note once more the Valkyrie swan-maiden confusion); but in his fight with Hromund he swings his sword so high that he accidentally gives Kara a mortal wound, whereupon Hromund cuts off his head. As this makes the third recorded death of Helgi (once at the hands of Alf, once at those of Dag, and finally in the fight with Hromund), the phenomenon of his rebirth is not surprising. The points of resemblance in all the Helgi stories, including the one told in the lost Karuljoth, are sufficiently striking so that it is impossible not to see in them a common origin, and not to believe that Helgi the son of Hjorvarth, Helgi the son of Sigmund and Helgi the Haddings’-Hero (not to mention various other Helgis who probably figured in songs and stories now lost) were all originally the same Helgi who appears in the early traditions of Denmark. [332]

Prose. The annotator's attitude is clearly shown by his disdain for those who believe in what he calls "old wives' tales," like the idea that men and women can be reborn. Similar to Helgi Hjorvarthsson, the concept of a hero's rebirth seems to have emerged to unify various stories where the hero meets his end. The Lay of Kara (Karuljoth) is lost, but as noted, parts of the Helgakvitha Hundingsbana II might be remnants of it. We see the main outlines of the story in the Hromundar saga Greipssonar, which seems to have been based on the Karuljoth. In this saga, Helgi Haddingjaskati (Helgi the Haddings’-Hero) is protected by the Valkyrie Kara, who appears over him in the form of a swan (again highlighting the confusion with Valkyrie swan-maidens). However, during his battle with Hromund, he swings his sword so high that he accidentally mortally wounds Kara, after which Hromund beheads him. Since this marks the third recorded death of Helgi (first by Alf, then by Dag, and finally in the fight with Hromund), it's not surprising that the idea of his rebirth appears. The similarities across all the Helgi stories, including the one from the lost Karuljoth, are so striking that it’s hard not to see them as stemming from a common source, and to believe that Helgi the son of Hjorvarth, Helgi the son of Sigmund, and Helgi the Haddings’-Hero (not to mention other Helgis who likely featured in now-lost songs and tales) were originally the same Helgi found in the early traditions of Denmark. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

FRA DAUTHA SINFJOTLA

Of Sinfjotli’s Death

[__A_TAG_PLACEHOLDER_0__]

Intro Note

It has been pointed out that the Helgi tradition, coming originally from Denmark, was early associated with that of the Volsungs, which was of German, or rather of Frankish, origin (cf. Introductory Note to Helgakvitha Hjorvarthssonar). The connecting links between these two sets of stories were few in number, the main point being the identification of Helgi as a son of Sigmund Volsungsson. Another son of Sigmund, however, appears in the Helgi poems, though not in any of the poems dealing with the Volsung cycle proper. This is Sinfjotli, whose sole function in the extant Helgi lays is to have a wordy dispute with Gothmund Granmarsson.

It has been noted that the Helgi tradition, which originated in Denmark, was early on connected with that of the Volsungs, who were of German, or more specifically, Frankish, descent (see Introductory Note to Helgakvitha Hjorvarthssonar). The links between these two groups of stories were limited, with the key point being the recognition of Helgi as a son of Sigmund Volsungsson. Another son of Sigmund does appear in the Helgi poems, although he is not featured in any of the poems related to the core Volsung cycle. This is Sinfjotli, whose only role in the existing Helgi lays is to have an argumentative exchange with Gothmund Granmarsson.

Sinfjotli’s history is told in detail in the early chapters of the Volsungasaga. The twin sister of Sigmund Volsungsson, Signy, had married Siggeir, who hated his brother-in-law by reason of his desire to possess a sword which had belonged to Othin and been won by Sigmund. Having treacherously invited Volsung and his ten sons to visit him, Siggeir slew Volsung and captured his sons, who were set in the stocks. Each night a wolf (“some men say that she was Siggeir’s mother”) came out of the woods and ate up one of the brothers, till on the tenth night Sigmund alone was left. Then, however, Signy aided him to escape, and incidentally to kill the wolf. He vowed vengeance on Siggeir, and Signy, who hated her husband, was determined to help him. Convinced that Sigmund must have a helper of his own race, Signy changed forms with a witch, and in this guise sought out Sigmund, who, not knowing who she was, spent three nights with her. Thereafter she gave birth to a boy, whom she named Sinfjotli (“The Yellow-Spotted”?), whom she sent to Sigmund. For a time they lived in the woods, occasionally turning into wolves (whence perhaps Sinfjotli’s name). When Sinfjotli was full grown, he and his father came to Siggeir’s house, but were seen and betrayed by the two young sons of Signy and Siggeir, whereupon Sinfjotli slew them. Siggeir promptly had Sigmund and Sinfjotli buried alive, but Signy managed to smuggle Sigmund’s famous sword into the grave, and with this the father and son dug themselves out. The next night they burned Siggeir’s [333]house, their enemy dying in the flames, and Signy, who had at the last refused to leave her husband, from a sense of somewhat belated loyalty, perishing with him.

Sinfjotli’s story is detailed in the early chapters of the Volsungasaga. The twin sister of Sigmund Volsungsson, Signy, had married Siggeir, who despised his brother-in-law because he wanted a sword that had belonged to Othin and had been won by Sigmund. Deceptively inviting Volsung and his ten sons to visit, Siggeir killed Volsung and captured his sons, locking them in stocks. Each night, a wolf (“some say she was Siggeir’s mother”) emerged from the woods and ate one of the brothers until, on the tenth night, only Sigmund was left. However, Signy helped him escape and incidentally killed the wolf. He vowed to get revenge on Siggeir, and Signy, who loathed her husband, was determined to assist him. Believing Sigmund needed a helper from his own lineage, Signy transformed herself into a witch and sought out Sigmund, who, not recognizing her, spent three nights with her. She then gave birth to a boy, whom she named Sinfjotli (“The Yellow-Spotted”?), and sent him to Sigmund. For a while, they lived in the woods, sometimes turning into wolves (which might be the origin of Sinfjotli’s name). When Sinfjotli grew up, he and his father went to Siggeir’s house, but were spotted and betrayed by Siggeir's two young sons, whom Sinfjotli killed. Siggeir quickly had Sigmund and Sinfjotli buried alive, but Signy managed to sneak Sigmund’s famous sword into the grave, and with it, the father and son dug themselves out. That night, they set fire to Siggeir’s [__A_TAG_PLACEHOLDER_0__]house, with their enemy dying in the flames, and Signy, who ultimately refused to leave her husband out of a late sense of loyalty, perishing with him.

Was this story, which the Volsungasaga relates in considerable detail, the basis of an old poem which has been lost? Almost certainly it was, although, as I have pointed out, many if not most of the old stories appear to have been handed down rather in prose than in verse, for the Volsungasaga quotes two lines of verse regarding the escape from the grave. At any rate, Sinfjotli early became a part of the Volsung tradition, which, in turn, formed the basis for no less than fifteen poems generally included in the Eddic collection. Of this tradition we may recognize three distinct parts: the Volsung-Sigmund-Sinfjotli story; the Helgi story, and the Sigurth story, the last of these three being by far the most extensive, and suggesting an almost limitless amount of further subdivision. With the Volsung-Sigmund-Sinfjotli story the Sigurth legend is connected only by the fact that Sigurth appears as Sigmund’s son by his last wife, Hjordis; with the Helgi legend it is not connected directly at all. Aside from the fact that Helgi appears as Sigmund’s son by his first wife, Borghild, the only link between the Volsung story proper and that of Helgi is the appearance of Sinfjotli in two of the Helgi poems. Originally it is altogether probable that the three stories, or sets of stories, were entirely distinct, and that Sigurth (the familiar Siegfried) had little or nothing more to do with the Volsungs of northern mythological-heroic tradition than he had with Helgi.

Was the story that the Volsungasaga tells in great detail the source of an old poem that has been lost? It's almost certain, although, as I've mentioned, many if not most of the ancient stories seem to have been passed down more in prose than in verse, since the Volsungasaga includes two lines of verse about the escape from the grave. In any case, Sinfjotli became part of the Volsung tradition early on, which later served as the foundation for at least fifteen poems typically included in the Eddic collection. We can identify three distinct parts of this tradition: the Volsung-Sigmund-Sinfjotli story, the Helgi story, and the Sigurth story, with the last one being the most extensive and hinting at almost unlimited opportunities for further subdivision. The Sigurth legend is only connected to the Volsung-Sigmund-Sinfjotli story by the fact that Sigurth is presented as Sigmund’s son with his last wife, Hjordis; it isn't connected to the Helgi legend at all. Apart from Helgi being depicted as Sigmund’s son with his first wife, Borghild, the only link between the main Volsung story and that of Helgi is Sinfjotli appearing in two of the Helgi poems. It's likely that originally the three stories, or sets of stories, were completely separate, and that Sigurth (the well-known Siegfried) had little or no more relation to the Volsungs of the northern mythological-heroic tradition than he did with Helgi.

The annotator or compiler of the collection of poems preserved in the Codex Regius, having finished with the Helgi lays, had before him the task of setting down the fifteen complete or fragmentary poems dealing with the Sigurth story. Before doing this, however, he felt it incumbent on him to dispose of both Sigmund and Sinfjotli, the sole links with the two other sets of stories. He apparently knew of no poem or poems concerning the deaths of these two; perhaps there were none, though this is unlikely. Certainly the story of how Sinfjotli and Sigmund died was current in oral prose tradition, and this story the compiler set forth in the short prose passage entitled Of Sinfjotli’s Death which, in Regius, immediately follows the second lay of Helgi Hundingsbane. The relation of this passage to the prose of the Reginsmol is discussed in the introductory note to that poem.

The person who put together the collection of poems found in the Codex Regius, after finishing the Helgi lays, had the job of writing down the fifteen complete or partial poems about the Sigurth story. Before doing this, though, he felt it necessary to address both Sigmund and Sinfjotli, the only connections to the two other sets of stories. He didn’t seem to know of any poem or poems about the deaths of these two; it's possible there weren't any, although that's unlikely. The story of how Sinfjotli and Sigmund died was definitely part of the oral prose tradition, and this story is presented in the short prose piece titled Of Sinfjotli’s Death, which comes immediately after the second lay of Helgi Hundingsbane in Regius. The relationship of this passage to the prose of the Reginsmol is discussed in the introductory note to that poem.

[__A_TAG_PLACEHOLDER_0__]

[334]

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Sigmund, the son of Volsung, was a king in the land of the Franks; Sinfjotli was his eldest son, the second was Helgi, and the third Hamund. Borghild, Sigmund’s wife, had a brother who was named ——. Sinfjotli, her stepson, and —— both wooed the same woman, wherefore Sinfjotli slew him. And when he came home, Borghild bade him depart, but Sigmund offered her atonement-money, and this she had to accept. At the funeral feast Borghild brought in ale; she took poison, a great horn full, and brought it to Sinfjotli. But when he looked into the horn, he saw that it was poison, and said to Sigmund: “Muddy is the drink, Father!” Sigmund took the horn and drank therefrom. It is said that Sigmund was so hardy that poison might not harm him, either outside or in, but all his sons could withstand poison only without on their skin. Borghild bore another horn to Sinfjotli and bade him drink, and all happened as before. And yet a third time she brought him a horn, and spoke therewith scornful [335]words of him if he should not drink from it. He spoke as before with Sigmund. The latter said: “Let it trickle through your beard, Son!” Sinfjotli drank, and straightway was dead. Sigmund bore him a long way in his arms, and came to a narrow and long fjord, and there was a little boat and a man in it. He offered to take Sigmund across the fjord. But when Sigmund had borne the corpse out into the boat, then the craft was full. The man told Sigmund to go round the inner end of the fjord. Then the man pushed the boat off, and disappeared.

Sigmund, the son of Volsung, was a king in the land of the Franks. His eldest son was Sinfjotli, followed by Helgi, and then Hamund. Borghild, Sigmund’s wife, had a brother named ____. Sinfjotli, her stepson, and ____ both pursued the same woman, which led Sinfjotli to kill him. When he returned home, Borghild told him to leave, but Sigmund offered her compensation, which she had to accept. At the funeral feast, Borghild brought in ale; she filled a large horn with poison and gave it to Sinfjotli. But when he looked into the horn, he saw the poison and said to Sigmund, “The drink is dirty, Father!” Sigmund took the horn and drank from it. It is said that Sigmund was so strong that poison couldn’t harm him, either outside or inside, but all his sons could only resist poison on their skin. Borghild brought another horn to Sinfjotli and urged him to drink, and the same thing happened again. A third time, she brought him a horn and mocked him if he didn't drink from it. He exchanged words with Sigmund as before. Sigmund said, “Let it trickle through your beard, Son!” Sinfjotli drank, and immediately fell dead. Sigmund carried him a long way, then came to a narrow, long fjord where there was a small boat and a man in it. The man offered to take Sigmund across the fjord. But when Sigmund had put the corpse into the boat, it was full. The man told Sigmund to go around the inner end of the fjord. Then, the man pushed the boat off and disappeared.

King Sigmund dwelt long in Denmark in Borghild’s kingdom after he had married her. Thereafter Sigmund went south into the land of the Franks, to the kingdom which he had there. There he married Hjordis, the daughter of King Eylimi; their son was Sigurth. King Sigmund fell in a battle with the sons of Hunding, and Hjordis then married Alf the son of King Hjalprek. There Sigurth grew up in his boyhood. Sigmund and all his sons were far above all other men in might and stature and courage and every kind of ability. Sigurth, however, was the foremost of all, and all men call him in the old tales the noblest of mankind and the mightiest leader. [332]

King Sigmund lived for a long time in Denmark in Borghild’s kingdom after marrying her. Later, Sigmund went south to the land of the Franks, where he had a kingdom. There he married Hjordis, the daughter of King Eylimi; their son was Sigurth. King Sigmund died in battle against the sons of Hunding, and Hjordis then married Alf, the son of King Hjalprek. That’s where Sigurth grew up as a child. Sigmund and all his sons were far superior to other men in strength, size, bravery, and every kind of skill. However, Sigurth was the greatest of them all, and people in the old stories refer to him as the noblest of humanity and the mightiest leader. [__A_TAG_PLACEHOLDER_0__]

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NOTE

[334]

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Prose. Regarding Sigmund, Sinfjotli, and Volsung see Introductory Note. The Franks: although the Sigurth story had reached the North as early as the sixth or seventh century, it never lost all the marks of its Frankish origin. Helgi and Hamund: sons of Sigmund and Borghild; Helgi is, of course Helgi Hundingsbane; of Hamund nothing further is recorded. Borghild: the manuscript leaves a blank for the name of her brother; evidently the compiler hoped some day to discover it and write it in, but never did. A few editions insert wholly unauthorized names from late paper manuscripts, such as Hroar, Gunnar, or Borgar. In the Volsungasaga Borghild bids Sinfjotli drink “if he has the courage of a Volsung.” Sigmund gives his advice because “the king was very drunk, and that was why he spoke thus.” Gering, on the other hand, gives Sigmund credit for having believed that the draught would deposit its poisonous [335]contents in Sinfjotli’s beard, and thus do him no harm. Boat: the man who thus carries off the dead Sinfjotli in his boat is presumably Othin. Denmark: Borghild belongs to the Danish Helgi part of the story. The Franks: with this the Danish and Norse stories of Helgi and Sinfjotli come to an end, and the Frankish story of Sigurth begins. Sigmund’s two kingdoms are an echo of the blended traditions. Hjordis: just where this name came from is not clear, for in the German story Siegfried’s mother is Sigelint, but the name of the father of Hjordis, Eylimi, gives a clew, for Eylimi is the father of Svava, wife of Helgi Hjorvarthsson. [336]Doubtless the two men are not identical, but it seems likely that both Eylimi and Hjordis were introduced into the Sigmund-Sigurth story, the latter replacing Sigelint, from some version of the Helgi tradition. Hunding: in the Helgi lays the sons of Hunding are all killed, but they reappear here and in two of the poems (Gripisspo, 9, and Reginsmol, 15), and the Volsungasaga names Lyngvi as the son of Hunding who, as the rejected lover of Hjordis, kills Sigmund and his father-in-law, Eylimi, as well. The episode of Hunding and his sons belongs entirely to the Danish (Helgi) part of the story; the German legend knows nothing of it, and permits the elderly Sigmund to outlive his son. There was doubtless a poem on this battle, for the Volsungasaga quotes two lines spoken by the dying Sigmund to Hjordis before he tells her to give the pieces of his broken sword to their unborn son. Alf: after the battle, according to the Volsungasaga, Lyngvi Hundingsson tried to capture Hjordis, but she was rescued by the sea-rover Alf, son of King Hjalprek of Denmark, who subsequently married her. Here is another trace of the Danish Helgi tradition. The Nornageststhattr briefly tells the same story. [337]

Prose. For more about Sigmund, Sinfjotli, and Volsung, see the Introductory Note. The Franks: even though the Sigurth tale made its way to the North as early as the sixth or seventh century, it still retained elements of its Frankish roots. Helgi and Hamund: they are the sons of Sigmund and Borghild; Helgi is, naturally, Helgi Hundingsbane; there are no further records about Hamund. Borghild: the manuscript has left a space for her brother's name; clearly, the compiler intended to find it and fill it in someday, but never did. Some editions insert entirely unauthorized names from later paper manuscripts, such as Hroar, Gunnar, or Borgar. In the Volsungasaga, Borghild tells Sinfjotli to drink “if he has the courage of a Volsung.” Sigmund gives his advice because “the king was very drunk, and that’s why he spoke like that.” Gering, on the other hand, thinks Sigmund believed the drink would deposit its poisonous [__A_TAG_PLACEHOLDER_0__]contents in Sinfjotli’s beard, thus harming him less. Boat: the person who carries the dead Sinfjotli away in his boat is presumably Othin. Denmark: Borghild is part of the Helgi story from Denmark. The Franks: with this, the Danish and Norse tales of Helgi and Sinfjotli conclude, and the Frankish tale of Sigurth begins. Sigmund’s two kingdoms reflect the mixed traditions. Hjordis: it’s unclear where this name comes from, because in the German tale, Siegfried's mother is Sigelint, but the name of Hjordis’s father, Eylimi, offers a clue, as Eylimi is the father of Svava, Helgi Hjorvarthsson's wife. [__A_TAG_PLACEHOLDER_0__]Although the two men are likely not the same, it appears that both Eylimi and Hjordis were incorporated into the Sigmund-Sigurth narrative, with Hjordis taking the place of Sigelint from some version of the Helgi story. Hunding: in the Helgi lays, all of Hunding’s sons are killed; however, they reappear here and in two poems (Gripisspo, 9, and Reginsmol, 15), and the Volsungasaga identifies Lyngvi as Hunding’s son who, as Hjordis’s rejected lover, kills Sigmund and his father-in-law, Eylimi, as well. The story of Hunding and his sons belongs entirely to the Danish (Helgi) portion of the tale; the German legend knows nothing of it and allows the older Sigmund to survive his son. There was probably a poem about this battle, as the Volsungasaga quotes two lines spoken by the dying Sigmund to Hjordis before he instructs her to give the pieces of his broken sword to their unborn son. Alf: after the battle, according to the Volsungasaga, Lyngvi Hundingsson attempted to capture Hjordis, but she was saved by the sea-rover Alf, son of King Hjalprek of Denmark, who later married her. This is another trace of the Danish Helgi tradition. The Nornageststhattr briefly recounts the same story. [__A_TAG_PLACEHOLDER_0__]

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GRIPISSPO

Gripir’s Prophecy

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Intro Note

The Gripisspo immediately follows the prose Fra Dautha Sinfjotla in the Codex Regius, and is contained in no other early manuscript. It is unquestionably one of the latest of the poems in the Eddic collection; most critics agree in calling it the latest of all, dating it not much before the year 1200. Its author (for in this instance the word may be correctly used) was not only familiar with the other poems of the Sigurth cycle, but seems to have had actual written copies of them before him; it has, indeed, been suggested, and not without plausibility, that the Gripisspo may have been written by the very man who compiled and annotated the collection of poems preserved in the Codex Regius.

The Gripisspo comes right after the prose Fra Dautha Sinfjotla in the Codex Regius, and it doesn't appear in any other early manuscripts. It's definitely one of the latest poems in the Eddic collection; most critics agree it's the very latest, likely written not long before 1200. Its author (in this case, the term is appropriate) was not only familiar with other poems in the Sigurth cycle but also seemed to have actual written copies of them on hand. It has even been suggested, with some credibility, that the Gripisspo might have been written by the same person who compiled and annotated the collection of poems preserved in the Codex Regius.

In form the poem is a dialogue between the youthful Sigurth and his uncle, Gripir, but in substance it is a condensed outline of Sigurth’s whole career as told piecemeal in the older poems. The writer was sufficiently skillful in the handling of verse, but he was utterly without inspiration; his characters are devoid of vitality, and their speeches are full of conventional phrases, with little force or incisiveness. At the same time, the poem is of considerable interest as giving, in brief form, a summary of the story of Sigurth as it existed in Iceland (for the Gripisspo is almost certainly Icelandic) in the latter half of the twelfth century.

In terms of structure, the poem is a conversation between the young Sigurth and his uncle, Gripir, but in its content, it provides a brief overview of Sigurth’s entire story as told in bits and pieces in earlier poems. The author demonstrated enough skill in crafting verse, but lacked true inspiration; his characters feel lifeless, and their dialogues are filled with cliché phrases, lacking in strength and sharpness. Nevertheless, the poem is quite interesting as it offers a short summary of Sigurth’s tale as it was known in Iceland (since the Gripisspo is nearly definitely Icelandic) in the latter half of the twelfth century.

It is not desirable here to go in detail into the immensely complex question of the origin, growth, and spread of the story of Sigurth (Siegfried). The volume of critical literature on the subject is enormous, and although some of the more patently absurd theories have been eliminated, there are still wide divergencies of opinion regarding many important points. At the same time, a brief review of the chief facts is necessary in order to promote a clearer understanding of the poems which follow, and which make up more than a third of the Eddic collection.

It’s not ideal to dive deeply into the incredibly complex issue of where the story of Sigurth (Siegfried) comes from, how it evolved, and how it spread. There’s a huge amount of critical literature on the topic, and while some obviously ridiculous theories have been dismissed, many significant points still have a wide range of differing opinions. However, a quick overview of the main facts is needed to help clarify the poems that follow, which make up more than a third of the Eddic collection.

That the story of Sigurth reached the North from Germany, having previously developed among the Franks of the Rhine country, is now universally recognized. How and when it spread from northwestern Germany into Scandinavia are less certainly known. It spread, indeed, in every direction, so that traces of it [338]are found wherever Frankish influence was extensively felt; but it was clearly better known and more popular in Norway, and in the settlements established by Norwegians, than anywhere else. We have historical proof that there was considerable contact, commercial and otherwise, between the Franks of northwestern Germany and the Norwegians (but not the Swedes or the Danes) throughout the period from 600 to 800; coins of Charlemagne have been found in Norway, and there is other evidence showing a fairly extensive interchange of ideas as well as of goods. Presumably, then, the story of the Frankish hero found its way into Norway in the seventh century. While, at this stage of its development, it may conceivably have included a certain amount of verse, it is altogether probable that the story as it came into Norway in the seventh century was told largely in prose, and that, even after the poets had got hold of it, the legend continued to live among the people in the form of oral prose saga.

The story of Sigurth originated in Germany and made its way to the North, having first developed among the Franks of the Rhine region, and this is now widely acknowledged. However, the specifics of how and when it spread from northwestern Germany to Scandinavia are less clear. It traveled in every direction, and signs of it [__A_TAG_PLACEHOLDER_0__] can be found wherever Frankish influence was strong; nonetheless, it was particularly well-known and more popular in Norway and in the communities established by Norwegians than anywhere else. We have historical evidence of significant interactions, both commercial and otherwise, between the Franks of northwestern Germany and the Norwegians (but not the Swedes or Danes) from 600 to 800; coins from Charlemagne have been discovered in Norway, alongside other evidence highlighting a considerable exchange of ideas and goods. Therefore, it’s likely that the tale of the Frankish hero reached Norway in the seventh century. At this point in its development, it might have included some verses, but it’s highly probable that the story as it arrived in Norway was primarily conveyed in prose, and even after poets became involved, the legend continued to persist among the people as an oral prose saga.

The complete lack of contemporary material makes it impossible for us to speak with certainty regarding the character and content of the Sigurth legend as it existed in the Rhine country in the seventh century. It is, however, important to remember the often overlooked fact that any popular traditional hero became a magnet for originally unrelated stories of every kind. It must also be remembered that in the early Middle Ages there existed no such distinction between fiction and history as we now make; a saga, for instance, might be anything from the most meticulously accurate history to the wildest of fairy tales, and a single saga might (and sometimes did) combine both elements. This was equally true of the Frankish traditions, and the two principles just stated account for most of the puzzling phenomena in the growth of the Sigurth story.

The complete lack of modern material makes it impossible for us to speak with certainty about the character and content of the Sigurth legend as it existed in the Rhine region in the seventh century. However, it’s important to remember the often overlooked fact that any popular traditional hero became a magnet for originally unrelated stories of all kinds. It should also be noted that in the early Middle Ages, there was no clear distinction between fiction and history as we make today; a saga, for example, could be anything from the most meticulously accurate history to the wildest fairy tales, and a single saga could (and sometimes did) combine both elements. This was equally true of the Frankish traditions, and the two principles just stated account for most of the puzzling phenomena in the development of the Sigurth story.

Of the origin of Sigurth himself we know absolutely nothing. No historical analogy can be made to fit in the slightest degree. If one believes in the possibility of resolving hero stories into nature myths, he may be explained in that fashion, but such a solution is not necessary. The fact remains that from very early days Sigurth (Sifrit) was a great traditional hero among the Franks. The tales of his strength and valor, of his winning of a great treasure, of his wooing a more or less supernatural bride, and of his death at the hands of his kinsmen, probably were early features of this legend.

We know absolutely nothing about the origin of Sigurth himself. No historical comparison fits even slightly. If one believes it's possible to interpret hero stories as nature myths, he could be understood that way, but that's not required. The truth is, from very early on, Sigurth (Sifrit) was a legendary hero among the Franks. The stories of his strength and bravery, his acquisition of a great treasure, his courtship of a somewhat supernatural bride, and his death at the hands of his relatives likely were early elements of this legend.

The next step was the blending of this story with one which [339]had a clear basis in history. In the year 437 the Burgundians, under their king, Gundicarius (so the Latin histories call him), were practically annihilated by the Huns. The story of this great battle soon became one of the foremost of Rhineland traditions; and though Attila was presumably not present in person, he was quite naturally introduced as the famous ruler of the invading hordes. The dramatic story of Attila’s death in the year 453 was likewise added to the tradition, and during the sixth century the chain was completed by linking together the stories of Sigurth and those of the Burgundian slaughter. Gundicarius becomes the Gunther of the Nibelungenlied and the Gunnar of the Eddic poems; Attila becomes Etzel and Atli. A still further development came through the addition of another, and totally unrelated, set of historical traditions based on the career of Ermanarich, king of the Goths, who died about the year 376. Ermanarich figures largely in many stories unconnected with the Sigurth cycle, but, with the zeal of the medieval story-tellers for connecting their heroes, he was introduced as the husband of Sigurth’s daughter, Svanhild, herself originally part of a separate narrative group, and as Jormunrek he plays a considerable part in a few of the Eddic poems.

The next step was to blend this story with one that [__A_TAG_PLACEHOLDER_0__]had a clear historical foundation. In 437, the Burgundians, led by their king Gundicarius (as the Latin histories refer to him), were nearly wiped out by the Huns. The tale of this epic battle quickly became one of the key traditions of the Rhineland; and although Attila was likely not there in person, he was naturally included as the well-known ruler of the invading forces. The dramatic account of Attila’s death in 453 was also added to the tradition, and by the sixth century, the narratives of Sigurth and the Burgundian massacre were intertwined. Gundicarius became the Gunther of the Nibelungenlied and the Gunnar of the Eddic poems; Attila transformed into Etzel and Atli. Another layer was added when another completely unrelated set of historical tales about Ermanarich, king of the Goths, who died around 376, was incorporated. Ermanarich appears prominently in many stories unrelated to the Sigurth cycle, but due to the medieval storytellers' knack for linking their heroes, he was introduced as the husband of Sigurth’s daughter, Svanhild, who initially belonged to a separate narrative group, and as Jormunrek, he plays a significant role in some of the Eddic poems.

Such, briefly, appears to have been the development of the legend before it came into Norway. Here it underwent many changes, though the clear marks of its southern origin were never obliterated. The names were given Scandinavian forms, and in some cases were completely changed (e.g., Kriemhild becomes Guthrun). New figures, mostly of secondary importance, were introduced, and a large amount of purely Northern local color was added. Above all, the earlier part of the story was linked with Northern mythology in a way which seems to have had no counterpart among the southern Germanic peoples. The Volsungs become direct descendants of Othin; the gods are closely concerned with Fafnir’s treasure, and so on. Above all, the Norse story-tellers and poets changed the figure of Brynhild. In making her a Valkyrie, sleeping on the flame-girt rock, they were never completely successful, as she persisted in remaining, to a considerable extent, the entirely human daughter of Buthli whom Sigurth woos for Gunnar. This confusion, intensified by a mixing of names (cf. Sigrdrifumol, introductory note), and much resembling that which existed in the parallel cases of Svava and Sigrun in the Helgi tradition, created difficulties [340]which the Norse poets and story-tellers were never able to smooth out, and which have perplexed commentators ever since.

Such, in brief, seems to have been the development of the legend before it arrived in Norway. Here, it went through many changes, although the clear signs of its southern origin were never erased. The names were adapted into Scandinavian forms, and in some cases were completely altered (e.g., Kriemhild becomes Guthrun). New characters, mostly of secondary importance, were introduced, and a significant amount of distinctly Northern local flavor was added. Most importantly, the earlier part of the story was connected with Northern mythology in a way that seems to have had no parallel among the southern Germanic peoples. The Volsungs became direct descendants of Othin; the gods were closely involved with Fafnir’s treasure, and so forth. Above all, the Norse story-tellers and poets transformed the character of Brynhild. By making her a Valkyrie, sleeping on the fire-surrounded rock, they were never completely successful, as she remained, to a significant extent, the entirely human daughter of Buthli whom Sigurth courts for Gunnar. This confusion, intensified by a mixing of names (cf. Sigrdrifumol, introductory note), and very similar to what existed in the parallel cases of Svava and Sigrun in the Helgi tradition, created difficulties [__A_TAG_PLACEHOLDER_0__]that the Norse poets and story-tellers were never able to resolve, and which have puzzled commentators ever since.

Those who read the Sigurth poems in the Edda, or the story told in the Volsungasaga, expecting to find a critically accurate biography of the hero, will, of course, be disappointed. If, however, they will constantly keep in mind the general manner in which the legend grew, its accretions ranging all the way from the Danube to Iceland, they will find that most of the difficulties are simply the natural results of conflicting traditions. Just as the Danish Helgi had to be “reborn” twice in order to enable three different men to kill him, so the story of Sigurth, as told in the Eddic poems, involves here and there inconsistencies explicable only when the historical development of the story is taken into consideration.

Those who read the Sigurth poems in the Edda, or the tale in the Volsungasaga, expecting to find a precise biography of the hero, will likely be let down. However, if they keep in mind how the legend evolved, with influences stretching from the Danube to Iceland, they will see that most of the inconsistencies are just the natural result of differing traditions. Just like the Danish Helgi had to be “reborn” twice so three different men could kill him, the story of Sigurth, as told in the Eddic poems, has irregularities that can only be understood by considering the historical context.

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Gripir was the name of Eylimi’s son, the brother of Hjordis; he ruled over lands and was of all men the wisest and most forward-seeing. Sigurth once was riding alone and came to Gripir’s hall. Sigurth was easy to recognize; he found out in front of the hall a man whose name was Geitir. Then Sigurth questioned him and asked:

Gripir was the name of Eylimi’s son, the brother of Hjordis; he ruled over lands and was the wisest and most perceptive of all men. Sigurth was riding alone one day and arrived at Gripir’s hall. Sigurth was easy to recognize; he encountered a man named Geitir outside the hall. Sigurth then asked him:

1. “Who is it has   |   this dwelling here,

__A_TAG_PLACEHOLDER_0__. “Who lives here,

Or what do men call   |   the people’s king?”

Or what do people call the king of the people?

[341]

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Geitir spake:

Geitir spoke:

“Gripir the name   |   of the chieftain good

“Gripir the name   |   of the good chieftain

Who holds the folk   |   and the firm-ruled land.”

Who holds the people   |   and the well-governed land.”

Sigurth spake:

Sigurth said:

2. “Is the king all-knowing   |   now within,

2. “Does the king know everything   |   now inside,

Will the monarch come   |   with me to speak?

Will the monarch come with me to talk?

A man unknown   |   his counsel needs,

A man unknown | his advice is needed,

And Gripir fain   |   I soon would find.”

And Gripir happily | I would soon discover.

Geitir spake:

Geitir spoke:

3. “The ruler glad   |   of Geitir will ask

__A_TAG_PLACEHOLDER_0__. “The ruler of Geitir will gladly ask

Who seeks with Gripir   |   speech to have.”

Who seeks with Gripir   |   speech to have.

Sigurth spake:

Sigurth said:

“Sigurth am I,   |   and Sigmund’s son,

“I'm Sigurth, | and the son of Sigmund,

And Hjordis the name   |   of the hero’s mother.”

And Hjordis is the name of the hero’s mother.”

4. Then Geitir went   |   and to Gripir spake:

__A_TAG_PLACEHOLDER_0__. Then Geitir went and spoke to Gripir:

“A stranger comes   |   and stands without;

“A stranger comes | and stands outside;

Lofty he is   |   to look upon,

Lofty he is to look upon,

And, prince, thyself   |   he fain would see.”

And, prince, he would really like to see you.

5. From the hall the ruler   |   of heroes went, [342]

__A_TAG_PLACEHOLDER_0__. From the hall, the leader of champions walked, [__A_TAG_PLACEHOLDER_0__]

And greeted well   |   the warrior come:

And welcomed the incoming warrior:

“Sigurth, welcome   |   long since had been thine;

“Sigurth, welcome | long since had been yours;

Now, Geitir, shalt thou   |   Grani take.”

Now, Geitir, you shall take Grani.

6. Then of many   |   things they talked,

6. Then they talked about a lot of things,

When thus the men   |   so wise had met.

When the wise men had gathered like this.

Sigurth spake:

Sigurth said:

“To me, if thou knowest,   |   my mother’s brother,

“To me, if you know, | my mother’s brother,

Say what life   |   will Sigurth’s be.”

Say what life will Sigurth’s be.”

Gripir spake:

Gripir said:

7. “Of men thou shalt be   |   on earth the mightiest,

7. “Among men, you will be the strongest on earth,

And higher famed   |   than all the heroes;

And more famous than all the heroes;

Free of gold-giving,   |   slow to flee,

Free of gold-giving,   |   slow to run away,

Noble to see,   |   and sage in speech.”

Noble to see,   |   and wise in speech.”

Sigurth spake:

Sigurth said:

8. “Monarch wise,   |   now more I ask;

8. “Wise king, | now I ask for more;

To Sigurth say,   |   if thou thinkest to see,

To Sigurth say,   |   if you think you're going to see,

What first will chance   |   of my fortune fair,

What will my good fortune first encounter,

When hence I go   |   from out thy home?”

When will I leave your home?

Gripir spake:

Gripir said:

9. “First shalt thou, prince,   |   thy father avenge,

__A_TAG_PLACEHOLDER_0__. "First, you must, prince, | take revenge for your father,

And Eylimi,   |   their ills requiting; [343]

And Eylimi,   |   paying them back for their wrongs; [__A_TAG_PLACEHOLDER_0__]

The hardy sons   |   of Hunding thou

The tough sons of Hunding

Soon shalt fell,   |   and victory find.”

Soon you will fall, and victory will be yours.

Sigurth spake:

Sigurth said:

10. “Noble king,   |   my kinsman, say

10. “Noble king, my relative, go ahead and say

Thy meaning true,   |   for our minds we speak:

Your true meaning, | for we speak for our minds:

For Sigurth mighty   |   deeds dost see,

For Sigurth's mighty deeds you see,

The highest beneath   |   the heavens all?”

The highest under the heavens all?

Gripir spake:

Gripir spoke

11. “The fiery dragon   |   alone thou shalt fight

__A_TAG_PLACEHOLDER_0__. “The fiery dragon | you shall fight alone.

That greedy lies   |   at Gnitaheith;

That greedy lies at Gnitaheith;

Thou shalt be of Regin   |   and Fafnir both

You will be like Regin and Fafnir both

The slayer; truth   |   doth Gripir tell thee.”

The slayer; truth  |   Gripir tells you.

Sigurth spake:

Sigurth said:

12. “Rich shall I be   |   if battles I win

12. “I will be rich if I win battles.

With such as these,   |   as now thou sayest;

With people like these,   |   as you say now;

Forward look,   |   and further tell:

Forward look,   |   and further tell:

What the life   |   that I shall lead?”

What will the life be like that I will lead?

Gripir spake:

Gripir said:

13. “Fafnir’s den   |   thou then shalt find,

__A_TAG_PLACEHOLDER_0__. “You’ll find Fafnir’s lair,

And all his treasure   |   fair shalt take; [344]

And you will take all his treasure; [__A_TAG_PLACEHOLDER_0__]

Gold shalt heap   |   on Grani’s back,

Gold shall pile on Grani’s back,

And, proved in fight,   |   to Gjuki fare.”

And, proven in battle,   |   to Gjuki's fate.”

Sigurth spake:

Sigurth said:

14. “To the warrior now   |   in words so wise,

14. “To the warrior now   |   in words so wise,

Monarch noble,   |   more shalt tell;

Monarch noble, | you shall tell more;

I am Gjuki’s guest,   |   and thence I go:

I am Gjuki’s guest,   |   and now I’m leaving:

What the life   |   that I shall lead?”

What kind of life will I lead?

Gripir spake:

Gripir said

15. “On the rocks there sleeps   |   the ruler’s daughter,

__A_TAG_PLACEHOLDER_0__. “On the rocks, the ruler’s daughter lies asleep,

Fair in armor,   |   since Helgi fell;

Fair in armor,   |   since Helgi fell;

Thou shalt cut   |   with keen-edged sword,

Thou shalt cut   |   with a sharp sword,

And cleave the byrnie   |   with Fafnir’s killer.”

And cut through the armor | with Fafnir’s slayer.”

[345]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

16. “The mail-coat is broken,   |   the maiden speaks,

16. “The armor is damaged,” the young woman says,

The woman who   |   from sleep has wakened;

The woman who woke up from sleep;

What says the maid   |   to Sigurth then

What does the maid say to Sigurth then?

That happy fate   |   to the hero brings?”

That happy fate brings to the hero?

Gripir spake:

Gripir spoke:

17. “Runes to the warrior   |   will she tell,

17. “The warrior will be told of runes,  |

All that men   |   may ever seek,

All that men | may ever seek,

And teach thee to speak   |   in all men’s tongues,

And teach you to speak in everyone's language,

And life with health;   |   thou’rt happy, king!”

And life with health; | you’re happy, king!”

Sigurth spake:

Sigurth said:

18. “Now is it ended,   |   the knowledge is won,

18. “Now it’s over,   |   the knowledge has been gained,

And ready I am   |   forth thence to ride;

And I'm ready to ride out from here;

Forward look   |   and further tell:

Forward look   |   and further tell:

What the life   |   that I shall lead?”

What kind of life will I lead?

Gripir spake:

Gripir spoke:

19. “Then to Heimir’s   |   home thou comest,

__A_TAG_PLACEHOLDER_0__. “Then you come to Heimir’s home,

And glad shalt be   |   the guest of the king; [346]

And you will be happy | the guest of the king; [__A_TAG_PLACEHOLDER_0__]

Ended, Sigurth,   |   is all I see,

Ended, Sigurth,   |   is all I see,

No further aught   |   of Gripir ask.”

No more questions about Gripir.

Sigurth spake:

Sigurth said:

20. “Sorrow brings me   |   the word thou sayest,

20. “Sadness comes to me | the word you say,

For, monarch, forward   |   further thou seest;

For, monarch, go ahead | further you see;

Sad the grief   |   for Sigurth thou knowest,

Sad the grief for Sigurth you know,

Yet nought to me, Gripir,   |   known wilt make.”

Yet nothing to me, Gripir,   |   will make known.

Gripir spake:

Gripir said:

21. “Before me lay   |   in clearest light

21. “In front of me was   |   the brightest light

All of thy youth   |   for mine eyes to see;

All of your youth | for my eyes to see;

Not rightly can I   |   wise be called,

Not rightly can I be called wise,

Nor forward-seeing;   |   my wisdom is fled.”

Nor can I see ahead; my wisdom has disappeared.

Sigurth spake:

Sigurth said:

22. “No man, Gripir,   |   on earth I know

22. “No one, Gripir,   |   on this earth I know

Who sees the future   |   as far as thou;

Who sees the future as far as you;

Hide thou nought,   |   though hard it be,

Hide nothing,   |   even if it's difficult,

And base the deeds   |   that I shall do.”

And base the actions | that I will take.”

Gripir spake:

Gripir spoke:

23. “With baseness never   |   thy life is burdened, [347]

23. “With dishonor never   |   is your life weighed down, [__A_TAG_PLACEHOLDER_0__]

Hero noble,   |   hold that sure;

Hero noble, hold that for sure;

Lofty as long   |   as the world shall live,

Lofty as long as the world shall live,

Battle-bringer,   |   thy name shall be.”

“Your name will be Battle-bringer.”

Sigurth spake:

Sigurth said:

24. “Nought could seem worse,   |   but now must part

24. “Nothing could seem worse,   |   but now we must say goodbye

The prince and Sigurth,   |   since so it is;

The prince and Sigurth,   |   since that's how it is;

My road I ask,—   |   the future lies open,—

My path I seek,—   |   the future is wide open,—

Mighty one, speak,   |   my mother’s brother.”

Mighty one, speak, | my mother's brother.

Gripir spake:

Gripir spoke

25. “Now to Sigurth   |   all shall I say,

25. “Now to Sigurth   |   I will tell everything,

For to this the warrior   |   bends my will;

For this, the warrior bends my will;

Thou knowest well   |   that I will not lie,—

Thou knowest well   |   that I will not lie,—

A day there is   |   when thy death is doomed.”

A day will come when your death is certain.”

Sigurth spake:

Sigurth said:

26. “No scorn I know   |   for the noble king,

26. “I don't hold any disdain for the noble king,

But counsel good   |   from Gripir I seek;

But I seek good advice from Gripir;

Well will I know,   |   though evil awaits,

Well, I will know, | though trouble awaits,

What Sigurth may   |   before him see.”

What Sigurth might see ahead of him.”

Gripir spake:

Gripir spoke:

27. “A maid in Heimir’s   |   home there dwells,

__A_TAG_PLACEHOLDER_0__. “A young woman in Heimir’s home lives,

Brynhild her name   |   to men is known,

Brynhild is her name | known to men,

Daughter of Buthli,   |   the doughty king,

Daughter of Buthli,   |   the brave king,

And Heimir fosters   |   the fearless maid.”

And Heimir raises the fearless girl.”

[348]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

28. “What is it to me,   |   though the maiden be

28. “What does it matter to me,   |   if the girl is

So fair, and of Heimir   |   the fosterling is?

So beautiful, and is Heimir's foster child?

Gripir, truth   |   to me shalt tell,

Gripir, truth   |   to me shall tell,

For all of fate   |   before me thou seest.”

For everything that fate has in store for me, you see before you.

Gripir spake:

Gripir said

29. “Of many a joy   |   the maiden robs thee,

29. “The girl takes away many of your joys,

Fair to see,   |   whom Heimir fosters;

Fair to see,   |   whom Heimir supports;

Sleep thou shalt find not,   |   feuds thou shalt end not,

Sleep you will not find,   |   feuds you will not end,

Nor seek out men,   |   if the maid thou seest not.”

Nor look for men, if you don’t see the maid.

Sigurth spake:

Sigurth said:

30. “What may be had   |   for Sigurth’s healing?

30. “What can be done for Sigurth’s recovery?

Say now, Gripir,   |   if see thou canst;

Say now, Gripir, if you can see;

May I buy the maid   |   with the marriage-price,

May I buy the maid with the bride price,

The daughter fair   |   of the chieftain famed?”

The beautiful daughter of the famous chieftain?

Gripir spake:

Gripir spoke:

31. “Ye twain shall all   |   the oaths then swear

31. “You two will all | then swear the oaths

That bind full fast;   |   few shall ye keep;

That bind tightly; | few will you keep;

One night when Gjuki’s   |   guest thou hast been,

One night when you were Gjuki's guest,

Will Heimir’s fosterling   |   fade from thy mind.”

Will Heimir’s fosterling   |   fade from your mind.”

Sigurth spake:

Sigurth said:

32. “What sayst thou, Gripir?   |   give me the truth,

32. “What do you say, Gripir?   |   give me the truth,

Does fickleness hide   |   in the hero’s heart?

Does inconsistency hide in the hero’s heart?

Can it be that troth   |   I break with the maid,

Can it be that I break my promise to the girl,

With her I believed   |   I loved so dear?”

With her, I believed | I loved so deeply?

[349]

[__A_TAG_PLACEHOLDER_0__]

Gripir spake:

Gripir said:

33. “Tricked by another,   |   prince, thou art,

__A_TAG_PLACEHOLDER_0__. “Deceived by someone else,   |   prince, you are,

And the price of Grimhild’s   |   wiles thou must pay;

And you must pay the price of Grimhild’s tricks;

Fain of thee   |   for the fair-haired maid,

Fain of thee | for the blonde girl,

Her daughter, she is,   |   and she drags thee down.”

Her daughter is, and she pulls you down.

Sigurth spake:

Sigurth said:

34. “Might I with Gunnar   |   kinship make,

34. “Can I connect with Gunnar through family ties,

And Guthrun win   |   to be my wife,

And Guthrun will be my wife,

Well the hero   |   wedded would be,

Well, the hero who would be married,

If my treacherous deed   |   would trouble me not.”

If my betrayal wouldn't bother me.

Gripir spake:

Gripir said:

35. “Wholly Grimhild   |   thy heart deceives,

__A_TAG_PLACEHOLDER_0__. “Completely Grimhild   |   your heart deceives,

She will bid thee go   |   and Brynhild woo

She will ask you to leave |  and Brynhild will try to win you over

For Gunnar’s wife,   |   the lord of the Goths;

For Gunnar’s wife,   |   the lord of the Goths;

And the prince’s mother   |   thy promise shall win.”

And the prince’s mother   |   your promise will prevail.”

[350]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

36. “Evil waits me,   |   well I see it,

36. “I can see that evil is coming for me, | I know it’s there,

And gone is Sigurth’s   |   wisdom good,

And Sigurth’s wisdom is gone,

If I shall woo   |   for another to win

If I'm going to court someone | to gain someone else

The maiden fair   |   that so fondly I loved.”

The beautiful girl   |   that I loved so dearly.”

Gripir spake:

Gripir spoke:

37. “Ye three shall all   |   the oaths then take,

__A_TAG_PLACEHOLDER_0__. “You three shall all  |    take the oaths then,

Gunnar and Hogni,   |   and, hero, thou;

Gunnar and Hogni, | and, hero, you;

Your forms ye shall change,   |   as forth ye fare,

Your forms you shall change, | as you go forth,

Gunnar and thou;   |   for Gripir lies not.”

Gunnar and you;   |   because Gripir doesn’t exist.

Sigurth spake:

Sigurth said:

38. “How meanest thou?   |   Why make we the change

38. “What do you mean?   |   Why are we changing

Of shape and form   |   as forth we fare?

Of shape and form | as we go forth?

There must follow   |   another falsehood

There must be another lie.

Grim in all ways;   |   speak on, Gripir!”

Grim in every way;   |   go ahead, Gripir!”

[351]

[__A_TAG_PLACEHOLDER_0__]

Gripir spake:

Gripir spoke:

39. “The form of Gunnar   |   and shape thou gettest,

__A_TAG_PLACEHOLDER_0__. “The way Gunnar looks   |   and the form you take,

But mind and voice   |   thine own remain;

But keep your thoughts and voice to yourself;

The hand of the fosterling   |   noble of Heimir

The hand of the foster child   |   noble of Heimir

Now dost thou win,   |   and none can prevent.”

Now you win, and no one can stop it.

Sigurth spake:

Sigurth said:

40. “Most evil it seems,   |   and men will say

40. “It seems really wicked,   |   and people will say

Base is Sigurth   |   that so he did;

Base is Sigurth   |   that so he did;

Not of my will   |   shall I cheat with wiles

Not by my choice   |   will I deceive with tricks

The heroes’ maiden   |   whom noblest I hold.”

The heroes’ first   |   whom I hold in the highest regard.”

Gripir spake:

Gripir said:

41. “Thou dwellest, leader   |   lofty of men,

__A_TAG_PLACEHOLDER_0__. “You live, leader   |   high above all men,

With the maid as if   |   thy mother she were;

With the maid as if she were your mother;

Lofty as long   |   as the world shall live,

Lofty as long as the world shall live,

Ruler of men,   |   thy name shall remain.”

Ruler of men, your name will endure.

[352]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

42. “Shall Gunnar have   |   a goodly wife,

42. “Will Gunnar have   |   a good wife,

Famed among men,—   |   speak forth now, Gripir!

Famous among people, —   |   speak up now, Gripir!

Although at my side   |   three nights she slept,

Although she slept by my side for three nights,

The warrior’s bride?   |   Such ne’er has been.”

The warrior's bride?   |   Such has never existed.

Gripir spake:

Gripir said:

43. “The marriage draught   |   will be drunk for both,

__A_TAG_PLACEHOLDER_0__. “The marriage drink   |   will be shared by both,

For Sigurth and Gunnar,   |   in Gjuki’s hall;

For Sigurth and Gunnar, | in Gjuki’s hall;

Your forms ye change,   |   when home ye fare,

Your forms change when you go home,

But the mind of each   |   to himself remains.”

But each person's mind remains their own.

Sigurth spake:

Sigurth said:

44. “Shall the kinship new   |   thereafter come

44. “Will the new family bond   |   then arrive

To good among us?   |   Tell me, Gripir!

To be good among us?   |   Tell me, Gripir!

To Gunnar joy   |   shall it later give,

To Gunnar joy | it shall later bring,

Or happiness send   |   for me myself?”

Or happiness send | for me myself?”

Gripir spake:

Gripir said:

45. “Thine oaths remembering,   |   silent thou art,

__A_TAG_PLACEHOLDER_0__. “Remembering your promises,   |   you remain silent,

And dwellest with Guthrun   |   in wedlock good;

And live with Guthrun in a happy marriage;

But Brynhild shall deem   |   she is badly mated,

But Brynhild will think she is poorly paired,

And wiles she seeks,   |   herself to avenge.”

And while she seeks,   |   to get revenge on herself.”

[353]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

46. “What may for the bride   |   requital be,

46. “What could the bride receive in return,

The wife we won   |   with subtle wiles?

The wife we won | with clever tricks?

From me she has   |   the oaths I made,

From me she has   |   the promises I made,

And kept not long;   |   they gladdened her little.”

And didn’t last long; they made her a little happy.

Gripir spake:

Gripir said:

47. “To Gunnar soon   |   his bride will say

__A_TAG_PLACEHOLDER_0__. “Gunnar's bride will say soon

That ill didst thou   |   thine oath fulfill,

That poorly did you fulfill your oath,

When the goodly king,   |   the son of Gjuki,

When the good king, the son of Gjuki,

With all his heart   |   the hero trusted.”

With all his heart, the hero trusted.

Sigurth spake:

Sigurth said:

48. “What sayst thou, Gripir?   |   give me the truth!

48. “What do you say, Gripir?   |   give me the truth!

Am I guilty so   |   as now is said, [354]

Am I guilty as it is said now, [__A_TAG_PLACEHOLDER_0__]

Or lies does the far-famed   |   queen put forth

Or does the famous queen put forth

Of me and herself?   |   Yet further speak.”

Of me and her?   |   Yet more to say.”

Gripir spake:

Gripir spoke

49. “In wrath and grief   |   full little good

49. “In anger and sorrow | very little good

The noble bride   |   shall work thee now;

The noble bride will take care of you now;

No shame thou gavest   |   the goodly one,

No shame you gave the good one,

Though the monarch’s wife   |   with wiles didst cheat.”

Though the queen used her tricks to deceive.

Sigurth spake:

Sigurth said

50. “Shall Gunnar the wise   |   to the woman’s words,

__A_TAG_PLACEHOLDER_0__. “Should Gunnar the wise listen to what the woman says,

And Gotthorm and Hogni,   |   then give heed?

And Gotthorm and Hogni, then pay attention?

Shall Gjuki’s sons,   |   now tell me, Gripir,

Shall Gjuki’s sons,   |   now tell me, Gripir,

Redden their blades   |   with their kinsman’s blood?”

Redden their blades with their relative’s blood?”

Gripir spake:

Gripir said:

51. “Heavy it lies   |   on Guthrun’s heart,

51. “It weighs heavily on Guthrun’s heart,

When her brothers all   |   shall bring thee death;

When her brothers all shall bring you death;

Never again   |   shall she happiness know,

Never again shall she know happiness,

The woman so fair;   |   ’tis Grimhild’s work.”

The woman is so beautiful; it’s Grimhild’s doing.

Sigurth spake:

Sigurth said:

52. “Now fare thee well!   |   our fates we shun not;

__A_TAG_PLACEHOLDER_0__. “Now goodbye!   |   we cannot escape our fates;

And well has Gripir   |   answered my wish;

And Gripir has answered my wish well;

More of joy   |   to me wouldst tell

More joy to me would you tell

Of my life to come   |   if so thou couldst.”

Of my future life if you could.

[355]

[__A_TAG_PLACEHOLDER_0__]

Gripir spake:

Gripir said:

53. “Ever remember,   |   ruler of men,

53. “Always keep in mind,   |   leader of people,

That fortune lies   |   in the hero’s life;

That fortune is found in the hero's life;

A nobler man   |   shall never live

A better man shall never exist

Beneath the sun   |   than Sigurth shall seem.”

Beneath the sun   |   than Sigurth will seem.”

[337]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[340]

[__A_TAG_PLACEHOLDER_0__]

Prose. The manuscript gives the poem no title. Gripir: this uncle of Sigurth’s was probably a pure invention of the poet’s. The Volsungasaga mentions him, but presumably only because of his appearance here. On Eylimi and Hjordis see Fra Dautha Sinfjotla and note. Geitir, the serving-man, is likewise apparently an invention of the poet’s.

Prose. The manuscript doesn't give the poem a title. Gripir: this uncle of Sigurth was likely a complete invention of the poet. The Volsungasaga mentions him, but probably only because he appears here. For Eylimi and Hjordis, see Fra Dautha Sinfjotla and the note. Geitir, the servant, also seems to be an invention of the poet.

1. The manuscript does not indicate the speakers anywhere in the poem. Some editors have made separate stanzas out of the two-line speeches in stanzas 1, 3 and 6. [341]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking anywhere in the poem. Some editors have created separate stanzas from the two-line speeches in stanzas 1, 3, and 6. [__A_TAG_PLACEHOLDER_0__]

3. Sigurth: a few editions use in the verse the older form of this name, “Sigvorth,” though the manuscript here keeps to the form used in this translation. The Old High German “Sigifrid” (“Peace-Bringer through Victory”) became the Norse “Sigvorth” (“Victory-Guarder”), this, in turn, becoming “Sigurth.”

__A_TAG_PLACEHOLDER_0__. Sigurth: some versions use the older spelling of this name, “Sigvorth,” in the verse, but the manuscript here sticks with the form used in this translation. The Old High German “Sigifrid” (“Peace-Bringer through Victory”) turned into the Norse “Sigvorth” (“Victory-Guarder”), which eventually became “Sigurth.”

4. Bugge thinks a stanza has been lost after stanza 4, in which Geitir tells Gripir who Sigurth is. [342]

__A_TAG_PLACEHOLDER_0__. Bugge believes a stanza is missing after stanza 4, where Geitir informs Gripir about who Sigurth is. [__A_TAG_PLACEHOLDER_0__]

5. Grani: Sigurth’s horse. According to the Volsungasaga his father was Sleipnir, Othin’s eight-legged horse, and Othin himself gave him to Sigurth. The introductory note to the Reginsmol tells a different story.

__A_TAG_PLACEHOLDER_0__. Grani: Sigurth’s horse. According to the Volsungasaga, his father was Sleipnir, Odin’s eight-legged horse, and Odin himself gave him to Sigurth. The introductory note to the Reginsmol tells a different story.

9. Thy father: on the death of Sigmund and Eylimi at the hands of Hunting’s sons see Fra Dautha Sinfjotla and note. [343]

__A_TAG_PLACEHOLDER_0__. Your father: when Sigmund and Eylimi died at the hands of Hunting’s sons, see Fra Dautha Sinfjotla and take note. [__A_TAG_PLACEHOLDER_0__]

11. The dragon: Fafnir, brother of the dwarf Regin, who turns himself into a dragon to guard Andvari’s hoard; cf. Reginsmol and Fafnismol. Gnitaheith: a relic of the German tradition; it has been identified as lying south of Paderborn.

__A_TAG_PLACEHOLDER_0__. The dragon: Fafnir, the brother of the dwarf Regin, who transforms into a dragon to protect Andvari’s treasure; see Reginsmol and Fafnismol. Gnitaheith: a remnant of the German tradition; it has been located south of Paderborn.

13. Gjuki: the Norse form of the name Gibeche (“The Giver”). Gjuki is the father of Gunnar, Hogni, and Guthrun, the family which reflects most directly the Burgundian part of [344]the tradition (cf. Introductory Note). The statement that Sigurth is to go direct from the slaying of Fafnir to Gjuki’s hall involves one of the confusions resulting from the dual personality of Brynhild. In the older (and the original South Germanic) story, Sigurth becomes a guest of the Gjukungs before he has ever heard of Brynhild, and first sees her when, having changed forms with Gunnar, he goes to woo her for the latter. In another version he finds Brynhild before he visits the Gjukungs, only to forget her as the result of the magic draught administered by Guthrun’s mother. Both these versions are represented in the poems of which the author of the Gripisspo made use, and he tried, rather clumsily, to combine them, by having Sigurth go to Gjuki’s house, then find the unnamed Valkyrie, and then return to Gjuki, the false wooing following this second visit.

__A_TAG_PLACEHOLDER_0__. Gjuki: the Norse version of the name Gibeche (“The Giver”). Gjuki is the father of Gunnar, Hogni, and Guthrun, the family that most closely represents the Burgundian aspect of [__A_TAG_PLACEHOLDER_0__]the tradition (see Introductory Note). The idea that Sigurth goes directly from killing Fafnir to Gjuki’s hall is one of the confusions stemming from Brynhild’s dual personality. In the earlier (and original South Germanic) tale, Sigurth becomes a guest of the Gjukungs before he has ever heard of Brynhild, and first sees her when, having taken on Gunnar's form, he goes to court her for him. In another version, he meets Brynhild before visiting the Gjukungs, only to forget her due to the magic potion given by Guthrun’s mother. Both of these versions are found in the poems utilized by the author of the Gripisspo, who awkwardly attempted to combine them by having Sigurth visit Gjuki’s house, then encounter the unnamed Valkyrie, and then return to Gjuki, with the false wooing taking place after this second visit.

15. Basing his story on the Sigrdrifumol, the poet here tells of Sigurth’s finding of the Valkyrie, whom he does not identify with Brynhild, daughter of Buthli (stanza 27), at all. His error in this respect is not surprising, in view of Brynhild’s dual identity (cf. Introductory Note, and Fafnismol, 44 and note). [345]Helgi: according to Helreith Brynhildar (stanza 8), with which the author of the Gripisspo was almost certainly familiar, the hero for whose death Brynhild was punished was named Hjalmgunnar. Is Helgi here identical with Hjalmgunnar, or did the author make a mistake? Finnur Jonsson thinks the author regarded Sigurth’s Valkyrie as a fourth incarnation of Svava-Sigrun-Kara, and wrote Helgi’s name in deliberately. Many editors, following Bugge, have tried to reconstruct line 2 so as to get rid of Helgi’s name.

__A_TAG_PLACEHOLDER_0__. Drawing his story from the Sigrdrifumol, the poet describes Sigurth discovering the Valkyrie, whom he doesn’t link to Brynhild, daughter of Buthli (stanza 27), at all. His mistake in this regard isn’t surprising considering Brynhild’s dual identity (see Introductory Note, and Fafnismol, 44 and note). [__A_TAG_PLACEHOLDER_0__]Helgi: according to Helreith Brynhildar (stanza 8), which the author of the Gripisspo was likely familiar with, the hero whose death Brynhild was punished for was named Hjalmgunnar. Is Helgi here the same as Hjalmgunnar, or did the author make a mistake? Finnur Jonsson believes the author saw Sigurth’s Valkyrie as a fourth incarnation of Svava-Sigrun-Kara and intentionally included Helgi’s name. Many editors, following Bugge, have attempted to rewrite line 2 to remove Helgi’s name.

19. Heimir: the Volsungasaga says that Heimir was the husband of Brynhild’s sister, Bekkhild. Brynhild’s family connections [346]involve a queer mixture of northern and southern legend. Heimir and Bekkhild are purely of northern invention; neither of them is mentioned in any of the earlier poems, though Brynhild speaks of her “foster-father” in Helreith Brynhildar. In the older Norse poems Brynhild is a sister of Atli (Attila), a relationship wholly foreign to the southern stories, and the father of this strangely assorted pair is Buthli, who in the Nibelungenlied is apparently Etzel’s grandfather. Add to this her role of Valkyrie, and it is small wonder that the annotator himself was puzzled. [347]

__A_TAG_PLACEHOLDER_0__. Heimir: the Volsungasaga states that Heimir was married to Brynhild’s sister, Bekkhild. Brynhild’s family connections [__A_TAG_PLACEHOLDER_0__] are a strange mix of northern and southern legends. Heimir and Bekkhild are completely of northern origin; neither is mentioned in any of the earlier poems, although Brynhild refers to her “foster-father” in Helreith Brynhildar. In the older Norse poems, Brynhild is a sister of Atli (Attila), a connection that is completely absent from the southern tales, and their oddly assorted father is Buthli, who in the Nibelungenlied is seemingly Etzel’s grandfather. Adding to this is her role as a Valkyrie, which makes it no surprise that the annotator found it confusing. [__A_TAG_PLACEHOLDER_0__]

27. Brynhild (“Armed Warrior”): on her and her family see Introductory Note and note to stanza 19. [349]

__A_TAG_PLACEHOLDER_0__. Brynhild (“Armed Warrior”): for information about her and her family, see the Introductory Note and the note for stanza 19. [__A_TAG_PLACEHOLDER_0__]

33. Most editions have no comma after line 3, and change the meaning to “Fain of thee   |   the fair-haired one / For her daughter is.” Grimhild: in the northern form of the story Kriemhild, Gunther’s sister and Siegfried’s wife, becomes Grimhild, mother of Gunnar and Guthrun, the latter taking Kriemhild’s place. The Volsungasaga tells how Grimhild gave Sigurth a magic draught which made him utterly forget Brynhild. Edzardi thinks two stanzas have been lost after stanza 33, their remains appearing in stanza 37.

__A_TAG_PLACEHOLDER_0__. Most editions don't have a comma after line 3, which changes the meaning to “Gladly of you | the fair-haired one / For her daughter is.” Grimhild: in the northern version of the story Kriemhild, Gunther’s sister and Siegfried’s wife, becomes Grimhild, the mother of Gunnar and Guthrun, with the latter replacing Kriemhild. The Volsungasaga explains how Grimhild gave Sigurth a magical potion that made him completely forget Brynhild. Edzardi believes that two stanzas were lost after stanza 33, and their remnants appear in stanza 37.

35. In the Volsungasaga Grimhild merely advises Gunnar to seek Brynhild for his wife, and to have Sigurth ride with him. Goths: the historical Gunnar (Gundicarius, cf. Introductory Note) was not a Goth, but a Burgundian, but the word “Goth” was applied in the North without much discrimination to the southern Germanic peoples. [350]

__A_TAG_PLACEHOLDER_0__. In the Volsungasaga, Grimhild simply suggests that Gunnar should ask Brynhild to be his wife and take Sigurth with him. Goths: the actual Gunnar (Gundicarius, see Introductory Note) was not a Goth, but a Burgundian. However, the term "Goth" was generally used in the North without much distinction regarding the southern Germanic tribes. [__A_TAG_PLACEHOLDER_0__]

37. In the Nibelungenlied Siegfried merely makes himself invisible in order to lend Gunther his strength for the feats which must be performed in order to win the redoubtable bride. In the northern version Sigurth and Gunnar change forms, “as Grimhild had taught them how to do.” The Volsungasaga tells how Sigurth and Gunnar came to Heimir, who told them that to win Brynhild one must ride through the ring of fire which surrounded her hall (cf. the hall of Mengloth in Svipdagsmol). Gunnar tries it, but his horse balks; then he mounts Grani, but Grani will not stir for him. So they change forms, and Sigurth rides Grani through the flames. Oaths: the blood-brotherhood sworn by Sigurth, Gunnar, and Hogni makes it impossible for the brothers to kill him themselves, but they finally get around the difficulty by inducing their half-brother, Gotthorm (cf. Hyndluljoth, 27 and note) to do it. [351]

__A_TAG_PLACEHOLDER_0__. In the Nibelungenlied, Siegfried just makes himself invisible to give Gunther his strength for the challenges he must face to win the formidable bride. In the northern version, Sigurth and Gunnar transform, “just as Grimhild had taught them.” The Volsungasaga describes how Sigurth and Gunnar went to Heimir, who told them that to win Brynhild, one must ride through the ring of fire surrounding her hall (see the hall of Mengloth in Svipdagsmol). Gunnar tries it, but his horse refuses to go; then he tries Grani, but Grani won’t move for him. So, they switch forms, and Sigurth rides Grani through the flames. Oaths: the blood-brotherhood sworn by Sigurth, Gunnar, and Hogni makes it impossible for the brothers to kill him themselves, but they finally find a way around this by convincing their half-brother, Gotthorm (see Hyndluljoth, 27 and note), to do it. [__A_TAG_PLACEHOLDER_0__]

39. The last half of line 4 is obscure, and the reading is conjectural.

__A_TAG_PLACEHOLDER_0__. The last part of line 4 is unclear, and the interpretation is speculative.

41. Something is clearly wrong with stanzas 41–43. In the manuscript the order is 41, 43, 42, which brings two of Gripir’s answers together, followed by two of Sigurth’s questions. Some editors have arranged the stanzas as in this translation, while others have interchanged 41 and 43. In any case, Sigurth in stanza 42 asks about the “three nights” which Gripir has never mentioned. I suspect that lines 3–4 of stanza 41, which are practically identical with lines 3–4 of stanza 23, got in here by mistake, replacing two lines which may have run thus: “With thy sword between,   |   three nights thou sleepest / With her thou winnest   |   for Gunnar’s wife.” The subsequent poems tell how Sigurth laid his sword Gram between himself and Brynhild. [352]

__A_TAG_PLACEHOLDER_0__. Something's definitely off with stanzas 41–43. In the manuscript, the order is 41, 43, 42, which puts two of Gripir’s responses together, followed by two of Sigurth’s questions. Some editors have rearranged the stanzas like in this translation, while others have swapped 41 and 43. Regardless, in stanza 42, Sigurth asks about the “three nights,” which Gripir never mentioned. I think lines 3–4 of stanza 41, which are almost identical to lines 3–4 of stanza 23, ended up here by mistake, replacing two lines that might have gone: “With thy sword between, | three nights thou sleepest / With her thou winnest | for Gunnar’s wife.” The following poems describe how Sigurth laid his sword Gram between himself and Brynhild. [__A_TAG_PLACEHOLDER_0__]

43. The simultaneous weddings of Sigurth and Gunnar form a memorable feature of the German tradition as it appears in the Nibelungenlied, but in the Volsungasaga Sigurth marries Guthrun before he sets off with Gunnar to win Brynhild.

__A_TAG_PLACEHOLDER_0__. The back-to-back weddings of Sigurth and Gunnar are a notable part of the German tradition found in the Nibelungenlied, but in the Volsungasaga, Sigurth marries Guthrun before he heads off with Gunnar to win Brynhild.

45. According to the Volsungasaga, Sigurth remembers his oaths to Brynhild almost immediately after his return to Gunnar’s house. Brynhild, on the other hand, knows nothing until the [353]famous quarrel between herself and Guthrun at the bath (another reminiscence of the German story), when she taunts Guthrun with Sigurth’s inferiority to Gunnar, and Guthrun retorts with the statement that it was Sigurth, and not Gunnar, who rode through the flames.

__A_TAG_PLACEHOLDER_0__. According to the Volsungasaga, Sigurth remembers his promises to Brynhild right after he gets back to Gunnar’s house. Brynhild, however, is in the dark until the [__A_TAG_PLACEHOLDER_0__]famous argument between her and Guthrun at the bath (which is another nod to the German story), when she mocks Guthrun about Sigurth being lower than Gunnar, and Guthrun counters by saying it was Sigurth, not Gunnar, who rode through the flames.

47. Brynhild tells Gunnar that Sigurth really possessed her during the three nights when he slept by her in Gunnar’s form, thus violating his oath. Here again there is a confusion of two traditions. If Sigurth did not meet Brynhild until after his oath to Gunnar (cf. note on stanza 13), Brynhild’s charge is entirely false, as she herself admits in Helreith Brynhildar. On the other hand, according to the version in which Sigurth finds Brynhild before he meets Gjuki’s sons, their union was not only completed, but she had by him a daughter, Aslaug, whom she leaves in Heimir’s charge before going to become Gunnar’s wife. This is the Volsungasaga version, and thus the statement Brynhild makes to Gunnar, as a result of which Sigurth is slain, is quite true. [354]

__A_TAG_PLACEHOLDER_0__. Brynhild tells Gunnar that Sigurth really had her during the three nights he spent with her while pretending to be Gunnar, breaking his oath. This again reflects a mix-up of two traditions. If Sigurth didn’t meet Brynhild until after he swore his oath to Gunnar (see note on stanza 13), then Brynhild’s accusation is completely false, as she herself acknowledges in Helreith Brynhildar. On the other hand, in the version where Sigurth meets Brynhild before he encounters Gjuki’s sons, they not only completed their union, but she also had a daughter named Aslaug, whom she left in Heimir’s care before going to become Gunnar’s wife. This is the Volsungasaga version, making Brynhild’s statement to Gunnar, which leads to Sigurth’s death, entirely true. [__A_TAG_PLACEHOLDER_0__]

50. Gotthorm: Gunnar’s half-brother, and slayer of Sigurth.

__A_TAG_PLACEHOLDER_0__. Gotthorm: Gunnar’s half-brother and the killer of Sigurth.

52. The manuscript has stanzas 52 and 53 in inverse order. [356]

__A_TAG_PLACEHOLDER_0__. The manuscript has stanzas 52 and 53 in the wrong order. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

REGINSMOL

The Ballad of Regin

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Reginsmol immediately follows the Gripisspo in the Codex Regius, and in addition stanzas 1, 2, 6, and 18 are quoted in the Volsungasaga, and stanzas 13–26 in the Nornageststhattr. In no instance is the title of the poem stated, and in Regius there stands before the introductory prose, very faintly written, what appears to be “Of Sigurth.” As a result, various titles have been affixed to it, the two most often used being “the Ballad of Regin” and “the First Lay of Sigurth Fafnisbane.”

The Reginsmol comes right after the Gripisspo in the Codex Regius, and stanzas 1, 2, 6, and 18 are quoted in the Volsungasaga, while stanzas 13–26 appear in the Nornageststhattr. The poem's title is never mentioned, and in Regius, there is a faintly written phrase before the introductory prose that seems to say “Of Sigurth.” Because of this, various titles have been given to it, with the two most common being “the Ballad of Regin” and “the First Lay of Sigurth Fafnisbane.”

As a matter of fact, it is by no means clear that the compiler of the Eddic collection regarded this or either of the two following poems, the Fafnismol and the Sigrdrifumol, as separate and distinct poems at all. There are no specific titles given, and the prose notes link the three poems in a fairly consecutive whole. Furthermore, the prose passage introducing the Reginsmol connects directly with Fra Dautha Sinfjotla, and only the insertion of the Gripisspo at this point, which may well have been done by some stupid copyist, breaks the continuity of the story.

In fact, it's not at all clear that the compiler of the Eddic collection considered this poem or either of the two that follow, the Fafnismol and the Sigrdrifumol, as distinct and separate works. There are no specific titles provided, and the prose notes connect the three poems in a fairly continuous manner. Additionally, the prose section introducing the Reginsmol directly ties into the Fra Dautha Sinfjotla, and only the placement of the Gripisspo here, which probably resulted from some careless copyist, disrupts the flow of the story.

For convenience I have here followed the usual plan of dividing this material into distinct parts, or poems, but I greatly doubt if this division is logically sound. The compiler seems, rather, to have undertaken to set down the story of Sigurth in consecutive form, making use of all the verse with which he was familiar, and which, by any stretch of the imagination, could be made to fit, filling up the gaps with prose narrative notes based on the living oral tradition.

For convenience, I've followed the common approach of breaking this material into separate parts or poems, but I really question whether this division makes sense. The compiler seems to have aimed to present the story of Sigurth in a continuous way, using all the verses he knew that could somewhat fit, and filling in the gaps with prose notes based on the ongoing oral tradition.

This view is supported by the fact that not one of the three poems in question, and least of all the Reginsmol, can possibly be regarded as a unit. For one thing, each of them includes both types of stanza commonly used in the Eddic poems, and this, notwithstanding the efforts of Grundtvig and Müllenhoff to prove the contrary, is almost if not quite conclusive proof that each poem consists of material taken from more than one source. Furthermore, there is nowhere continuity within the verse itself for more than a very few stanzas. An analysis of the Reginsmol shows that stanzas 1–4, 6–10, and 12, all in Ljothahattr stanza form, seem to belong together as fragments of a poem dealing with [357]Loki’s (not Andvari’s) curse on the gold taken by the gods from Andvari and paid to Hreithmar, together with Hreithmar’s death at the hands of his son, Fafnir, as the first result of this curse. Stanza 5, in Fornyrthislag, is a curse on the gold, here ascribed to Andvari, but the only proper name in the stanza, Gust, is quite unidentifiable, and the stanza may originally have had to do with a totally different story. Stanza 11, likewise in Fornyrthislag, is merely a father’s demand that his daughter rear a family to avenge his death; there is nothing in it to link it necessarily with the dying Hreithmar. Stanzas 13–18, all in Fornyrthislag, give Regin’s welcome to Sigurth (stanzas 13–14), Sigurth’s announcement that he will avenge his father’s death on the sons of Hunding before he seeks any treasure (stanza 15), and a dialogue between a certain Hnikar, who is really Othin, and Regin, as the latter and Sigurth are on the point of being shipwrecked. This section (stanzas 13–18) bears a striking resemblance to the Helgi lays, and may well have come originally from that cycle. Next follows a passage in Ljothahattr form (stanzas 19–22 and 24–25) in which Hnikar-Othin gives some general advice as to lucky omens and good conduct in battle; the entire passage might equally well stand in the Hovamol, and I suspect that it originally came from just such a collection of wise saws. Inserted in this passage is stanza 23, in Fornyrthislag, likewise on the conduct of battle, with a bit of tactical advice included. The “poem” ends with a single stanza, in Fornyrthislag, simply stating that the bloody fight is over and that Sigurth fought well—a statement equally applicable to any part of the hero’s career.

This view is supported by the fact that none of the three poems in question, especially the Reginsmol, can be seen as a cohesive unit. For one, each of them includes both types of stanzas commonly found in Eddic poems, and despite the attempts by Grundtvig and Müllenhoff to argue otherwise, this is almost, if not completely, definitive proof that each poem comprises material from multiple sources. Moreover, there’s little to no continuity within the verses for anything longer than a few stanzas. An analysis of the Reginsmol shows that stanzas 1–4, 6–10, and 12, all in Ljothahattr stanza form, seem to fit together as fragments of a poem about [__A_TAG_PLACEHOLDER_0__]Loki’s (not Andvari’s) curse on the gold taken by the gods from Andvari and given to Hreithmar, along with Hreithmar’s death at the hands of his son, Fafnir, as the first outcome of this curse. Stanza 5, in Fornyrthislag, is a curse on the gold, attributed to Andvari, but the only proper name in the stanza, Gust, is completely unidentifiable, and the stanza might have originally related to a completely different story. Stanza 11, also in Fornyrthislag, is simply a father’s request for his daughter to start a family to avenge his death; there’s nothing in it that necessarily connects it to the dying Hreithmar. Stanzas 13–18, all in Fornyrthislag, capture Regin’s welcome to Sigurth (stanzas 13–14), Sigurth’s announcement that he will avenge his father’s death on Hunding’s sons before seeking any treasure (stanza 15), and a conversation between a character named Hnikar, who is actually Othin, and Regin, as Regin and Sigurth are on the verge of being shipwrecked. This section (stanzas 13–18) closely resembles the Helgi lays and might have originally belonged to that cycle. Next is a segment in Ljothahattr form (stanzas 19–22 and 24–25) where Hnikar-Othin gives some general advice about lucky omens and good behavior in battle; this entire passage could just as easily fit into the Hovamol, and I suspect it originally came from a collection of wise sayings. Inserted within this passage is stanza 23, in Fornyrthislag, also about battle conduct, with a bit of tactical advice included. The “poem” concludes with a single stanza, in Fornyrthislag, simply stating that the bloody fight is over and that Sigurth fought well—a statement that could apply to any part of the hero’s journey.

Finnur Jonsson has divided the Reginsmol into two poems, or rather into two sets of fragments, but this, as the foregoing analysis has indicated, does not appear to go nearly far enough. It accords much better with the facts to assume that the compiler of the collection represented by the Codex Regius, having set out to tell the story of Sigurth, took his verse fragments pretty much wherever he happened to find them. In this connection, it should be remembered that in the fluid state of oral tradition poems, fragments, and stanzas passed readily and frequently from one story to another. Tradition, never critical, doubtless connected with the Sigurth story much verse that never originated there.

Finnur Jonsson has split the Reginsmol into two poems, or more accurately, two sets of fragments, but as the previous analysis has shown, this doesn't seem to go far enough. It's much more in line with the facts to assume that the compiler of the collection represented by the Codex Regius, who set out to tell the story of Sigurth, gathered his verse fragments pretty much wherever he could find them. In this context, it should be noted that in the changing nature of oral tradition, poems, fragments, and stanzas easily and often moved from one story to another. Tradition, which was never critical, likely linked a lot of verse to the Sigurth story that didn't originally come from it.

If the entire passage beginning with the prose Fra Dautha Sinfjotla, and, except for the Gripisspo, including the Reginsmol, Fafnismol, and Sigrdrifumol, be regarded as a highly uncritical [358]piece of compilation, rendered consecutive by the compiler’s prose narrative, its difficulties are largely smoothed away; any other way of looking at it results in utterly inconclusive attempts to reconstruct poems some of which quite possibly never existed.

If you consider the whole section starting with the prose Fra Dautha Sinfjotla, and, apart from the Gripisspo, including Reginsmol, Fafnismol, and Sigrdrifumol, as a rather uncritical [__A_TAG_PLACEHOLDER_0__]compilation, held together by the compiler’s prose narrative, its challenges become much easier to understand; looking at it any other way leads to completely unconvincing efforts to piece together poems that might have never existed.

The twenty-six stanzas and accompanying prose notes included under the heading of Reginsmol belong almost wholly to the northern part of the Sigurth legend; the mythological features have no counterpart in the southern stories, and only here and there is there any betrayal of the tradition’s Frankish home. The story of Andvari, Loki, and Hreithmar is purely Norse, as is the concluding section containing Othin’s counsels. If we assume that the passage dealing with the victory over Hunding’s sons belongs to the Helgi cycle (cf. introductory notes to Helgakvitha Hjorvarthssonar and Helgakvitha Hundingsbana I), there is very little left to reflect the Sigurth tradition proper.

The twenty-six stanzas and the accompanying prose notes included under the heading of Reginsmol mainly belong to the northern part of the Sigurth legend; the mythological elements have no equivalent in the southern stories, and there are only occasional hints at the tradition's Frankish origins. The tale of Andvari, Loki, and Hreithmar is entirely Norse, as is the final section containing Othin's advice. If we consider that the section about the victory over Hunding's sons is part of the Helgi cycle (see introductory notes to Helgakvitha Hjorvarthssonar and Helgakvitha Hundingsbana I), then not much remains to reflect the Sigurth tradition itself.

Regarding the general development of the story of Sigurth in the North, see the introductory note to the Gripisspo.

Regarding the overall development of Sigurth's story in the North, see the introductory note to the Gripisspo.

[__A_TAG_PLACEHOLDER_0__]

Sigurth went to Hjalprek’s stud and chose for himself a horse, who thereafter was called Grani. At that time Regin, the son of Hreithmar, was come to Hjalprek’s home; he was more ingenious than all other men, and a dwarf in stature; he was wise, fierce and skilled in magic. Regin undertook Sigurth’s bringing up and teaching, and loved him much. He told Sigurth of his forefathers, and also of this: that once Othin and Hönir and Loki had come to Andvari’s waterfall, and in the fall were many fish. Andvari was a dwarf, who had dwelt long in the waterfall in the shape of a pike, and there he got his food. “Otr was the name of a brother of ours,” said Regin, “who often went into the fall in the shape of an otter; he had caught a salmon, and sat on the high bank eating it with his eyes shut. Loki threw a stone at him and killed him; the gods thought they had had great good luck, and [359]stripped the skin off the otter. That same evening they sought a night’s lodging at Hreithmar’s house, and showed their booty. Then we seized them, and told them, as ransom for their lives, to fill the otter skin with gold, and completely cover it outside as well with red gold. Then they sent Loki to get the gold; he went to Ron and got her net, and went then to Andvari’s fall and cast the net in front of the pike, and the pike leaped into the net.” Then Loki said:

Sigurth went to Hjalprek’s stable and picked a horse for himself, who was later named Grani. Around that time, Regin, Hreithmar’s son, arrived at Hjalprek’s home; he was more clever than anyone else and short in stature; he was wise, fierce, and skilled in magic. Regin took it upon himself to raise and teach Sigurth, and he grew very fond of him. He shared stories about Sigurth’s ancestors and also told him about the time when Othin, Hönir, and Loki had come to Andvari’s waterfall, where many fish were in the waters. Andvari was a dwarf who had lived for a long time in the waterfall as a pike, where he caught his meals. “Otr was the name of our brother,” Regin explained, “who often transformed into an otter; he caught a salmon and was sitting on the riverbank, enjoying it with his eyes closed. Loki threw a stone at him and killed him; the gods thought they had incredible luck, and [__A_TAG_PLACEHOLDER_0__]skinned the otter. That evening, they asked Hreithmar for a place to stay overnight and showed him their catch. Then we captured them and demanded that they fill the otter skin with gold and completely cover it on the outside with red gold as ransom for their lives. They sent Loki to collect the gold; he went to Ron and borrowed her net, then went back to Andvari’s waterfall and cast the net in front of the pike, which jumped into the net.” Then Loki said:

1. “What is the fish   |   that runs in the flood,

__A_TAG_PLACEHOLDER_0__. “What kind of fish is it that swims in the flood,

And itself from ill cannot save?

And it can’t save itself from harm?

If thy head thou wouldst   |   from hell redeem,

If you want to save your head from hell,

Find me the water’s flame.”

"Find me the water's flame."

[360]

[__A_TAG_PLACEHOLDER_0__]

Andvari spake:

Andvari said:

2. “Andvari am I,   |   and Oin my father,

__A_TAG_PLACEHOLDER_0__. “I’m Andvari,   |   and Oin is my dad,

In many a fall have I fared;

In many autumns, I've been through a lot;

An evil Norn   |   in olden days

An evil Norn | in ancient times

Doomed me in waters to dwell.”

Doomed me to live in the waters.

Loki spake:

Loki said:

3. “Andvari, say,   |   if thou seekest still

__A_TAG_PLACEHOLDER_0__. “Andvari, tell me,   |   if you're still looking

To live in the land of men,

To live in the world of humans,

What payment is set   |   for the sons of men

What payment is set for the sons of men

Who war with lying words?”

Who fought with false words?

Andvari spake:

Andvari said:

4. “A mighty payment   |   the men must make

__A_TAG_PLACEHOLDER_0__. “A huge price   |   the men have to pay

Who in Vathgelmir’s waters wade;

Who wades in Vathgelmir's waters;

On a long road lead   |   the lying words

On a long road lead   |   the lying words

That one to another utters.”

"That one speaks to another."

Loki saw all the gold that Andvari had. But when [361]he had brought forth all the gold, he held back one ring, and Loki took this from him. The dwarf went into his rocky hole and said:

Loki saw all the gold that Andvari had. But when [__A_TAG_PLACEHOLDER_0__]he had brought out all the gold, he kept back one ring, and Loki took this from him. The dwarf went into his rocky hole and said:

5. “Now shall the gold   |   that Gust once had

__A_TAG_PLACEHOLDER_0__. “Now the gold that Gust once owned

Bring their death   |   to brothers twain,

Bring their death   |   to brothers two,

And evil be   |   for heroes eight;

And evil be for eight heroes;

Joy of my wealth   |   shall no man win.”

Joy of my wealth   |   shall no one win.”

The gods gave Hreithmar the gold, and filled up the otter-skin, and stood it on its feet. Then the gods had to heap up gold and hide it. And when that was done, Hreithmar came forward and saw a single whisker, and bade them cover it. Then Othin brought out the ring Andvaranaut and covered the hair. Then Loki said:

The gods gave Hreithmar the gold, filled the otter-skin, and stood it upright. Then the gods had to pile up the gold and hide it. After that was done, Hreithmar came forward, noticed a single whisker, and asked them to cover it. Then Othin took out the ring Andvaranaut and covered the hair. Then Loki said:

6. “The gold is given,   |   and great the price

__A_TAG_PLACEHOLDER_0__. “The gold is given,   |   and the cost is high

Thou hast my head to save; [362]

You have my head to save; [__A_TAG_PLACEHOLDER_0__]

But fortune thy sons   |   shall find not there,

But luck won't find your sons there,

The bane of ye both it is.”

The misery of you both it is.

Hreithmar spake:

Hreithmar said:

7. “Gifts ye gave,   |   but ye gave not kindly,

7. “You gave gifts,   |   but you didn't give them with kindness,

Gave not with hearts that were whole;

Gave not with hearts that were complete;

Your lives ere this   |   should ye all have lost,

Your lives before this | should you all have lost,

If sooner this fate I had seen.”

If only I had seen this fate sooner.

Loki spake:

Loki said:

8. “Worse is this   |   that methinks I see,

__A_TAG_PLACEHOLDER_0__. “What’s worse is that I feel like I can see,

For a maid shall kinsmen clash;

For a maid, family members will fight.

Heroes unborn   |   thereby shall be,

Heroes yet to be born will be,

I deem, to hatred doomed.”

I judge, to hatred doomed.

Hreithmar spake:

Hreithmar said:

9. “The gold so red   |   shall I rule, methinks,

__A_TAG_PLACEHOLDER_0__. “The bright gold   |   I shall control, it seems,

So long as I shall live;

As long as I live;

Nought of fear   |   for thy threats I feel,

Naught of fear | for your threats I feel,

So get ye hence to your homes.”

So go back to your homes.

Fafnir and Regin asked Hreithmar for a share of the wealth that was paid for the slaying of their brother, Otr. This he refused, and Fafnir thrust his sword through the [363]body of his father, Hreithmar, while he was sleeping. Hreithmar called to his daughters:

Fafnir and Regin asked Hreithmar for a portion of the wealth that had been paid for the killing of their brother, Otr. He refused, and Fafnir drove his sword through the [__A_TAG_PLACEHOLDER_0__]body of his father, Hreithmar, while he was asleep. Hreithmar called out to his daughters:

10. “Lyngheith and Lofnheith,   |   fled is my life,

__A_TAG_PLACEHOLDER_0__. “Lyngheith and Lofnheith,   |   my life has escaped,

And mighty now is my need!”

And now my need is great!

Lyngheith spake:

Lyngheith said:

“Though a sister loses   |   her father, seldom

“Though a sister loses her father, seldom

Revenge on her brother she brings.”

Revenge on her brother she brings.

Hreithmar spake:

Hreithmar said:

11. “A daughter, woman   |   with wolf’s heart, bear,

__A_TAG_PLACEHOLDER_0__. “A daughter, a woman   |   with the heart of a wolf and a bear,

If thou hast no son   |   with the hero brave;

If you have no son   |   with the brave hero;

If one weds the maid,   |   for the need is mighty,

If someone marries the maid, | because the need is strong,

Their son for thy hurt   |   may vengeance seek.”

Their son, because of your harm, may seek revenge.”

Then Hreithmar died, and Fafnir took all the gold. Thereupon Regin asked to have his inheritance from his father, but Fafnir refused this. Then Regin asked counsel [364]of Lyngheith, his sister, how he should win his inheritance. She said:

Then Hreithmar died, and Fafnir took all the gold. After that, Regin asked to receive his inheritance from his father, but Fafnir refused. Then Regin consulted his sister Lyngheith about how he could claim his inheritance. She said:

12. “In friendly wise   |   the wealth shalt thou ask

12. “In a friendly way | you shall ask for the wealth

Of thy brother, and better will;

Of your brother, and better will;

Not seemly is it   |   to seek with the sword

Not appropriate is it   |   to seek with the sword

Fafnir’s treasure to take.”

"Take Fafnir's treasure."

All these happenings did Regin tell to Sigurth.

All of these events Regin told to Sigurd.

One day, when he came to Regin’s house, he was gladly welcomed. Regin said:

One day, when he arrived at Regin’s house, he was warmly welcomed. Regin said:

13. “Hither the son   |   of Sigmund is come,

__A_TAG_PLACEHOLDER_0__. “Here comes the son of Sigmund,

The hero eager,   |   here to our hall;

The eager hero, here in our hall;

His courage is more   |   than an ancient man’s,

His courage is greater than that of an old man,

And battle I hope   |   from the hardy wolf.

And I hope to fight from the tough wolf.

14. “Here shall I foster   |   the fearless prince,

__A_TAG_PLACEHOLDER_0__. “Here, I will nurture the bold prince,

Now Yngvi’s heir   |   to us is come;

Now Yngvi's heir has come to us;

The noblest hero   |   beneath the sun,

The greatest hero   |   under the sun,

The threads of his fate   |   all lands enfold.”

The threads of his fate   |   all lands embrace.”

[365]

[__A_TAG_PLACEHOLDER_0__]

Sigurth was there continually with Regin, who said to Sigurth that Fafnir lay at Gnitaheith, and was in the shape of a dragon. He had a fear-helm, of which all living creatures were terrified. Regin made Sigurth the sword which was called Gram; it was so sharp that when he thrust it down into the Rhine, and let a strand of wool drift against it with the stream, it cleft the strand asunder as if it were water. With this sword Sigurth cleft asunder Regin’s anvil. After that Regin egged Sigurth on to slay Fafnir, but he said:

Sigurth was always with Regin, who told him that Fafnir was lying at Gnitaheith, taking the form of a dragon. Fafnir had a fearsome helmet that terrified all living creatures. Regin forged the sword called Gram for Sigurth; it was so sharp that when he plunged it into the Rhine and let a strand of wool drift against it with the current, it split the strand apart as easily as if it were water. With this sword, Sigurth cut Regin’s anvil in half. After that, Regin urged Sigurth to slay Fafnir, but Sigurth replied:

15. “Loud will the sons   |   of Hunding laugh,

__A_TAG_PLACEHOLDER_0__. “The sons of Hunding will laugh loudly,

Who low did Eylimi   |   lay in death,

Who laid Eylimi low in death,

If the hero sooner   |   seeks the red

If the hero soon seeks the red

Rings to find   |   than his father’s vengeance.”

Rings to find   |   than his father's revenge.”

King Hjalprek gave Sigurth a fleet for the avenging [366]of his father. They ran into a great storm, and were off a certain headland. A man stood on the mountain, and said:

King Hjalprek gave Sigurth a fleet to avenge his father. They encountered a massive storm and were near a specific headland. A man stood on the mountain and said:

16. “Who yonder rides   |   on Rævil’s steeds,

__A_TAG_PLACEHOLDER_0__. “Who there rides   |   on Rævil’s horses,

O’er towering waves   |   and waters wild?

O’er towering waves and wild waters?

The sail-horses all   |   with sweat are dripping,

The sail-horses are all dripping with sweat,

Nor can the sea-steeds   |   the gale withstand.”

Nor can the sea horses withstand the gale.

Regin answered:

Regin replied:

17. “On the sea-trees here   |   are Sigurth and I,

__A_TAG_PLACEHOLDER_0__. “On the sea-trees here | are Sigurth and I,

The storm wind drives us   |   on to our death;

The storm wind pushes us forward to our doom;

The waves crash down   |   on the forward deck,

The waves crash down on the front deck,

And the roller-steeds sink;   |   who seeks our names?”

And the roller-steeds sink; | who is asking for our names?

The Man spake:

The Man said:

18. “Hnikar I was   |   when Volsung once

__A_TAG_PLACEHOLDER_0__. “I was Hnikar when Volsung once

Gladdened the ravens   |   and battle gave;

Gladdened the ravens   |   and gave battle;

Call me the Man   |   from the Mountain now,

Call me the Man from the Mountain now,

Feng or Fjolnir;   |   with you will I fare.”

Feng or Fjolnir;   |   I will go with you.”

[367]

[__A_TAG_PLACEHOLDER_0__]

They sailed to the land, and the man went on board the ship, and the storm subsided. Sigurth spake:

They sailed to the land, and the man boarded the ship, and the storm calmed down. Sigurth said:

19. “Hnikar, say,   |   for thou seest the fate

__A_TAG_PLACEHOLDER_0__. “Hnikar, tell me,   |   for you see the outcome

That to gods and men is given;

That is given to both gods and humans;

What sign is fairest   |   for him who fights,

What sign is the most beautiful | for the one who battles,

And best for the swinging of swords?”

And what's the best for swinging swords?

Hnikar spake:

Hnikar said:

20. “Many the signs,   |   if men but knew,

20 “There are many signs,   |   if only people understood,

That are good for the swinging of swords;

That are good for swinging swords;

It is well, methinks,   |   if the warrior meets

It is well, I think,   |   if the warrior meets

A raven black on his road.

A raven black on his path.

21. “Another it is   |   if out thou art come,

21. “It’s different if you’ve stepped outside,

And art ready forth to fare,

And art prepared to go,

To behold on the path   |   before thy house

To see on the path | in front of your house

Two fighters greedy of fame.

Two fighters hungry for fame.

22. “Third it is well   |   if a howling wolf

22. “Third, it’s good if a howling wolf

Thou hearest under the ash;

You hear beneath the ash;

And fortune comes   |   if thy foe thou seest

And luck comes if you see your enemy

Ere thee the hero beholds.

Here the hero sees.

23. “A man shall fight not   |   when he must face

__A_TAG_PLACEHOLDER_0__. “A man shouldn’t fight unless he has to face

The moon’s bright sister   |   setting late; [368]

The moon’s bright sister   |   setting late; [__A_TAG_PLACEHOLDER_0__]

Win he shall   |   who well can see,

Win he shall   |   who well can see,

And wedge-like forms   |   his men for the fray.

And wedge-shaped formations | his men for the battle.

24. “Foul is the sign   |   if thy foot shall stumble

__A_TAG_PLACEHOLDER_0__. “It's a bad omen if you trip over your own feet.

As thou goest forth to fight;

As you go out to fight;

Goddesses baneful   |   at both thy sides

Goddesses harmful   |   on both your sides

Will that wounds thou shalt get.

Will that wound you shall receive.

25. “Combed and washed   |   shall the wise man go,

__A_TAG_PLACEHOLDER_0__. “Neatly groomed and clean | should the wise person go,

And a meal at morn shall take;

And we'll have a meal in the morning;

For unknown it is   |   where at eve he may be;

For unknown it is | where he might be in the evening;

It is ill thy luck to lose.”

It’s bad luck for you to lose.

Sigurth had a great battle with Lyngvi, the son of [369]Hunding, and his brothers; there Lyngvi fell, and his two brothers with him. After the battle Regin said:

Sigurth had a fierce battle with Lyngvi, the son of [__A_TAG_PLACEHOLDER_0__]Hunding, and his brothers; there, Lyngvi was defeated, along with his two brothers. After the battle, Regin said:

26. “Now the bloody eagle   |   with biting sword

__A_TAG_PLACEHOLDER_0__. “Now the bloody eagle   |   with a sharp sword

Is carved on the back   |   of Sigmund’s killer;

Is carved on the back   |   of Sigmund’s killer;

Few were more fierce   |   in fight than his son,

Few were fiercer in battle than his son,

Who reddened the earth   |   and gladdened the ravens.”

Who stained the earth   |   and made the ravens happy.”

Sigurth went home to Hjalprek’s house; thereupon Regin egged him on to fight with Fafnir. [356]

Sigurth went home to Hjalprek’s house; then Regin encouraged him to fight Fafnir. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[359]

[__A_TAG_PLACEHOLDER_0__]

Prose. Hjalprek: father of Alf, Sigurth’s step-father; cf. Fra Dautha Sinfjotla, and note. Grani: cf. Gripisspo, 5 and note. Regin (“Counsel-Giver”): undoubtedly he goes back to the smith of the German story; in the Thithrekssaga version he is called Mimir, while Regin is there the name of the dragon (here Regin’s brother, Fafnir). The Voluspo (stanza 12) names a Regin among the dwarfs, and the name may have assisted in making Regin a dwarf here. Hreithmar: nothing is known of him outside of this story. Othin, Hönir and Loki: these same three gods appear in company in Voluspo, 17–18. Andvari’s fall: according to Snorri, who tells this entire story in the Skaldskaparmal, Andvari’s fall was in the world of the dark elves, while the one where Loki killed the otter was not; here, however, the two are considered identical. With his eyes shut: according to Snorri, Otr ate with his eyes shut because he was so greedy that he could not bear to see the food before him diminishing. Ron: wife of the sea-god Ægir, who draws down drowning men with her net; cf. Helgakvitha Hjorvarthssonar, 18 and note. Snorri says that Loki caught the pike with his hands.

Prose. Hjalprek: father of Alf, Sigurth’s step-father; see Fra Dautha Sinfjotla, and note. Grani: see Gripisspo, 5 and note. Regin (“Counsel-Giver”): he definitely goes back to the smith from the German story; in the Thithrekssaga version, he’s called Mimir, while Regin is the name of the dragon (here Regin's brother, Fafnir). The Voluspo (stanza 12) mentions a Regin among the dwarfs, and this might have contributed to making Regin a dwarf here. Hreithmar: nothing is known about him outside of this story. Othin, Hönir, and Loki: these same three gods are seen together in Voluspo, 17–18. Andvari’s fall: according to Snorri, who narrates this entire story in the Skaldskaparmal, Andvari’s fall took place in the realm of the dark elves, while the event where Loki killed the otter did not; however, in this context, the two are regarded as the same. With his eyes shut: according to Snorri, Otr ate with his eyes shut because he was so greedy that he couldn’t bear to see the food in front of him disappearing. Ron: wife of the sea-god Ægir, who pulls drowning men down with her net; see Helgakvitha Hjorvarthssonar, 18 and note. Snorri states that Loki caught the pike with his bare hands.

1. Snorri quotes this stanza. Water’s flame: gold, so called because Ægir, the sea-god, was wont to light his hall with gold. [360]

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Water’s flame: gold, named this way because Ægir, the sea god, used to light his hall with gold. [__A_TAG_PLACEHOLDER_0__]

2. Snorri quotes this stanza. The name of the speaker is not given in the manuscripts. Oin: nothing further is known of Andvari’s father. Norn: cf. Voluspo, 20.

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. The manuscripts don’t provide the speaker's name. Oin: there’s no additional information about Andvari’s father. Norn: see Voluspo, 20.

3. Stanzas 3–4 may well be fragments of some other poem. Certainly Loki’s question does not fit the situation, and the passage looks like an extract from some such poem as Vafthruthnismol. In Regius the phrase “Loki spake” stands in the middle of line 1.

__A_TAG_PLACEHOLDER_0__. Stanzas 3–4 might be parts of a different poem. Definitely, Loki’s question doesn’t match the situation, and the section seems like a snippet from a poem like Vafthruthnismol. In Regius, the phrase “Loki spake” is in the middle of line 1.

4. The manuscript does not name the speaker. Vathgelmir (“Raging to Wade”): a river not elsewhere mentioned, but cf. Voluspo, 39.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify the speaker. Vathgelmir (“Raging to Wade”): a river that isn't mentioned anywhere else, but see Voluspo, 39.

Prose. Snorri says Andvari’s ring had the power to create new gold. In this it resembled Baldr’s ring, Draupnir; cf. Skirnismol, 21 and note. [361]

Prose. Snorri mentions that Andvari’s ring could generate new gold. It was similar to Baldr’s ring, Draupnir; cf. Skirnismol, 21 and note. [__A_TAG_PLACEHOLDER_0__]

5. This stanza apparently comes from a different source from stanzas 1–4 (or 1–2 if 3–4 are interpolated) and 6–10; cf. Introductory Note. In the Volsungasaga Andvari lays his curse particularly on the ring. Gust: possibly a name for Andvari himself, or for an earlier possessor of the treasure. Brothers twain: Fafnir and Regin. Heroes eight: the word “eight” may easily have been substituted for something like “all” to make the stanza fit the case; the “eight” in question are presumably Sigurth, Gotthorm, Gunnar, Hogni, Atli, Erp, Sorli and Hamther, all of whom are slain in the course of the story. But the stanza may originally not have referred to Andvari’s treasure at all.

__A_TAG_PLACEHOLDER_0__. This stanza seems to come from a different source than stanzas 1–4 (or 1–2 if 3–4 are added) and 6–10; see the Introductory Note. In the Volsungasaga, Andvari specifically curses the ring. Gust: possibly a name for Andvari himself or for an earlier owner of the treasure. Brothers twain: Fafnir and Regin. Heroes eight: the word “eight” may have easily replaced something like “all” to fit the context; the “eight” refers to Sigurth, Gotthorm, Gunnar, Hogni, Atli, Erp, Sorli, and Hamther, all of whom are killed in the story. However, this stanza may not have originally referred to Andvari’s treasure at all.

Prose. Andvaranaut: “Andvari’s Gem.”

__A_TAG_PLACEHOLDER_0__. Andvaranaut: “Andvari’s Gem.”

6. Snorri quotes this stanza, introducing it, as here, with “Then Loki said” in the prose. Regius omits this phrase, but inserts “said Loki” in line 1. [362]

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza, leading in with “Then Loki said” in the prose. Regius leaves this phrase out but adds “said Loki” in line 1. [__A_TAG_PLACEHOLDER_0__]

8. The word translated “maid” in line 2 is obscure, and “gold” may be meant. Apparently, however, the reference is to the fight between Sigurth and the sons of Gjuki over Brynhild. The manuscript does not name the speaker, and many editions assign this stanza to Hreithmar.

__A_TAG_PLACEHOLDER_0__. The word translated as “maid” in line 2 is unclear, and it might actually refer to “gold.” However, it seems to point to the conflict between Sigurth and the sons of Gjuki over Brynhild. The manuscript doesn’t specify who is speaking, and many editions attribute this stanza to Hreithmar.

9. The manuscript includes “said Hreithmar” (abbreviated) in the middle of line 1, and some editors have followed this. [363]

__A_TAG_PLACEHOLDER_0__. The manuscript has “said Hreithmar” (abbreviated) in the middle of line 1, and some editors have stuck with this. [__A_TAG_PLACEHOLDER_0__]

10. Hreithmar’s daughters do not appear elsewhere. It has been suggested that originally stanza 10 was followed by one in which Lofnheith lamented her inability to avenge her father, as she was married and had no son.

__A_TAG_PLACEHOLDER_0__. Hreithmar’s daughters don’t show up anywhere else. It’s been suggested that originally stanza 10 was followed by one where Lofnheith expressed her sorrow over not being able to avenge her father since she was married and had no son.

11. Apparently an interpolation (cf. Introductory Note). Vigfusson tries to reconstruct lines 2 and 4 to fit the Ljothahattr rhythm, but without much success. Hreithmar urges his daughter, as she has no sons, to bear a daughter who, in turn, will have a son to avenge his great-grandfather. Grundtvig worked out an ingenious theory to fit this stanza, making Sigurth’s grandfather, Eylimi, the husband of Lyngheith’s daughter, but there is absolutely no evidence to support this. The stanza may have nothing to do with Hreithmar. [364]

__A_TAG_PLACEHOLDER_0__. It seems to be an addition (see Introductory Note). Vigfusson attempts to adapt lines 2 and 4 to match the Ljothahattr rhythm, but he has little success. Hreithmar encourages his daughter, since she has no sons, to have a daughter who will then have a son to avenge his great-grandfather. Grundtvig developed a clever theory to explain this stanza, suggesting that Sigurth’s grandfather, Eylimi, was the husband of Lyngheith’s daughter, but there is no solid evidence to support this claim. The stanza might not even be related to Hreithmar at all. [__A_TAG_PLACEHOLDER_0__]

13. This and the following stanza may be out of place here, really belonging, together with their introductory prose sentence, in the opening prose passage, following the first sentence describing Regin. Certainly they seem to relate to Regin’s first meeting with Sigurth. Stanzas 13–26, interspersed with prose, are quoted in the Nornageststhattr. Stanzas 13–18 may be the remnants of a lost poem belonging to the Helgi cycle (cf. Introductory Note). Hardy wolf: warrior, i.e., Sigurth.

__A_TAG_PLACEHOLDER_0__. This and the next stanza might feel out of place here, as they really belong with their introductory prose sentence in the opening prose section, right after the first sentence describing Regin. They definitely seem to be about Regin’s first meeting with Sigurth. Stanzas 13–26, mixed with prose, are quoted in the Nornageststhattr. Stanzas 13–18 might be leftovers from a lost poem related to the Helgi cycle (see Introductory Note). Hardy wolf: warrior, meaning Sigurth.

14. Yngvi’s heir: Yngvi was one of the sons of the Danish king Halfdan the Old, and traditionally an ancestor of Helgi (cf. Helgakvitha Hundingsbana I, 57 and note). Calling Sigurth [365]a descendant of Yngvi is, of course, absurd, and the use of this phrase is one of the many reasons for believing that stanzas 13–18 belonged originally to the Helgi cycle. The threads, etc.: another link with Helgi; cf. Helgakvitha Hundingsbana I, 3–4. As Helgi was likewise regarded as a son of Sigmund, stanzas 13–14 would fit him just as well as Sigurth.

__A_TAG_PLACEHOLDER_0__. Yngvi’s heir: Yngvi was one of the sons of the Danish king Halfdan the Old and is traditionally considered an ancestor of Helgi (see Helgakvitha Hundingsbana I, 57 and note). Referring to Sigurth as a descendant of Yngvi is obviously ridiculous, and this phrase is one of many reasons to believe that stanzas 13–18 originally belonged to the Helgi cycle. The threads, etc.: another connection to Helgi; see Helgakvitha Hundingsbana I, 3–4. Since Helgi was also viewed as a son of Sigmund, stanzas 13–14 would apply to him just as well as to Sigurth.

Prose. Gnitaheith: cf. Gripisspo, 11 and note. Fear-helm: the word “ægis-hjalmr,” which occurs both here and in Fafnismol, suggests an extraordinarily interesting, and still disputed, question of etymology. Gram: according to the Volsungasaga Regin forged this sword from the fragments of the sword given by Othin to Sigmund (cf. Fra Dautha Sinfjotla and note).

Prose. Gnitaheith: see Gripisspo, 11 and note. Fear-helm: the term “ægis-hjalmr,” found here and in Fafnismol, raises a particularly interesting and still debated question of etymology. Gram: according to the Volsungasaga, Regin forged this sword from the pieces of the sword Othin gave to Sigmund (see Fra Dautha Sinfjotla and note).

15. Regarding the sons of Hunding and Eylimi, father of Sigurth’s mother, all of whom belong to the Helgi tradition, cf. Fra Dautha Sinfjotla and note.

__A_TAG_PLACEHOLDER_0__. About the sons of Hunding and Eylimi, who is the father of Sigurth’s mother, all of whom are part of the Helgi tradition, see Fra Dautha Sinfjotla and note.

Prose. The fleet, and the subsequent storm, are also reminiscent [366]of the Helgi cycle; cf. Helgakvitha Hundingsbana I, 29–31, and II, prose after stanza 16. A man: Othin.

Prose. The fleet and the storm that followed also bring to mind [__A_TAG_PLACEHOLDER_0__] the Helgi cycle; see Helgakvitha Hundingsbana I, 29–31, and II, prose after stanza 16. A man: Othin.

16. Rævil’s steeds (Rævil was a sea-king, possibly the grandson of Ragnar Lothbrok mentioned in the Hervararsaga), sail-horses and sea-steeds all mean “ships.”

__A_TAG_PLACEHOLDER_0__. Rævil’s steeds (Rævil was a sea king, probably the grandson of Ragnar Lothbrok mentioned in the Hervararsaga), sail-horses, and sea-steeds all refer to “ships.”

17. Sea-trees and roller-steeds (the latter because ships were pulled up on shore by means of rollers) both mean “ships.”

__A_TAG_PLACEHOLDER_0__. Sea-trees and roller-steeds (the second term because ships were hauled onto the shore using rollers) both refer to "ships."

18. The Volsungasaga quotes this stanza. Hnikar and Fjolnir: Othin gives himself both these names in Grimnismol, 47; Feng (“The Seizer”) does not appear elsewhere. According to the Volsungasaga, no one knew Othin’s name when he came to Volsung’s house and left the sword there for Sigmund. [367]

__A_TAG_PLACEHOLDER_0__. The Volsungasaga quotes this stanza. Hnikar and Fjolnir: Othin uses both these names in Grimnismol, 47; Feng (“The Seizer”) is not mentioned anywhere else. According to the Volsungasaga, no one recognized Othin’s name when he visited Volsung’s house and left the sword there for Sigmund. [__A_TAG_PLACEHOLDER_0__]

19. This and the following stanzas are strongly suggestive of the Hovamol, and probably came originally from some such collection.

__A_TAG_PLACEHOLDER_0__. This and the following stanzas strongly resemble the Hovamol and likely originated from a similar collection.

23. This stanza is clearly an interpolation, drawn in by the [368]common-sense advice, as distinct from omens, given in the last lines of stanza 22. Moon’s sister: the sun; cf. Vafthruthnismol, 23 and note. Wedge-like: the wedge formation (prescribed anew in 1920 for the United States Army under certain circumstances) was said to have been invented by Othin himself, and taught by him only to the most favored warriors.

__A_TAG_PLACEHOLDER_0__. This stanza is definitely an addition, influenced by the [__A_TAG_PLACEHOLDER_0__]common-sense advice, as opposed to omens, mentioned in the last lines of stanza 22. Moon’s sister: the sun; see Vafthruthnismol, 23 and note. Wedge-like: the wedge formation (reintroduced in 1920 for the United States Army under specific conditions) was said to have been invented by Othin himself and taught only to the most elite warriors.

24. Goddesses: Norse mythology included an almost limitless number of minor deities, the female ones, both kind and unkind, being generally classed among the lesser Norns.

__A_TAG_PLACEHOLDER_0__. Goddesses: Norse mythology featured a vast array of minor deities, with the female ones, both benevolent and malevolent, typically categorized as lesser Norns.

25. This stanza almost certainly had nothing originally to do with the others in this passage; it may have been taken from a longer version of the Hovamol itself.

__A_TAG_PLACEHOLDER_0__. This stanza probably wasn’t originally connected to the others in this passage; it might have been taken from a longer version of the Hovamol itself.

Prose. Lyngvi: the son of Hunding who killed Sigmund in jealousy of his marriage with Hjordis; cf. Fra Dautha Sinfjotla and note. The Volsungasaga names one brother who was with Lyngvi in the battle, Hjorvarth, and Sigurth kills him as readily as if he had not already been killed long before by Helgi. But, as has been seen, it was nothing for a man to be killed in two or three different ways. [369]

Prose. Lyngvi: the son of Hunding who killed Sigmund out of jealousy over his marriage to Hjordis; cf. Fra Dautha Sinfjotla and note. The Volsungasaga mentions a brother who was with Lyngvi in the battle, Hjorvarth, and Sigurth kills him just as easily as if he hadn't already been killed long before by Helgi. However, as has been noted, it was not unusual for a man to be killed in two or three different ways. [__A_TAG_PLACEHOLDER_0__]

26. Bloody eagle, etc.: the Nornageststhattr describes the manner in which the captured Lyngvi was put to death. “Regin advised that they should carve the bloody eagle on his back. So Regin took his sword and cleft Lyngvi’s back so that he severed his back from his ribs, and then drew out his lungs. So died Lyngvi with great courage.”

__A_TAG_PLACEHOLDER_0__. Bloody eagle, etc.: the Nornageststhattr details how the captured Lyngvi was executed. “Regin suggested they should carve the bloody eagle on his back. So Regin took his sword and cut into Lyngvi’s back, slicing it away from his ribs, and then pulled out his lungs. So died Lyngvi with great bravery.”

Prose. In Regius there is no break of any kind between this prose passage and the prose introduction to the Fafnismol (cf. Introductory Note). [370]

Prose. In Regius, there’s a seamless flow between this prose section and the prose introduction to the Fafnismol (see Introductory Note). [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

FAFNISMOL

The Ballad of Fafnir

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The so-called Fafnismol, contained in full in the Codex Regius, where it immediately follows the Reginsmol without any indication of a break, is quoted by Snorri in the Gylfaginning (stanza 13) and the Skaldskaparmal (stanzas 32 and 33), and stanzas 6, 3, and 4 appear in the Sverrissaga. Although the Volsungasaga does not actually quote any of the stanzas, it gives a very close prose parallel to the whole poem in chapters 18 and 19.

The so-called Fafnismol, found in full in the Codex Regius, where it immediately follows the Reginsmol without any indication of a break, is referenced by Snorri in the Gylfaginning (stanza 13) and the Skaldskaparmal (stanzas 32 and 33), with stanzas 6, 3, and 4 appearing in the Sverrissaga. Although the Volsungasaga doesn’t actually quote any of the stanzas, it provides a very close prose equivalent to the entire poem in chapters 18 and 19.

The general character of the Fafnismol, and its probable relation to the Reginsmol and the Sigrdrifumol, have been discussed in the introductory note to the Reginsmol. While it is far more nearly a unit than the Reginsmol, it shows many of the same characteristics. It has the same mixture of stanza forms, although in this case only nine stanzas (32–33, 35–36 and 40–44) vary from the normal Ljothahattr measure. It shows, though to a much less marked extent, the same tendency to introduce passages from extraneous sources, such as the question-and-answer passage in stanzas 11–15. At the same time, in this instance it is quite clear that one distinct poem, including probably stanzas 1–10, 16–23, 25–31, and 34–39, underlay the compilation which we here have. This may, perhaps, have been a long poem (not, however, the “Long” Sigurth Lay; see introductory note to Brot af Sigurtharkvithu) dealing with the Regin-Fafnir-Sigurth-Brynhild story, and including, besides most of the Fafnismol, stanzas 1–4 and 6–11 of the Reginsmol and part of the so-called Sigrdrifumol, together with much that has been lost. The original poem may, on the other hand, have confined itself to the Fafnir episode.

The overall character of the Fafnismol and its likely connection to the Reginsmol and the Sigrdrifumol have been covered in the introductory note to the Reginsmol. While it’s much more cohesive than the Reginsmol, it shares many of the same traits. It features a mix of stanza forms, although in this case, only nine stanzas (32–33, 35–36, and 40–44) deviate from the standard Ljothahattr measure. It also shows, though to a lesser extent, a tendency to include passages from other sources, such as the Q&A section in stanzas 11–15. At the same time, it’s clear that one distinct poem, likely consisting of stanzas 1–10, 16–23, 25–31, and 34–39, forms the basis of the compilation we have here. This may have been a long poem (not the “Long” Sigurth Lay; see introductory note to Brot af Sigurtharkvithu) that addresses the Regin-Fafnir-Sigurth-Brynhild story, containing, in addition to most of the Fafnismol, stanzas 1–4 and 6–11 of the Reginsmol and part of the so-called Sigrdrifumol, along with a lot that has been lost. The original poem may, on the other hand, have focused solely on the Fafnir episode.

In any case, and while the extant Fafnismol can be spoken of as a distinct poem far more justly than the Reginsmol, there is still no indication that the compiler regarded it as a poem by itself. His prose notes run on without a break, and the verses simply cover a dramatic episode in Sigurth’s early life. The fact that the work of compilation has been done more intelligently than in the case of the Reginsmol seems to have resulted chiefly from the compiler’s having been familiar with longer consecutive verse passages dealing with the Fafnir episode. [371]The Reginsmol is little more than a clumsy mosaic, but in the Fafnismol it is possible to distinguish between the main substance of the poem and the interpolations.

In any case, while the existing Fafnismol is more justly considered a distinct poem compared to the Reginsmol, there's still no sign that the compiler viewed it as a standalone piece. His prose notes flow continuously, and the verses merely depict a dramatic episode from Sigurth’s early life. The compiler seems to have done a more thoughtful job than with the Reginsmol, likely because he was familiar with longer, connected verses about the Fafnir episode. [__A_TAG_PLACEHOLDER_0__]The Reginsmol is just a clumsy mix, but in the Fafnismol, you can identify the core substance of the poem alongside the added parts.

Here, as in the Reginsmol, there is very little that bespeaks the German origin of the Sigurth story. Sigurth’s winning of the treasure is in itself undoubtedly a part of the earlier southern legend, but the manner in which he does it is thoroughly Norse. Moreover, the concluding section, which points toward the finding of the sleeping Brynhild, relates entirely to the northern Valkyrie, the warrior-maiden punished by Othin, and not at all to the southern Brynhild the daughter of Buthli. The Fafnismol is, however, sharply distinguished from the Reginsmol by showing no clear traces of the Helgi tradition, although a part of the bird song (stanzas 40–44, in Fornyrthislag form, as distinct from the body of the poem) sounds suspiciously like the bird passage in the beginning of the Helgakvitha Hjorvarthssonar. Regarding the general relations of the various sets of traditions in shaping the story of Sigurth, see the introductory note to Gripisspo.

Here, as in the Reginsmol, there’s very little that indicates the German origin of the Sigurth story. Sigurth’s acquisition of the treasure is definitely a part of the earlier southern legend, but the way he goes about it is completely Norse. Additionally, the concluding section, which leads to the discovery of the sleeping Brynhild, is entirely related to the northern Valkyrie, the warrior-maiden punished by Othin, and not at all to the southern Brynhild, the daughter of Buthli. The Fafnismol is, however, clearly distinct from the Reginsmol as it shows no obvious traces of the Helgi tradition, although part of the bird song (stanzas 40–44, in Fornyrthislag form, as opposed to the main body of the poem) sounds suspiciously like the bird section at the beginning of the Helgakvitha Hjorvarthssonar. For more on the overall connections of the different traditions in shaping the story of Sigurth, see the introductory note to Gripisspo.

The Fafnismol, together with a part of the Sigrdrifumol, has indirectly become the best known of all the Eddic poems, for the reason that Wagner used it, with remarkably little change of outline, as the basis for his “Siegfried.”

The Fafnismol, along with part of the Sigrdrifumol, has indirectly become the most famous of all the Eddic poems because Wagner used it, with very few changes in structure, as the foundation for his “Siegfried.”

[__A_TAG_PLACEHOLDER_0__]

Sigurth and Regin went up to the Gnitaheith, and found there the track that Fafnir made when he crawled to water. Then Sigurth made a great trench across the path, and took his place therein. When Fafnir crawled from his gold, he blew out venom, and it ran down from above on Sigurth’s head. But when Fafnir crawled over the trench, then Sigurth thrust his sword into his body [372]to the heart. Fafnir writhed and struck out with his head and tail. Sigurth leaped from the trench, and each looked at the other. Fafnir said:

Sigurth and Regin climbed up to Gnitaheith and found the trail that Fafnir left when he crawled to get water. Sigurth then dug a deep trench across the path and took his position in it. When Fafnir crawled away from his gold, he exhaled venom, which dripped down onto Sigurth’s head. But when Fafnir passed over the trench, Sigurth drove his sword into his body, piercing his heart. Fafnir thrashed around, striking out with his head and tail. Sigurth jumped out of the trench, and they locked eyes. Fafnir said:

1. “Youth, oh, youth!   |   of whom then, youth, art thou born?

__A_TAG_PLACEHOLDER_0__. “Youth, oh, youth! | who, then, youth, are you from?”

Say whose son thou art,

Say whose son you are,

Who in Fafnir’s blood   |   thy bright blade reddened,

Who in Fafnir’s blood | your bright blade stained,

And struck thy sword to my heart.”

And drove your sword into my heart.”

Sigurth concealed his name because it was believed in olden times that the word of a dying man might have great power if he cursed his foe by his name. He said:

Sigurth kept his name a secret because people used to believe that a dying person's words could hold significant power, especially if they cursed their enemy using their name. He said:

2. “The Noble Hart   |   my name, and I go

2. “The Noble Heart | my name, and I go

A motherless man abroad;

A man without a mother abroad;

Father I had not,   |   as others have,

Father I had not,   |   as others have,

And lonely ever I live.”

"And I live forever lonely."

[373]

[__A_TAG_PLACEHOLDER_0__]

Fafnir spake:

Fafnir said:

3. “If father thou hadst not,   |   as others have,

__A_TAG_PLACEHOLDER_0__. “If you didn’t have a father, | like others do,

By what wonder wast thou born?

By what miracle were you born?

(Though thy name on the day   |   of my death thou hidest,

(Though your name on the day   |   of my death you hide,

Thou knowest now thou dost lie.)”

Thou knowest now thou art lying.)”

Sigurth spake:

Sigurth said:

4. “My race, methinks,   |   is unknown to thee,

__A_TAG_PLACEHOLDER_0__. “I believe my background is unfamiliar to you,

And so am I myself;

So am I;

Sigurth my name,   |   and Sigmund’s son,

Sigurth is my name, | and I am Sigmund's son,

Who smote thee thus with the sword.”

Who hit you like that with the sword?

Fafnir spake:

Fafnir spoke:

5. “Who drove thee on?   |   why wert thou driven

__A_TAG_PLACEHOLDER_0__. “Who pushed you forward?   |   why were you compelled

My life to make me lose?

My life to make me lose?

A father brave   |   had the bright-eyed youth,

A brave father had the bright-eyed young man,

For bold in boyhood thou art.”

For you are bold in your youth.

Sigurth spake:

Sigurth said:

6. “My heart did drive me,   |   my hand fulfilled,

6. “My heart pushed me,   |   my hand carried it out,

And my shining sword so sharp;

And my sparkling sword so sharp;

Few are keen   |   when old age comes,

Few are eager when old age arrives,

Who timid in boyhood be.”

Who was shy as a kid.

[374]

[__A_TAG_PLACEHOLDER_0__]

Fafnir spake:

Fafnir said:

7. “If thou mightest grow   |   thy friends among,

__A_TAG_PLACEHOLDER_0__. “If you could make friends among,

One might see thee fiercely fight;

One might see you fiercely fight;

But bound thou art,   |   and in battle taken,

But you are bound, | and captured in battle,

And to fear are prisoners prone.”

And those who fear are like prisoners.

Sigurth spake:

Sigurth said:

8. “Thou blamest me, Fafnir,   |   that I see from afar

8. “You blame me, Fafnir,   |   for seeing from a distance

The wealth that my father’s was;

The wealth that my father had;

Not bound am I,   |   though in battle taken,

Not bound am I,   |   though captured in battle,

Thou hast found that free I live.”

You have found that I live freely.

Fafnir spake:

Fafnir spoke:

9. “In all I say   |   dost thou hatred see,

9. “In everything I say   |   do you see hatred,

Yet truth alone do I tell;

Yet I speak only the truth;

The sounding gold,   |   the glow-red wealth,

The ringing gold,   |   the bright red riches,

And the rings thy bane shall be.”

And the rings will be your downfall.”

Sigurth spake:

Sigurth said:

10. “Some one the hoard   |   shall ever hold,

10 “Someone will always keep the treasure,

Till the destined day shall come;

Until the destined day comes;

For a time there is   |   when every man

For a while, there is   |   when every man

Shall journey hence to hell.”

"Let's journey to hell."

Fafnir spake:

Fafnir spoke:

11. “The fate of the Norns   |   before the headland [375]

__A_TAG_PLACEHOLDER_0__. “The destiny of the Norns   |   at the cliffside [__A_TAG_PLACEHOLDER_0__]

Thou findest, and doom of a fool;

Thou findest, and doom of a fool;

In the water shalt drown   |   if thou row ’gainst the wind,

In the water, you'll drown if you row against the wind.

All danger is near to death.”

All danger is close to death.

Sigurth spake:

Sigurth said:

12. “Tell me then, Fafnir,   |   for wise thou art famed,

__A_TAG_PLACEHOLDER_0__. “So, tell me, Fafnir,   |   because you’re known for your wisdom,

And much thou knowest now:

And you know a lot now:

Who are the Norns   |   who are helpful in need,

Who are the Norns | who are helpful in times of need,

And the babe from the mother bring?”

And what does the baby bring from the mother?

Fafnir spake:

Fafnir spoke:

13. “Of many births   |   the Norns must be,

__A_TAG_PLACEHOLDER_0__. “The Norns must have many origins,

Nor one in race they were;

Nor were they the same in race;

Some to gods, others   |   to elves are kin,

Some are related to gods, others to elves,

And Dvalin’s daughters some.”

And Dvalin's daughters too.

Sigurth spake:

Sigurth said:

14. “Tell me then, Fafnir,   |   for wise thou art famed,

__A_TAG_PLACEHOLDER_0__. “So, tell me, Fafnir,   |   because you're known for your wisdom,

And much thou knowest now: [376]

And you know a lot now: [__A_TAG_PLACEHOLDER_0__]

How call they the isle   |   where all the gods

How do they call the island | where all the gods

And Surt shall sword-sweat mingle?”

And Surt shall blood mix?

Fafnir spake:

Fafnir said:

15. “Oskopnir is it,   |   where all the gods

__A_TAG_PLACEHOLDER_0__. “Is it Oskopnir,   |   where all the gods

Shall seek the play of swords;

Shall look for the clash of swords;

Bilrost breaks   |   when they cross the bridge,

Bilrost breaks   |   when they cross the bridge,

And the steeds shall swim in the flood.

And the horses will swim in the flood.

16. “The fear-helm I wore   |   to afright mankind,

__A_TAG_PLACEHOLDER_0__. “The fear-helmet I wore   |   to scare people,

While guarding my gold I lay;

While I was guarding my gold, I lay;

Mightier seemed I   |   than any man,

Mightier did I seem   |   than any man,

For a fiercer never I found.”

For I never found a fiercer one.

Sigurth spake:

Sigurth said:

17. “The fear-helm surely   |   no man shields

17. “The fear-helm surely | no man shields

When he faces a valiant foe;

When he confronts a brave opponent;

Oft one finds,   |   when the foe he meets,

Oftentimes, one finds,   |   when he meets the enemy,

That he is not the bravest of all.”

That he isn't the bravest of all.

Fafnir spake:

Fafnir said:

18. “Venom I breathed   |   when bright I lay

__A_TAG_PLACEHOLDER_0__. “I breathed poison | when I was bright and exposed”

By the hoard my father had; [377]

By the treasure my father had; [__A_TAG_PLACEHOLDER_0__]

(There was none so mighty   |   as dared to meet me,

(There was no one as powerful | who dared to face me,

And weapons nor wiles I feared.)”

And I wasn't afraid of weapons or tricks.)”

Sigurth spake:

Sigurth said:

19. “Glittering worm,   |   thy hissing was great,

19. “Shiny worm, | your hissing was intense,

And hard didst show thy heart;

And you showed your heart so strongly;

But hatred more   |   have the sons of men

But hatred more have the sons of men

For him who owns the helm.”

For the one who controls the steering wheel.”

Fafnir spake:

Fafnir said:

20. “I counsel thee, Sigurth,   |   heed my speech,

__A_TAG_PLACEHOLDER_0__. “I advise you, Sigurth,   |   pay attention to what I’m saying,

And ride thou homeward hence;

And ride home now;

The sounding gold,   |   the glow-red wealth,

The ringing gold,   |   the glowing red wealth,

And the rings thy bane shall be.”

And the rings will be your downfall.”

Sigurth spake:

Sigurth said:

21. “Thy counsel is given,   |   but go I shall

21. “Your advice is noted,   |   but I will go

To the gold in the heather hidden;

To the gold hidden in the heather;

And, Fafnir, thou   |   with death dost fight,

And, Fafnir, you   |   fight against death,

Lying where Hel shall have thee.”

Lying where Hell will have you.

Fafnir spake:

Fafnir said:

22. “Regin betrayed me,   |   and thee will betray,

__A_TAG_PLACEHOLDER_0__. “Regin betrayed me,   |   and he will betray you,

Us both to death will he bring; [378]

Us both to death will he bring; [__A_TAG_PLACEHOLDER_0__]

His life, methinks,   |   must Fafnir lose,

His life, I think, must Fafnir lose,

For the mightier man wast thou.”

For you were the stronger man.

Regin had gone to a distance while Sigurth fought Fafnir, and came back while Sigurth was wiping the blood from his sword. Regin said:

Regin had stepped away while Sigurth battled Fafnir and returned just as Sigurth was cleaning the blood off his sword. Regin said:

23. “Hail to thee, Sigurth!   |   Thou victory hast,

“Hey, Sigurth! You won,

And Fafnir in fight hast slain;

And you have slain Fafnir in battle;

Of all the men   |   who tread the earth,

Of all the men who walk the earth,

Most fearless art thou, methinks.”

"You're so fearless, I think."

Sigurth spake:

Sigurth said:

24. “Unknown it is,   |   when all are together,

__A_TAG_PLACEHOLDER_0__. “It's unknown,   |   when everyone is together,

(The sons of the glorious gods,)

(The sons of the glorious gods,)

Who bravest born shall seem;

Whoever seems the bravest;

Some are valiant   |   who redden no sword

Some are brave | who never stain a sword

In the blood of a foeman’s breast.”

In the blood of an enemy's chest.”

Regin spake:

Regin said

25. “Glad art thou, Sigurth,   |   of battle gained,

__A_TAG_PLACEHOLDER_0__. “You’re happy, Sigurth,   |   about the victory in battle,

As Gram with grass thou cleansest;

While you clean with grass;

My brother fierce   |   in fight hast slain,

My brother, fierce in battle, has killed,

And somewhat I did myself.”

And kind of I did myself.”

[379]

[__A_TAG_PLACEHOLDER_0__]

Sigurth spake:

Sigurth said:

26. “Afar didst thou go   |   while Fafnir reddened

__A_TAG_PLACEHOLDER_0__. “You went far away   |   while Fafnir turned red

With his blood my blade so keen;

With his blood, my blade is so sharp;

With the might of the dragon   |   my strength I matched,

With the power of the dragon | my strength I matched,

While thou in the heather didst hide.”

While you hid in the heather.

Regin spake:

Regin said

27. “Longer wouldst thou   |   in the heather have let

27. “You would have stayed longer in the heather”

Yon hoary giant hide,

Old giant's hide,

Had the weapon availed not   |   that once I forged,

Had the weapon not been useful that once I made,

The keen-edged blade thou didst bear.”

The sharp knife you carried.

Sigurth spake:

Sigurth said:

28. “Better is heart   |   than a mighty blade

__A_TAG_PLACEHOLDER_0__. “A strong heart is better than a powerful sword.

For him who shall fiercely fight;

For those who will fight fiercely;

The brave man well   |   shall fight and win,

The brave man will fight and win,

Though dull his blade may be.

Though his blade may be dull.

29. “Brave men better   |   than cowards be,

29. “Brave men are better than cowards,

When the clash of battle comes;

When the fight starts;

And better the glad   |   than the gloomy man

And better the happy   |   than the sad man

Shall face what before him lies.

Will face what’s ahead.

30. “Thy rede it was   |   that I should ride [380]

__A_TAG_PLACEHOLDER_0__. “It was your advice that I should ride [__A_TAG_PLACEHOLDER_0__]

Hither o’er mountains high;

Over high mountains;

The glittering worm   |   would have wealth and life

The glittering worm   |   would have wealth and life

If thou hadst not mocked at my might.”

If you hadn't mocked my strength.

Then Regin went up to Fafnir and cut out his heart with his sword, that was named Rithil, and then he drank blood from the wounds. Regin said:

Then Regin approached Fafnir and cut out his heart with his sword, named Rithil, and then he drank blood from the wounds. Regin said:

31. “Sit now, Sigurth,   |   for sleep will I,

31. “Sit down now, Sigurth, | for I will sleep,

Hold Fafnir’s heart to the fire;

Hold Fafnir's heart to the fire;

For all his heart   |   shall eaten be,

For all his heart shall be consumed,

Since deep of blood I have drunk.”

Since I've drunk deeply of blood.

Sigurth took Fafnir’s heart and cooked it on a spit. When he thought that it was fully cooked, and the blood foamed out of the heart, then he tried it with his finger to see whether it was fully cooked. He burned his finger, and put it in his mouth. But when Fafnir’s heart’s-blood came on his tongue, he understood the speech of birds. He heard nut-hatches chattering in the thickets. A nut-hatch said:

Sigurth took Fafnir’s heart and roasted it on a spit. When he thought it was fully cooked and the blood started to foam out, he checked it with his finger to see if it was done. He burned his finger and put it in his mouth. But when Fafnir’s blood touched his tongue, he understood the speech of birds. He heard nut-hatches chirping in the bushes. One nut-hatch said:

32. “There sits Sigurth,   |   sprinkled with blood,

__A_TAG_PLACEHOLDER_0__. “There sits Sigurth, | covered in blood,

And Fafnir’s heart   |   with fire he cooks; [381]

And Fafnir’s heart   |   he cooks with fire; [__A_TAG_PLACEHOLDER_0__]

Wise were the breaker   |   of rings, I ween,

Wise were the ring-breakers, I believe,

To eat the life-muscles   |   all so bright.”

To eat the life-muscles   |   all so bright.”

A second spake:

A second spoke:

33. “There Regin lies,   |   and plans he lays

33. “There Regin is,   |   and he’s making his plans”

The youth to betray   |   who trusts him well;

The young person who betrays someone that trusts them completely;

Lying words   |   with wiles will he speak,

Lying words | he will speak with tricks,

Till his brother the maker   |   of mischief avenges.”

Till his brother, the troublemaker, gets revenge.”

A third spake:

A third speaker said:

34. “Less by a head   |   let the chatterer hoary

__A_TAG_PLACEHOLDER_0__. “Fewer by a head | let the old gossip

Go from here to hell;

Go to hell;

Then all of the wealth   |   he alone can wield,

Then all the wealth he alone can control,

The gold that Fafnir guarded.”

The gold Fafnir guarded.

A fourth spake:

A fourth spoke:

35. “Wise would he seem   |   if so he would heed

__A_TAG_PLACEHOLDER_0__. “He would seem wise if he would pay attention

The counsel good   |   we sisters give; [382]

The good advice we sisters give; [__A_TAG_PLACEHOLDER_0__]

Thought he would give,   |   and the ravens gladden,

Thought he would give,   |   and the ravens gladden,

There is ever a wolf   |   where his ears I spy.”

There’s always a wolf   |   wherever I see his ears.”

A fifth spake:

A fifth spoke

36. “Less wise must be   |   the tree of battle

__A_TAG_PLACEHOLDER_0__. “The tree of battle must be less wise.”

Than to me would seem   |   the leader of men,

Than to me would seem the leader of people,

If forth he lets   |   one brother fare,

If he lets one brother go,

When he of the other   |   the slayer is.”

When he is the other, the slayer is.

A sixth spake:

A sixth spoke:

37. “Most foolish he seems   |   if he shall spare

__A_TAG_PLACEHOLDER_0__. “He looks really foolish if he chooses to spare

His foe, the bane of the folk;

His enemy, the scourge of the people;

There Regin lies,   |   who hath wronged him so,

There lies Regin, | who has wronged him so,

Yet falsehood knows he not.”

Yet he knows not falsehood.

A seventh spake:

A seventh said

38. “Let the head from the frost-cold   |   giant be hewed,

__A_TAG_PLACEHOLDER_0__. “Let the head of the frost-cold giant be cut off,

And let him of rings be robbed;

And let him be stripped of his rings;

Then all the wealth   |   which Fafnir’s was

Then all the wealth | which Fafnir had

Shall belong to thee alone.”

"Shall belong to you alone."

Sigurth spake:

Sigurth said:

39. “Not so rich a fate   |   shall Regin have [383]

39. “Regin won’t have such a fortunate outcome   |   [__A_TAG_PLACEHOLDER_0__]

As the tale of my death to tell;

As the story of my death to share;

For soon the brothers   |   both shall die,

For soon the brothers will both die,

And hence to hell shall go.”

And so shall they go to hell.”

Sigurth hewed off Regin’s head, and then he ate Fafnir’s heart, and drank the blood of both Regin and Fafnir. Then Sigurth heard what the nut-hatch said:

Sigurth chopped off Regin’s head, then he ate Fafnir’s heart and drank the blood of both Regin and Fafnir. After that, Sigurth heard what the nut-hatch said:

40. “Bind, Sigurth, the golden   |   rings together,

__A_TAG_PLACEHOLDER_0__. “Tie the golden rings together, Sigurth,

Not kingly is it   |   aught to fear;

Not kingly is it | to fear anything;

I know a maid,   |   there is none so fair,

I know a maid,   |   there is none so beautiful,

Rich in gold,   |   if thou mightest get her.

Rich in gold,   |   if you could get her.

41. “Green the paths   |   that to Gjuki lead, [384]

__A_TAG_PLACEHOLDER_0__. “Lush are the paths   |   that lead to Gjuki, [__A_TAG_PLACEHOLDER_0__]

And his fate the way   |   to the wanderer shows;

And his fate shows the way to the wanderer;

The doughty king   |   a daughter has,

The brave king has a daughter,

That thou as a bride   |   mayst, Sigurth, buy.”

That you, as a bride, may buy, Sigurth.

Another spake:

Another said

42. “A hall stands high   |   on Hindarfjoll,

__A_TAG_PLACEHOLDER_0__. “A great hall stands tall on Hindarfjoll,

All with flame   |   is it ringed without;

All with flame   |   is it surrounded on the outside;

Warriors wise   |   did make it once

Warriors wise | did make it once

Out of the flaming   |   light of the flood.

Out of the blazing light of the flood.

43. “On the mountain sleeps   |   a battle-maid,

__A_TAG_PLACEHOLDER_0__. “On the mountain rests  |   a warrior woman,

And about her plays   |   the bane of the wood;

And about her plays   |   the curse of the forest;

Ygg with the thorn   |   hath smitten her thus,

Ygg with the thorn   |   has struck her like this,

For she felled the fighter   |   he fain would save.

For she brought down the fighter   |   he desperately wanted to save.

44. “There mayst thou behold   |   the maiden helmed,

__A_TAG_PLACEHOLDER_0__. “There you can see   |   the girl in armor,

Who forth on Vingskornir   |   rode from the fight;

Who rode away from the fight on Vingskornir;

The victory-bringer   |   her sleep shall break not,

The victory-bringer   |   her sleep shall not be disturbed,

Thou heroes’ son,   |   so the Norns have set.”

Thou heroes’ son,   |   so the Norns have decided.

[385]

[__A_TAG_PLACEHOLDER_0__]

Sigurth rode along Fafnir’s trail to his lair, and found it open. The gate-posts were of iron, and the gates; of iron, too, were all the beams in the house, which was dug down into the earth. There Sigurth found a mighty store of gold, and he filled two chests full thereof; he took the fear-helm and a golden mail-coat and the sword Hrotti, and many other precious things, and loaded Grani with them, but the horse would not go forward until Sigurth mounted on his back. [370]

Sigurth rode along Fafnir’s path to his lair and found the entrance open. The gateposts were made of iron, and the gates, as well as all the beams in the house, were also iron and dug into the ground. There, Sigurth discovered a huge stash of gold, filling two chests with it; he took the fear-helm, a golden mail coat, the sword Hrotti, and many other valuable items, loading them onto Grani, but the horse wouldn’t move forward until Sigurth climbed onto its back. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[371]

[__A_TAG_PLACEHOLDER_0__]

Prose. The prose follows the concluding prose passage of the Reginsmol without any interruption; the heading “Of Fafnir’s Death” is written in the manuscript very faintly just before stanza 1. Gnitaheith: cf. Gripisspo, 11 and note. Fafnir: Regin’s brother: cf. Reginsmol, prose after stanza 14. Venom: in the Volsungasaga [372]it was the blood, and not the venom, that poured down on Sigurth’s head. Sigurth was much worried about this danger, and before he dug the trench asked Regin what would happen if the dragon’s blood overcame him. Regin thereupon taunted him with cowardice (Sigurth refers to this taunt in stanza 30, but the stanza embodying it has disappeared). After Sigurth had dug his trench, an old man (Othin, of course) appeared and advised him to dig other trenches to carry off the blood, which he did, thereby escaping harm.

Prose. The text continues from the last prose section of the Reginsmol without any breaks; the title “Of Fafnir’s Death” is slightly faded in the manuscript just before stanza 1. Gnitaheith: see Gripisspo, 11 and note. Fafnir: Regin’s brother: see Reginsmol, prose after stanza 14. Venom: in the Volsungasaga [__A_TAG_PLACEHOLDER_0__] it was the blood, not the venom, that flowed over Sigurth’s head. Sigurth was really concerned about this danger, and before he dug the trench, he asked Regin what would happen if the dragon’s blood engulfed him. Regin then mocked him for being a coward (Sigurth mentions this insult in stanza 30, but the stanza that contains it has been lost). After Sigurth had dug his trench, an old man (Othin, of course) showed up and suggested he dig additional trenches to channel away the blood, which he did, thereby avoiding any harm.

1. The first line in the original, as here, is unusually long, but dramatically very effective on that account.

__A_TAG_PLACEHOLDER_0__. The first line in the original, like this one, is really long, but it’s very impactful because of that.

3. The names of the speakers do not appear in the manuscript, though they seem originally to have been indicated in the [373]margin for stanzas 3–30. The last two lines of stanza 3 are missing in the manuscript, with no gap indicated, but the Volsungasaga prose paraphrase indicates that something was omitted, and the lines here given are conjecturally reconstructed from this paraphrase.

__A_TAG_PLACEHOLDER_0__. The names of the speakers aren’t listed in the manuscript, but they seem to have been marked in the [__A_TAG_PLACEHOLDER_0__]margin for stanzas 3–30. The last two lines of stanza 3 are missing from the manuscript, without any indication of a gap, but the Volsungasaga prose paraphrase shows that something is missing, and the lines provided here are based on a conjectural reconstruction from this paraphrase.

4. The manuscript marks line 3 as the beginning of a stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza.

5. Line 4, utterly obscure in the manuscript, is guesswork. [374]

__A_TAG_PLACEHOLDER_0__. Line 4, completely unclear in the manuscript, is just a guess. [__A_TAG_PLACEHOLDER_0__]

7. Fafnir here refers to the fact that Hjordis, mother of the still unborn Sigurth, was captured by Alf after Sigmund’s death; cf. Fra Dautha Sinfjotla, note.

__A_TAG_PLACEHOLDER_0__. Fafnir refers to the fact that Hjordis, the mother of the unborn Sigurth, was taken by Alf after Sigmund’s death; see Fra Dautha Sinfjotla, note.

11. Stanzas 11–15 are probably interpolated, and come from [375]a poem similar to Vafthruthnismol. The headland: Fafnir is apparently quoting proverbs; this one seems to mean that disaster (“the fate of the Norns”) awaits when one rounds the first headland (i.e., at the beginning of life’s voyage, in youth). The third line is a commentary on obstinate rashness. The Volsungasaga paraphrases stanzas 11–15 throughout.

__A_TAG_PLACEHOLDER_0__. Stanzas 11–15 are likely added later and come from [__A_TAG_PLACEHOLDER_0__]a poem similar to Vafthruthnismol. The headland: Fafnir is evidently quoting proverbs; this one seems to imply that misfortune (“the fate of the Norns”) is ahead when one passes the first headland (i.e., at the start of life’s journey, in youth). The third line comments on stubborn recklessness. The Volsungasaga paraphrases stanzas 11–15 throughout.

12. Norns: cf. stanza 13 and note. Sigurth has no possible interest in knowing what Norns are helpful in childbirth, but interpolations were seldom logical.

__A_TAG_PLACEHOLDER_0__. Norns: see stanza 13 and note. Sigurth has no real interest in what Norns do to assist with childbirth, but added comments were rarely sensible.

13. Snorri quotes this stanza. There were minor Norns, or fates, in addition to the three great Norns, regarding whom cf. Voluspo, 20. Dvalin: chief of the dwarfs; cf. Voluspo, 14. [376]

__A_TAG_PLACEHOLDER_0__. Snorri quotes this stanza. Besides the three main Norns, there were also lesser Norns, or fates, which you can refer to in Voluspo, 20. Dvalin: the leader of the dwarfs; see Voluspo, 14. [__A_TAG_PLACEHOLDER_0__]

14. Surt: ruler of the fire world; the reference is to the last great battle. Sword-sweat: blood.

__A_TAG_PLACEHOLDER_0__. Surt: ruler of the fire world; this refers to the final major battle. Sword-sweat: blood.

15. Oskopnir (“Not-Made”): apparently another name for Vigrith, which is named in Vafthruthnismol, 18, as the final battle-ground. Bilrost (or Bifrost): the rainbow bridge which breaks beneath Surt’s followers; cf. Grimnismol, 29 and note.

__A_TAG_PLACEHOLDER_0__. Oskopnir (“Not-Made”): seems to be another name for Vigrith, mentioned in Vafthruthnismol, 18, as the ultimate battleground. Bilrost (or Bifrost): the rainbow bridge that collapses under Surt’s followers; see Grimnismol, 29 and the note.

16. With this stanza Fafnir returns to the situation. Fear-helm: regarding the “ægis-hjalmr” cf. Reginsmol, prose after stanza 14 and note. [377]

__A_TAG_PLACEHOLDER_0__. In this stanza, Fafnir goes back to the situation. Fear-helm: about the “ægis-hjalmr” see Reginsmol, prose after stanza 14 and note. [__A_TAG_PLACEHOLDER_0__]

18. Lines 3–4 do not appear in the manuscript, and no gap is indicated; they are here conjecturally paraphrased from the prose passage in the Volsungasaga.

__A_TAG_PLACEHOLDER_0__. Lines 3–4 are missing from the manuscript, and there’s no indication of a gap; they are paraphrased here based on the prose section in the Volsungasaga.

20. It has been suggested that this stanza is spurious, and that stanza 21 ought to follow stanza 22. Lines 3–4, abbreviated in the manuscript, are identical with lines 3–4 of stanza 9. The Volsungasaga paraphrase in place of these two lines makes [378]Fafnir say: “For it often happens that he who gets a deadly wound yet avenges himself.” It is quite likely that two stanzas have been lost.

__A_TAG_PLACEHOLDER_0__. Some have argued that this stanza isn’t authentic, and that stanza 21 should actually come after stanza 22. Lines 3–4, which are shortened in the manuscript, are the same as lines 3–4 of stanza 9. The Volsungasaga version in place of these two lines makes [__A_TAG_PLACEHOLDER_0__]Fafnir say: “It often happens that someone who gets a deadly wound still manages to take revenge.” It’s very likely that two stanzas are missing.

22. The Volsungasaga places its paraphrase of this stanza between those of stanzas 15 and 16.

__A_TAG_PLACEHOLDER_0__. The Volsungasaga puts its version of this stanza between stanzas 15 and 16.

24. Line 2 is probably spurious, but it is a phrase typical of such poems as Grimnismol or Vafthruthnismol.

__A_TAG_PLACEHOLDER_0__. Line 2 is likely a false addition, but it’s a phrase commonly found in poems like Grimnismol or Vafthruthnismol.

25. Gram: Sigurth’s sword; cf. Reginsmol, prose after 14. [379]

__A_TAG_PLACEHOLDER_0__. Gram: Sigurth’s sword; see Reginsmol, prose after 14. [__A_TAG_PLACEHOLDER_0__]

26. In the manuscript stanzas 26–29 stand after stanza 31, which fails to make clear sense; they are here rearranged in accordance with the Volsungasaga paraphrase.

__A_TAG_PLACEHOLDER_0__. In the manuscript, stanzas 26–29 come after stanza 31, which doesn't make complete sense; they are rearranged here according to the Volsungasaga paraphrase.

28–29. Almost certainly interpolated from some such poem as the Hovamol. Even the faithful Volsungasaga fails to paraphrase stanza 29. [380]

__A_TAG_PLACEHOLDER_0__. Almost certainly added from a poem like the Hovamol. Even the reliable Volsungasaga doesn't summarize stanza 29. [__A_TAG_PLACEHOLDER_0__]

30. Something has evidently been lost before this stanza. Sigurth clearly refers to Regin’s reproach when he was digging the trench (cf. note on introductory prose), but the poem does not give such a passage.

__A_TAG_PLACEHOLDER_0__. Clearly, something was lost before this stanza. Sigurth is obviously alluding to Regin's criticism when he was digging the trench (see note on introductory prose), but the poem doesn't provide that part.

Prose. Rithil (“Swift-Moving”): Snorri calls the sword Refil (“Serpent”).

Prose. Rithil (“Swift-Moving”): Snorri refers to the sword as Refil (“Serpent”).

32. That the birds’ stanzas come from more than one source [381]is fairly apparent, but whether from two or from three or more is uncertain. It is also far from clear how many birds are speaking. The manuscript numbers II, III, and IV in the margin with numerals; the Volsungasaga makes a different bird speak each time. There are almost as many guesses as there are editions. I suspect that in the original poem there was one bird, speaking stanzas 34 and 37. Stanza 38 is little more than a repetition of stanza 34, and may well have been a later addition. As for the stanzas in Fornyrthislag (32–33 and 35–36), they apparently come from another poem, in which several birds speak (cf. “we sisters” in stanza 35). This may be the same poem from which stanzas 40–44 were taken, as well as some of the Fornyrthislag stanzas in the Sigrdrifumol.

__A_TAG_PLACEHOLDER_0__. It's pretty clear that the birds’ lines come from more than one source [__A_TAG_PLACEHOLDER_0__], but we're unsure if it's two, three, or more. It's also not obvious how many birds are talking. The manuscript has II, III, and IV marked in the margin with numbers; the Volsungasaga has a different bird speak each time. There are almost as many theories as there are editions. I think that in the original poem, there was just one bird delivering stanzas 34 and 37. Stanza 38 is basically a repetition of stanza 34 and might have been added later. As for the stanzas in Fornyrthislag (32–33 and 35–36), they likely come from another poem that features several birds (see “we sisters” in stanza 35). This might also be the same poem that includes stanzas 40–44, along with some of the Fornyrthislag stanzas in the Sigrdrifumol.

34. Some editions turn this speech from the third person into the second, but the manuscript is clear enough. [382]

__A_TAG_PLACEHOLDER_0__. Some editions change this speech from third person to second person, but the manuscript is clear enough. [__A_TAG_PLACEHOLDER_0__]

35. Wolf, etc.: the phrase is nearly equivalent to “there must be fire where there is smoke.” The proverb appears elsewhere in Old Norse.

__A_TAG_PLACEHOLDER_0__. Wolf, etc.: the phrase is almost the same as saying “where there’s smoke, there’s fire.” The saying can be found in other Old Norse texts.

36. Tree of battle: warrior.

__A_TAG_PLACEHOLDER_0__. Battle tree: warrior.

37. Here, as in stanza 34, some editions turn the speech from the third person into the second.

__A_TAG_PLACEHOLDER_0__. Here, like in stanza 34, some versions change the speech from third person to second person.

38. Giant: Regin was certainly not a frost-giant, and the whole stanza looks like some copyist’s blundering reproduction of stanza 34. [383]

__A_TAG_PLACEHOLDER_0__. Giant: Regin was definitely not a frost giant, and the entire stanza seems like a mistake in how someone copied stanza 34. [__A_TAG_PLACEHOLDER_0__]

40. Neither the manuscript nor any of the editions suggest the existence of more than one bird in stanzas 40–44. It seems to me, however, that there are not only two birds, but two distinct stories. Stanzas 40–41 apply solely to Guthrun, and suggest that Sigurth will go straight to Gunnar’s hall. Stanzas 42–44, on the other hand, apply solely to Brynhild, and indicate that Sigurth will find her before he visits the Gjukungs. The confusion which existed between these two versions of the story, and which involved a fundamental difference in the final working out of Brynhild’s revenge, is commented on in the note on Gripisspo, 13. In the present passage it is possible that two birds are speaking, each reflecting one version of the story; it seems even more likely that one speech or the other (40–41 or 42–44) reflects the original form of the narrative, the other having been added, either later or from another poem. In the Volsungasaga the whole passage is condensed into a few words by one bird: “Wiser were it if he should then ride up on Hindarfjoll, where Brynhild sleeps, and there would he get much wisdom.” The Guthrun-bird does not appear at all.

__A_TAG_PLACEHOLDER_0__. Neither the manuscript nor any of the editions indicate that there is more than one bird in stanzas 40–44. However, it seems to me that there are not only two birds, but also two distinct stories. Stanzas 40–41 pertain solely to Guthrun and suggest that Sigurth will head straight to Gunnar’s hall. Stanzas 42–44, on the other hand, pertain only to Brynhild and indicate that Sigurth will encounter her before he visits the Gjukungs. The confusion that arose between these two versions of the story, which involved a significant difference in how Brynhild’s revenge ultimately plays out, is addressed in the note on Gripisspo, 13. In this passage, it’s possible that two birds are speaking, each representing one version of the story; it seems even more likely that one of the speeches (40–41 or 42–44) reflects the original form of the narrative, with the other having been added later or taken from another poem. In the Volsungasaga, the entire passage is summarized in a few words by one bird: “It would be wiser if he rode up to Hindarfjoll, where Brynhild sleeps, and there he would gain much wisdom.” The Guthrun-bird is not mentioned at all.

41. Gjuki: father of Gunnar and Guthrun: cf. Gripisspo, 13 and note. [384]

__A_TAG_PLACEHOLDER_0__. Gjuki: father of Gunnar and Guthrun: see Gripisspo, 13 and note. [__A_TAG_PLACEHOLDER_0__]

42. Hindarfjoll: “Mountain of the Hind.” Light of the flood: gold; cf. Reginsmol, 1 and note.

__A_TAG_PLACEHOLDER_0__. Hindarfjoll: “Mountain of the Hind.” Light of the flood: gold; cf. Reginsmol, 1 and note.

43. Battle-maid: Brynhild, here clearly defined as a Valkyrie. Bane of the wood: fire. Ygg: Othin; cf. Grimnismol, 53. The thorn: a prose note in Sigrdrifumol calls it “sleep-thorn.” The fighter: the story of the reason for Brynhild’s punishment is told in the prose following stanza 4 of Sigrdrifumol.

__A_TAG_PLACEHOLDER_0__. Battle-maid: Brynhild, clearly identified as a Valkyrie. Bane of the wood: fire. Ygg: Othin; cf. Grimnismol, 53. The thorn: a prose note in Sigrdrifumol refers to it as the “sleep-thorn.” The fighter: the reason behind Brynhild’s punishment is explained in the prose following stanza 4 of Sigrdrifumol.

44. Vingskornir: Brynhild’s horse, not elsewhere mentioned. Victory-bringer: the word thus translated is in the original “sigrdrifa.” The compiler of the collection, not being familiar with this word, assumed that it was a proper name, and in the prose following stanza 4 of the Sigrdrifumol he specifically states that this was the Valkyrie’s name. Editors, until recently, [385]have followed him in this error, failing to recognize that “sigrdrifa” was simply an epithet for Brynhild. It is from this blunder that the so-called Sigrdrifumol takes its name. Brynhild’s dual personality as a Valkyrie and as the daughter of Buthli has made plenty of trouble, but the addition of a second Valkyrie in the person of the supposed “Sigrdrifa” has made still more.

__A_TAG_PLACEHOLDER_0__. Vingskornir: Brynhild’s horse, not mentioned anywhere else. Victory-bringer: the term translated this way is originally “sigrdrifa.” The compiler of the collection, unfamiliar with this word, thought it was a proper name, and in the prose following stanza 4 of the Sigrdrifumol, he explicitly states this was the Valkyrie’s name. Editors, until recently, [__A_TAG_PLACEHOLDER_0__]have repeated this mistake, not realizing that “sigrdrifa” was simply a title for Brynhild. This misunderstanding is how the so-called Sigrdrifumol got its name. Brynhild’s dual identity as a Valkyrie and as the daughter of Buthli has caused a lot of confusion, but adding a second Valkyrie, in the form of the supposed “Sigrdrifa,” has caused even more.

Prose. There is no break in the manuscript between the end of this prose passage and the beginning of the one introducing the Sigrdrifumol: some editors include the entire prose passage with one poem or the other. Hrotti; “Thruster.” [386]

Prose. There is no gap in the manuscript between the end of this prose section and the start of the one introducing the Sigrdrifumol: some editors group the entire prose section with either poem. Hrotti; “Thruster.” [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

SIGRDRIFUMOL

The Ballad of The Victory-Bringer

[__A_TAG_PLACEHOLDER_0__]

Introduction

The so-called Sigrdrifumol, which immediately follows the Fafnismol in the Codex Regius without any indication of a break, and without separate title, is unquestionably the most chaotic of all the poems in the Eddic collection. The end of it has been entirely lost, for the fifth folio of eight sheets is missing from Regius, the gap coming after the first line of stanza 29 of this poem. That stanza has been completed, and eight more have been added, from much later paper manuscripts, but even so the conclusion of the poem is in obscurity.

The so-called Sigrdrifumol, which directly follows the Fafnismol in the Codex Regius with no sign of a break and no separate title, is definitely the most chaotic of all the poems in the Eddic collection. The ending has been completely lost, as the fifth folio of eight sheets is missing from Regius, with the gap occurring after the first line of stanza 29 of this poem. That stanza has been filled in, and eight more have been added from much later paper manuscripts, but even so, the conclusion of the poem remains unclear.

Properly speaking, however, the strange conglomeration of stanzas which the compiler of the collection has left for us, and which, in much the same general form, seems to have lain before the authors of the Volsungasaga, in which eighteen of its stanzas are quoted, is not a poem at all. Even its customary title is an absurd error. The mistake made by the annotator in thinking that the epithet “sigrdrifa,” rightly applied to Brynhild as a “bringer of victory,” was a proper name has already been explained and commented on (note on Fafnismol, 44). Even if the collection of stanzas were in any real sense a poem, which it emphatically is not, it is certainly not the “Ballad of Sigrdrifa” which it is commonly called. “Ballad of Brynhild” would be a sufficiently suitable title, and I have here brought the established name “Sigrdrifumol” into accord with this by translating the epithet instead of treating it as a proper name.

To be accurate, the odd mix of stanzas that the compiler left us, which appears to have been the same format seen by the authors of the Volsungasaga, where eighteen of these stanzas are quoted, isn't really a poem at all. The usual title is a total mistake. The annotator wrongly thought that the term “sigrdrifa,” correctly used for Brynhild as a “bringer of victory,” was a proper name. This error has already been discussed (note on Fafnismol, 44). Even if this collection of stanzas were genuinely a poem, which it clearly isn't, it certainly isn't what’s commonly referred to as the “Ballad of Sigrdrifa.” “Ballad of Brynhild” would be a more fitting title, and I’ve adjusted the established name “Sigrdrifumol” to match this by translating the term instead of treating it as a proper name.

Even apart from the title, however, the Sigrdrifumol has little claim to be regarded as a distinct poem, nor is there any indication that the compiler did so regard it. Handicapped as we are by the loss of the concluding section, and of the material which followed it on those missing pages, we can yet see that the process which began with the prose Fra Dautha Sinfjotla, and which, interrupted by the insertion of the Gripisspo, went on through the Reginsmol and the Fafnismol, continued through as much of the Sigrdrifumol as is left to us. In other words, the compiler told the story of Sigurth in mixed prose and verse, using whatever verse he could find without much questioning as to its origin, and filling in the gaps with his own prose. Fra [387]Dautha Sinfjotla, Reginsmol, Fafnismol, and Sigrdrifumol are essentially a coherent unit, but one of the compiler’s making only; they represent neither one poem nor three distinct poems, and the divisions and titles which have been almost universally adopted by editors are both arbitrary and misleading.

Even aside from the title, the Sigrdrifumol barely qualifies as a separate poem, and there’s no sign that the compiler thought of it that way. Although we've lost the final section and the content that came after it on those missing pages, we can still see that the narrative that began with the prose Fra Dautha Sinfjotla, which was interrupted by the insertion of Gripisspo, continued through Reginsmol and Fafnismol, and carried on into the parts of Sigrdrifumol that we still have. In other words, the compiler recounted the story of Sigurth using a mix of prose and verse, grabbing whatever verse he could find without worrying much about where it came from, and filling in the gaps with his own prose. Fra [__A_TAG_PLACEHOLDER_0__]Dautha Sinfjotla, Reginsmol, Fafnismol, and Sigrdrifumol form a cohesive unit created by the compiler; they don't represent a single poem or three separate poems, and the divisions and titles that editors have largely accepted are both random and misleading.

The Sigrdrifumol section as we now have it is an extraordinary piece of patchwork. It is most unlikely that the compiler himself brought all these fragments together for the first time; little by little, through a process of accretion and also, unluckily, through one of elimination, the material grew into its present shape. Certainly the basis of it is a poem dealing with the finding of Brynhild by Sigurth, but of this original poem only five stanzas (2–4 and 20–21) can be identified with any degree of confidence. To these five stanzas should probably, however, be added some, if not all, of the passage (stanzas 6–12) in which Brynhild teaches Sigurth the magic runes. These stanzas of rune-lore attracted sundry similar passages from other sources, including stanza 5, in which a magic draught is administered (not necessarily by Brynhild or to Sigurth), the curious rune-chant in stanzas 15–17, and stanzas 13–14 and 18–19. Beginning with stanza 22, and running to the end of the fragment (stanza 37), is a set of numbered counsels closely resembling the Loddfafnismol (Hovamol, stanzas 111–138), which manifestly has nothing whatever to do with Brynhild. Even in this passage there are probably interpolations (stanzas 25, 27, 30, 34, and 36). Finally, and bespeaking the existence at some earlier time of another Sigurth-Brynhild poem, is stanza 1, sharply distinguished by its metrical form from stanzas 2–4 and 20–21. Many critics argue that stanzas 6–10 of Helreith Brynildar belonged originally to the same poem as stanza 1 of the Sigrdrifumol.

The Sigrdrifumol section as we have it today is an amazing mix of different pieces. It's very unlikely that the compiler put all these fragments together for the first time; gradually, through a process of accumulation and, unfortunately, also through some removal, the material took on its current form. The core of it is a poem about how Sigurth found Brynhild, but we can only confidently identify five stanzas (2–4 and 20–21) from this original poem. It seems that some, if not all, of the part (stanzas 6–12) where Brynhild teaches Sigurth the magic runes should probably be added to these five stanzas. These rune-related stanzas attracted various similar sections from other sources, including stanza 5, which involves a magic potion being given (not necessarily by Brynhild or to Sigurth), the interesting rune chant in stanzas 15–17, and stanzas 13–14 and 18–19. Starting from stanza 22 and continuing to the end of the fragment (stanza 37) is a list of numbered pieces of advice that closely resemble the Loddfafnismol (Hovamol, stanzas 111–138), which clearly has nothing to do with Brynhild at all. Even in this part, there are likely some additions (stanzas 25, 27, 30, 34, and 36). Lastly, stanza 1 indicates that there was an earlier version of a Sigurth-Brynhild poem, as it's noticeably different in metrical form from stanzas 2–4 and 20–21. Many critics believe that stanzas 6–10 of Helreith Brynildar were originally part of the same poem as stanza 1 of the Sigrdrifumol.

The Sigrdrifumol, then, must be regarded simply as a collection of fragments, most of them originally having no relation to the main subject. All of the story, the dialogue and the characterization are embodied in stanzas 1–4 and 20–21 and in the prose notes accompanying the first four stanzas; all of the rest might equally well (or better) be transferred to the Hovamol, where its character entitles it to a place. Yet stanzas 2–4 are as fine as anything in Old Norse poetry, and it is out of the scanty material of these three stanzas that Wagner constructed much of the third act of “Siegfried.” [388]

The Sigrdrifumol should be seen as a collection of fragments, most of which originally have no connection to the main topic. The entire story, including the dialogue and characterization, is found in stanzas 1–4 and 20–21, along with the prose notes that accompany the first four stanzas; the rest could just as easily (or perhaps better) be included in the Hovamol, where it fits better. However, stanzas 2–4 are among the best in Old Norse poetry, and much of the third act of “Siegfried” was created by Wagner from the limited material in these three stanzas. [__A_TAG_PLACEHOLDER_0__]

The Sigrdrifumol represents almost exclusively the contributions of the North to the Sigurth tradition (cf. introductory note to the Gripisspo). Brynhild, here disguised by the annotator as “Sigrdrifa,” appears simply as a battle-maid and supernatural dispenser of wisdom; there is no trace of the daughter of Buthli and the rival of Guthrun. There is, however, so little of the “poem” which can definitely be assigned to the Sigurth cycle that it is impossible to trace back any of the underlying narrative substance.

The Sigrdrifumol mostly showcases the input from the North into the Sigurth tradition (see introductory note to the Gripisspo). Brynhild, referred to here by the annotator as “Sigrdrifa,” appears simply as a warrior maiden and a supernatural source of wisdom; there’s no indication of her being the daughter of Buthli or the rival of Guthrun. However, there's so little of the “poem” that can clearly be linked to the Sigurth cycle that it's impossible to trace back any of the underlying narrative elements.

The nature and condition of the material have made editorial conjectures and emendations very numerous, and as most of the guesses are neither conclusive nor particularly important, only a few of them are mentioned in the notes.

The nature and condition of the material have led to many editorial guesses and corrections, and since most of these guesses are neither definitive nor especially significant, only a few are mentioned in the notes.

[__A_TAG_PLACEHOLDER_0__]

Sigurth rode up on Hindarfjoll and turned southward toward the land of the Franks. On the mountain he saw a great light, as if fire were burning, and the glow reached up to heaven. And when he came thither, there stood a tower of shields, and above it was a banner. Sigurth went into the shield-tower, and saw that a man lay there sleeping with all his war-weapons. First he took the helm from his head, and then he saw that it was a woman. The mail-coat was as fast as if it had grown to the flesh. Then he cut the mail-coat from the [389]head-opening downward, and out to both the arm-holes. Then he took the mail-coat from her, and she awoke, and sat up and saw Sigurth, and said:

Sigurth rode up on Hindarfjoll and turned south toward the land of the Franks. On the mountain, he saw a great light, as if a fire were burning, and the glow reached up to the heavens. When he got there, he found a tower made of shields, and above it was a banner. Sigurth entered the shield-tower and saw a man lying there asleep with all his weapons. He first took the helmet off his head, and then realized it was a woman. The mail coat was as tight as if it had grown into her skin. He cut the mail coat from [__A_TAG_PLACEHOLDER_0__] head-opening downward and out to both armholes. He then removed the mail coat from her, and she woke up, sat up, saw Sigurth, and said:

1. “What bit through the byrnie?   |   how was broken my sleep?

__A_TAG_PLACEHOLDER_0__. “What pierced through the armor?   |   how was my sleep disturbed?

Who made me free   |   of the fetters pale?”

Who set me free from these pale chains?

He answered:

He replied.

“Sigmund’s son,   |   with Sigurth’s sword,

“Sigmund’s son,   |   with Sigurth’s sword,

That late with flesh   |   hath fed the ravens.”

That late with flesh   |   has fed the ravens.”

Sigurth sat beside her and asked her name. She took a horn full of mead and gave him a memory-draught.

Sigurth sat next to her and asked her name. She picked up a horn full of mead and offered him a memory-boosting drink.

2. “Hail, day!   |   Hail, sons of day!

__A_TAG_PLACEHOLDER_0__. “Hello, day!   |   Hello, children of the day!

And night and her daughter now!

And now, night and her daughter!

Look on us here   |   with loving eyes,

Look at us here   |   with loving eyes,

That waiting we victory win.

That wait leads to victory.

[390]

[__A_TAG_PLACEHOLDER_0__]

3. “Hail to the gods!   |   Ye goddesses, hail,

3. “Cheers to the gods!   |   Goddesses, cheers to you,

And all the generous earth!

And all the giving earth!

Give to us wisdom   |   and goodly speech,

Give us wisdom and eloquent speech,

And healing hands, life-long.

And healing hands, lifelong.

4. “Long did I sleep,   |   my slumber was long,

4. “I slept for a long time, my sleep was deep,

And long are the griefs of life;

And life's troubles are endless;

Othin decreed   |   that I could not break

Othin declared that I couldn’t break

The heavy spells of sleep.”

The deep spells of sleep.

Her name was Sigrdrifa, and she was a Valkyrie. She said that two kings fought in battle; one was called Hjalmgunnar, an old man but a mighty warrior, and Othin had promised him the victory, and

Her name was Sigrdrifa, and she was a Valkyrie. She said that two kings were fighting in battle; one was named Hjalmgunnar, an old man but a powerful warrior, and Othin had promised him the victory, and

The other was Agnar,   |   brother of Autha,

The other was Agnar, brother of Autha,

None he found   |   who fain would shield him.

None he found | who would gladly protect him.

Sigrdrifa slew Hjalmgunnar in the battle, and Othin pricked her with the sleep-thorn in punishment for this, and said that she should never thereafter win victory in battle, but that she should be wedded. “And I said to him that I had made a vow in my turn, that I would [391]never marry a man who knew the meaning of fear.” Sigurth answered and asked her to teach him wisdom, if she knew of what took place in all the worlds. Sigrdrifa said:

Sigrdrifa killed Hjalmgunnar in battle, and Othin punished her by pricking her with the sleep-thorn, declaring that she would never again achieve victory in battle, but would instead be married. “I told him that I had made my own vow, that I would [__A_TAG_PLACEHOLDER_0__]never marry a man who understood fear.” Sigurth replied and asked her to share her wisdom, if she knew about what happened in all the worlds. Sigrdrifa said:

5. “Beer I bring thee,   |   tree of battle,

__A_TAG_PLACEHOLDER_0__. “I bring you beer,   |   tree of battle,

Mingled of strength   |   and mighty fame;

Mingled of strength   |   and mighty fame;

Charms it holds   |   and healing signs,

Charms it holds | and healing signs,

Spells full good,   |   and gladness-runes.”

Spells full of goodness,   |   and joy-runes.”

*    *    *    *    *    *

*    *    *    *    *    *

6. Winning-runes learn,   |   if thou longest to win,

__A_TAG_PLACEHOLDER_0__. Winning runes learn,   |   if you want to win,

And the runes on thy sword-hilt write;

And the runes on your sword’s hilt say;

Some on the furrow,   |   and some on the flat,

Some on the furrow,   |   and some on the flat,

And twice shalt thou call on Tyr.

And you will call on Tyr twice.

7. Ale-runes learn,   |   that with lies the wife

__A_TAG_PLACEHOLDER_0__. Ale-runes learn,   |   that with lies the wife

Of another betray not thy trust; [392]

Of another, do not betray your trust; [__A_TAG_PLACEHOLDER_0__]

On the horn thou shalt write,   |   and the backs of thy hands,

On the horn, you shall write,   |   and on the backs of your hands,

And Need shalt mark on thy nails.

And Need will show on your nails.

Thou shalt bless the draught,   |   and danger escape,

You will bless the drink,   |   and avoid danger,

And cast a leek in the cup;

And put a leek in the cup;

(For so I know   |   thou never shalt see

(For I know   |   you will never see

Thy mead with evil mixed.)

Your mead mixed with evil.

8. Birth-runes learn,   |   if help thou wilt lend,

8. Learn the birth runes,   |   if you’re willing to help,

The babe from the mother to bring;

The baby from the mother to bring;

On thy palms shalt write them,   |   and round thy joints,

On your palms you shall write them, | and around your joints,

And ask the fates to aid.

And ask the fates for help.

9. Wave-runes learn,   |   if well thou wouldst shelter

__A_TAG_PLACEHOLDER_0__. Learn the wave-runes,   |   if you truly want to protect

The sail-steeds out on the sea;

The sailing ships out on the sea;

On the stem shalt thou write,   |   and the steering-blade,

On the stem, you shall write,   |   and the steering blade,

And burn them into the oars;

And burn them into the oars;

Though high be the breakers,   |   and black the waves,

Though the waves are high and dark,

Thou shalt safe the harbor seek.

You should seek the safe harbor.

10. Branch-runes learn,   |   if a healer wouldst be,

__A_TAG_PLACEHOLDER_0__. Learn the branch-runes,   |   if you want to be a healer,

And cure for wounds wouldst work; [393]

And you would heal wounds; [__A_TAG_PLACEHOLDER_0__]

On the bark shalt thou write,   |   and on trees that be

On the bark, you shall write,   |   and on trees that exist

With boughs to the eastward bent.

With branches bent to the east.

11. Speech-runes learn,   |   that none may seek

__A_TAG_PLACEHOLDER_0__. Learn the speech runes,   |   so that no one may seek

To answer harm with hate;

Respond to harm with love;

Well he winds   |   and weaves them all,

Well, he winds and weaves them all,

And sets them side by side,

And places them next to each other,

At the judgment-place,   |   when justice there

At the judgment place,   |   when justice is there

The folk shall fairly win.

The people will fairly win.

12. Thought-runes learn,   |   if all shall think

__A_TAG_PLACEHOLDER_0__. Thought runes learn,   |   if everyone thinks

Thou art keenest minded of men.

You are the sharpest thinker among men.

*    *    *    *    *    *

*    *    *    *    *    *

13. Them Hropt arranged,   |   and them he wrote,

__A_TAG_PLACEHOLDER_0__. He arranged them,   |   and he wrote them,

And them in thought he made, [394]

And he created them in his mind, [__A_TAG_PLACEHOLDER_0__]

Out of the draught   |   that down had dropped

Out of the draft   |   that down had fallen

From the head of Heithdraupnir,

From Heithdraupnir's head,

And the horn of Hoddrofnir.

And the horn of Hoddrofnir.

14. On the mountain he stood   |   with Brimir’s sword,

__A_TAG_PLACEHOLDER_0__. He stood on the mountain with Brimir’s sword,

On his head the helm he bore;

On his head, he wore a helmet;

Then first the head   |   of Mim spoke forth,

Then the first head of Mim spoke up,

And words of truth it told.

And it told words of truth.

*    *    *    *    *    *

*    *    *    *    *    *

15. He bade write on the shield   |   before the shining goddess,

__A_TAG_PLACEHOLDER_0__. He asked to write on the shield   |   in front of the radiant goddess,

On Arvak’s ear,   |   and on Alsvith’s hoof,

On Arvak's ear,   |   and on Alsvith's hoof,

On the wheel of the car   |   of Hrungnir’s killer,

On the wheel of the car | of Hrungnir’s killer,

On Sleipnir’s teeth,   |   and the straps of the sledge.

On Sleipnir's teeth,   |   and the straps of the sled.

16. On the paws of the bear,   |   and on Bragi’s tongue, [395]

__A_TAG_PLACEHOLDER_0__. On the bear's paws,   |   and on Bragi’s tongue, [__A_TAG_PLACEHOLDER_0__]

On the wolf’s claws bared,   |   and the eagle’s beak,

On the wolf’s exposed claws,  |  and the eagle’s beak,

On bloody wings,   |   and bridge’s end,

On bloody wings,   |   and bridge’s end,

On freeing hands   |   and helping foot-prints.

On freeing hands   |   and helping footprints.

17. On glass and on gold,   |   and on goodly charms,

__A_TAG_PLACEHOLDER_0__. On glass and on gold,   |   and on beautiful trinkets,

In wine and in beer,   |   and on well-loved seats,

In wine and in beer,   |   and on favorite seats,

On Gungnir’s point,   |   and on Grani’s breast,

On Gungnir's tip,   |   and on Grani's chest,

On the nails of Norns,   |   and the night-owl’s beak.

On the nails of the Norns,   |   and the beak of the night owl.

*    *    *    *    *    *

*    *    *    *    *    *

18. Shaved off were the runes   |   that of old were written,

__A_TAG_PLACEHOLDER_0__. The runes that were once written have been completely shaved off,

And mixed with the holy mead,

And blended with the sacred mead,

And sent on ways so wide;

And sent on paths so wide;

So the gods had them,   |   so the elves got them,

So the gods had them,   |   so the elves got them,

And some for the Wanes so wise,

And some for the Wanes so wise,

And some for mortal men.

And some for real people.

19. Beech-runes are there,   |   birth-runes are there,

__A_TAG_PLACEHOLDER_0__. Beech runes are there,   |   birth runes are there,

And all the runes of ale, [396]

And all the symbols of beer, [__A_TAG_PLACEHOLDER_0__]

And the magic runes of might;

And the powerful magic symbols;

Who knows them rightly   |   and reads them true,

Who really knows them and reads them correctly,

Has them himself to help;

Has them help himself;

Ever they aid,

Always they help,

Till the gods are gone.

Until the gods are gone.

*    *    *    *    *    *

*    *    *    *    *    *

Brynhild spake:

Brynhild said:

20. “Now shalt thou choose,   |   for the choice is given,

__A_TAG_PLACEHOLDER_0__. “Now you will choose,   |   because the choice is yours,

Thou tree of the biting blade;

Thou tree of the biting blade;

Speech or silence,   |   ’tis thine to say,

Speech or silence,   |   it’s yours to decide,

Our evil is destined all.”

“Our fate is sealed.”

Sigurth spake:

Sigurth said:

21. “I shall not flee,   |   though my fate be near,

__A_TAG_PLACEHOLDER_0__. “I will not run away,   |   even though my fate is close,

I was born not a coward to be; [397]

I was born not to be a coward; [__A_TAG_PLACEHOLDER_0__]

Thy loving word   |   for mine will I win,

Thy loving word   |   for mine will I win,

As long as I shall live.”

As long as I’m alive.

*    *    *    *    *    *

*    *    *    *    *    *

22. Then first I rede thee,   |   that free of guilt

__A_TAG_PLACEHOLDER_0__. Then first I advise you,   |   to be free of guilt

Toward kinsmen ever thou art;

To relatives you are always;

No vengeance have,   |   though they work thee harm,

No revenge have,   |   even if they cause you harm,

Reward after death thou shalt win.

You will earn your reward after death.

23. Then second I rede thee,   |   to swear no oath

__A_TAG_PLACEHOLDER_0__. Then I advise you again, | to avoid making any promises.

If true thou knowest it not;

If it’s true, you don’t know it;

Bitter the fate   |   of the breaker of troth,

Bitter is the fate of the promise-breaker,

And poor is the wolf of his word.

And the wolf can't be trusted to keep his word.

24. Then third I rede thee,   |   that thou at the Thing

24. Then third I recommend to you,  |   that you at the meeting

Shalt fight not in words with fools;

Don't argue with fools;

For the man unwise   |   a worser word

For the unwise man, a harsher word

Than he thinks doth utter oft.

Than he thinks does often speak.

25. Ill it is   |   if silent thou art,

__A_TAG_PLACEHOLDER_0__. It's not good   |   if you stay silent,

A coward born men call thee,

A coward is what people call you,

And truth mayhap they tell; [398]

And maybe they tell the truth; [__A_TAG_PLACEHOLDER_0__]

Seldom safe is fame,

Fame is rarely safe,

Unless wide renown be won;

Unless great fame is achieved;

On the day thereafter   |   send him to death,

On the next day   |   have him executed,

Let him pay the price of his lies.

Let him face the consequences of his lies.

26. Then fourth I rede thee,   |   if thou shalt find

26. Then I advise you,   |   if you find

A wily witch on thy road,

A sly witch on your path,

It is better to go   |   than her guest to be,

It is better to go than to be her guest,

Though night enfold thee fast.

Though night wraps around you.

27. Eyes that see   |   need the sons of men

__A_TAG_PLACEHOLDER_0__. Eyes that see   |   need the children of humanity

Who fight in battle fierce;

Who fights in fierce battles;

Oft witches evil   |   sit by the way,

Oftentimes, evil witches sit by the road,

Who blade and courage blunt.

Who dulls the blade and courage.

28. Then fifth I rede thee,   |   though maidens fair

__A_TAG_PLACEHOLDER_0__. Then fifth I advise you,   |   though beautiful maidens

Thou seest on benches sitting,

You see sitting on benches,

Let the silver of kinship   |   not rob thee of sleep,

Let the silver of kinship not steal your sleep,

And the kissing of women beware.

And be careful about kissing women.

29. Then sixth I rede thee,   |   if men shall wrangle,

__A_TAG_PLACEHOLDER_0__. Then I advise you, if people are going to argue,

And ale-talk rise to wrath,

And beer talk leads to anger,

No words with a drunken   |   warrior have,

No words with a drunk warrior have,

For wine steals many men’s wits.

For wine takes away the wits of many men.

[399]

[__A_TAG_PLACEHOLDER_0__]

30. Brawls and ale   |   full oft have been

__A_TAG_PLACEHOLDER_0__. Fights and beer | have often been

An ill to many a man,

An illness to many a man,

Death for some,   |   and sorrow for some;

Death for some,   |   and sorrow for some;

Full many the woes of men.

Full many the woes of men.

31. Then seventh I rede thee,   |   if battle thou seekest

__A_TAG_PLACEHOLDER_0__. Then I advise you for the seventh time, | if you seek a fight

With a foe that is full of might;

With an enemy that is powerful;

It is better to fight   |   than to burn alive

It’s better to fight | than to burn alive

In the hall of the hero rich.

In the hall of the wealthy hero.

32. Then eighth I rede thee,   |   that evil thou shun,

32. So, I advise you for the eighth time, that you avoid evil,

And beware of lying words;

And watch out for lies;

Take not a maid,   |   nor the wife of a man,

Take neither a girl nor a married woman,

Nor lure them on to lust.

Nor tempt them into desire.

33. Then ninth I rede thee:   |   burial render

33. Then ninth I advise you:   |   give a proper burial

If thou findest a fallen corpse,

If you find a fallen corpse,

Of sickness dead,   |   or dead in the sea,

Of sickness dead,   |   or dead at sea,

Or dead of weapons’ wounds.

Or dead from weapon wounds.

34. A bath shalt thou give them   |   who corpses be, [400]

__A_TAG_PLACEHOLDER_0__. You should give them a bath   |   those who are dead, [__A_TAG_PLACEHOLDER_0__]

And hands and head shalt wash;

And you should wash your hands and head;

Wipe them and comb,   |   ere they go in the coffin,

Wipe them and comb,   |   before they go in the coffin,

And pray that they sleep in peace.

And hope that they rest in peace.

35. Then tenth I rede thee,   |   that never thou trust

__A_TAG_PLACEHOLDER_0__. Then tenth I advise you,   |   that you should never trust

The word of the race of wolves,

The word from the pack of wolves,

(If his brother thou broughtest to death,

(If you brought your brother to death,

Or his father thou didst fell;)

Or you killed his dad ;)

Often a wolf   |   in a son there is,

Often a wolf in a son there is,

Though gold he gladly takes.

Though he gladly takes gold.

36. Battle and hate   |   and harm, methinks,

__A_TAG_PLACEHOLDER_0__. Fight and anger   |   and hurt, it seems to me,

Full seldom fall asleep;

Rarely fall asleep;

Wits and weapons   |   the warrior needs

Wits and weapons   |   the warrior needs

If boldest of men he would be.

If he wanted to be the boldest of men.

37. Then eleventh I rede thee,   |   that wrath thou shun,

__A_TAG_PLACEHOLDER_0__. Then I advise you, eleventhly,   |   to avoid anger,

And treachery false with thy friends;

And false betrayal with your friends;

Not long the leader’s   |   life shall be,

Not long will the leader's life be,

For great are the foes he faces.

For he faces many great enemies.

[386]

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[__A_TAG_PLACEHOLDER_0__]

NOTES

[388]

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Prose. The introductory prose follows without break the prose concluding the Fafnismol, the point of division being arbitrary and not agreed upon by all editors. Hindarfjoll: cf. Fafnismol, 42 and note. Franks: this does not necessarily mean that Sigurth was on his way to the Gjukungs’ home, for Sigmund had a kingdom in the land of the Franks (cf. Fra Dautha Sinfjotla). Shields: the annotator probably drew the notion of the shield-tower from the reference in Helreith Brynhildar, 9. The flame-girt tower was not uncommon; cf. Mengloth’s hall in Svipdagsmol. [389]

Prose. The introduction flows directly from the prose ending the Fafnismol, with the division point being arbitrary and not universally accepted by all editors. Hindarfjoll: see Fafnismol, 42 and note. Franks: this doesn’t necessarily mean that Sigurth was heading to the Gjukungs’ home, since Sigmund ruled a kingdom in the land of the Franks (see Fra Dautha Sinfjotla). Shields: the annotator likely got the idea of the shield-tower from the mention in Helreith Brynhildar, 9. The flame-surrounded tower was fairly common; compare Mengloth’s hall in Svipdagsmol. [__A_TAG_PLACEHOLDER_0__]

1. This stanza, and the two lines included in the prose after stanza 4, and possibly stanza 5 as well, evidently come from a different poem from stanzas 2–4. Lines 3–4 in the original are obscure, though the general meaning is clear.

__A_TAG_PLACEHOLDER_0__. This stanza, along with the two lines that follow in the prose after stanza 4, and maybe stanza 5 too, clearly comes from a different poem than stanzas 2–4. Lines 3–4 in the original are unclear, although the overall meaning is straightforward.

Prose (after stanza 1). In the manuscript stanza 4 stands before this prose note and stanzas 2–3. The best arrangement of the stanzas seems to be the one here given, following Müllenhoff’s suggestion, but the prose note is out of place anywhere. The first sentence of it ought to follow stanza 4 and immediately precede the next prose note; the second sentence ought to precede stanza 5.

Prose (after stanza 1). In the manuscript, stanza 4 comes before this prose note and stanzas 2–3. The best order for the stanzas appears to be the one provided here, based on Müllenhoff’s suggestion, but the prose note feels out of place regardless. The first sentence should come after stanza 4 and right before the next prose note; the second sentence should go before stanza 5.

2. Sons of day: the spirits of light. The daughter of night (Not), according to Snorri, was Jorth (Earth). [390]

__A_TAG_PLACEHOLDER_0__. Sons of day: the spirits of light. The daughter of night (Not), as Snorri mentioned, was Jorth (Earth). [__A_TAG_PLACEHOLDER_0__]

Prose (after stanza 4). Sigrdrifa: on the error whereby this epithet, “victory-bringer,” became a proper name cf. Fafnismol, 44 and note. Hjalmgunnar: in Helreith Brynhildar (stanza 8) he is called a king of the Goths, which means little; of him and his adversary, Agnar, we know nothing beyond what is told here. The two lines quoted apparently come from the same poem as stanza 1; the two first lines of the stanza have been reconstructed from the prose thus: “Hjalmgunnar was one,   |   the hoary king, / And triumph to him   |   had Heerfather promised.” A few editions insert in this prose passage stanzas 7–10 of Helreith Brynhildar, which may or may not have belonged originally to this poem. [391]

Prose (after stanza 4). Sigrdrifa: regarding the mistake that this title, “victory-bringer,” became a proper name see Fafnismol, 44 and note. Hjalmgunnar: in Helreith Brynhildar (stanza 8) he is referred to as a king of the Goths, which doesn’t tell us much; we know nothing about him and his rival, Agnar, apart from what’s mentioned here. The two lines quoted seem to come from the same poem as stanza 1; the first two lines of the stanza have been reconstructed from the prose like this: “Hjalmgunnar was one,   |   the old king, / And victory to him   |   had Heerfather promised.” Some editions include stanzas 7–10 of Helreith Brynhildar in this prose passage, which may or may not have originally belonged to this poem. [__A_TAG_PLACEHOLDER_0__]

5. This stanza is perhaps, but by no means surely, from the same poem as stanza 1. Tree of battle: warrior. Runes: the earliest runes were not letters, but simply signs supposed to possess magic power; out of them developed the “runic alphabet.”

__A_TAG_PLACEHOLDER_0__. This stanza might be from the same poem as stanza 1, but that's not certain. Tree of battle: warrior. Runes: the earliest runes weren't letters; they were just symbols believed to have magical power. From these, the "runic alphabet" was created.

6. Stanzas 6–12 give a list of runes which probably had no original connection with the Brynhild-Sigurth story. Tyr: the sword-god (cf. Hymiskvitha, 4 and note); “tyr” is also the name of a rune which became “T.”

__A_TAG_PLACEHOLDER_0__. Stanzas 6–12 provide a list of runes that likely had no initial link to the Brynhild-Sigurth story. Tyr: the sword god (see Hymiskvitha, 4 and note); “tyr” is also the name of a rune that became “T.”

7. Regius gives only lines 1–6; lines 7–8 are added from Volsungasaga. Lies, etc.: a guest on his arrival received a draught of ale from the hands of his host’s wife, and it was to prevent this draught from bewitching him that the runes were recommended. Need: the word “nauth,” meaning “need,” is also the name of the rune which became “N.” Leek: leeks were long supposed to have the power of counteracting poison or witchcraft. [392]

__A_TAG_PLACEHOLDER_0__. Regius includes only lines 1–6; lines 7–8 are taken from Volsungasaga. Lies, etc.: when a guest arrives, they are given a mug of ale by their host’s wife, and the runes were suggested to protect him from being enchanted by this drink. Need: the word “nauth,” meaning “need,” is also the name of the rune that became “N.” Leek: leeks have long been believed to have the ability to counteract poison or witchcraft. [__A_TAG_PLACEHOLDER_0__]

9. Sail-steeds: ships.

__A_TAG_PLACEHOLDER_0__. Sail-steeds: boats.

10. Branch-runes: runes cut in the bark of trees. Such runes were believed to transfer sickness from the invalid to the tree. Some editors, however, have changed “limrunar” (“branch-runes”) to “lifrunar” (“life-runes”). [393]

__A_TAG_PLACEHOLDER_0__. Branch-runes: runes carved into tree bark. These runes were thought to take away illness from the sick person and transfer it to the tree. However, some editors have changed “limrunar” (“branch-runes”) to “lifrunar” (“life-runes”). [__A_TAG_PLACEHOLDER_0__]

11. Lines 3–6 look like an accidental addition, replacing two lines now lost. They mean, apparently, that the man who interweaves his speech with “speech-runes” when he pleads his case at the “Thing,” or popular tribunal, will not unduly enrage his adversary in the argument of the case.

__A_TAG_PLACEHOLDER_0__. Lines 3–6 seem to be an unintentional addition, taking the place of two lines that are now missing. They suggest, apparently, that the man who mixes his words with “speech-runes” while making his case at the “Thing,” or public assembly, won’t overly provoke his opponent in the debate.

12. Here the list of runes breaks off, though the manuscript indicates no gap, and three short passages of a different type, though all dealing with runes, follow.

__A_TAG_PLACEHOLDER_0__. Here the list of runes ends, even though the manuscript shows no interruption, and three brief sections of a different kind, all related to runes, come next.

13. Stanzas 13–14 appear to have come from a passage regarding Othin’s getting of the runes similar to Hovamol, 139–146. Editors have tried various combinations of the lines in stanzas 12–14. Hropt: Othin; cf. Voluspo, 62. The draught, etc.: apparently the reference is to the head of Mim, from which Othin derived his wisdom in magic (cf. Voluspo, 47 and note); Heithdraupnir (“Light-Dropper”) and Hoddrofnir (“Treasure-Opener”) seem to be names for Mim. [394]

__A_TAG_PLACEHOLDER_0__. Stanzas 13–14 seem to come from a section about Othin obtaining the runes, similar to Hovamol, 139–146. Editors have experimented with different arrangements of the lines in stanzas 12–14. Hropt: Othin; see Voluspo, 62. The draught, etc.: this likely refers to the head of Mim, from which Othin gained his wisdom in magic (see Voluspo, 47 and note); Heithdraupnir (“Light-Dropper”) and Hoddrofnir (“Treasure-Opener”) appear to be names for Mim. [__A_TAG_PLACEHOLDER_0__]

14. This stanza is clearly in bad shape; perhaps, as the manuscript indicates, a new stanza, of which most has been lost, should begin with line 3. Brimir: a giant (cf. Voluspo, 9 and 37); why Othin should have his sword is unknown.

__A_TAG_PLACEHOLDER_0__. This stanza is clearly in rough condition; maybe, as the manuscript suggests, a new stanza, most of which is missing, should start with line 3. Brimir: a giant (see Voluspo, 9 and 37); it's unclear why Odin would have his sword.

15. Stanzas 15–17 constitute a wholly distinct rune-chant. Line 1 is unusually long in the original, as here. Shield: the shield Svalin (“Cooling”) that stands in front of the sun; cf. Grimnismol, 38. Arvak (“Early Walter”) and Alsvith (“All-Swift”): the horses that draw the sun’s car; cf. Grimnismol, 37. Hrungnir: the slayer of the giant Hrungnir was Thor (cf. Harbarthsljoth, 14 and note), but the line is in bad shape; the name may not be Hrungnir, and “killer” is a conjectural addition. Sleipnir: Othin’s eight-legged horse; cf. Grimnismol, 44 and note. Sledge: perhaps the one mentioned in Grimnismol, 49.

__A_TAG_PLACEHOLDER_0__. Stanzas 15–17 form a completely different rune chant. Line 1 is unusually long in the original, just like here. Shield: the shield Svalin (“Cooling”) that stands in front of the sun; see Grimnismol, 38. Arvak (“Early Walter”) and Alsvith (“All-Swift”): the horses that pull the sun’s chariot; see Grimnismol, 37. Hrungnir: the killer of the giant Hrungnir was Thor (see Harbarthsljoth, 14 and note), but the line is unclear; the name might not be Hrungnir, and “killer” is a guess. Sleipnir: Odin’s eight-legged horse; see Grimnismol, 44 and note. Sledge: maybe the one mentioned in Grimnismol, 49.

16. Bragi: the god of poetry; cf. Grimnismol, 44 and note. [395]

__A_TAG_PLACEHOLDER_0__. Bragi: the god of poetry; see Grimnismol, 44 and note. [__A_TAG_PLACEHOLDER_0__]

17. Charms: the wearing of amulets was very common. Gungnir: Othin’s spear, made by the dwarfs, which he occasionally lent to heroes to whom he granted victory. Grani: Sigurth’s horse; the Volsungasaga has “giantesses’.”

__A_TAG_PLACEHOLDER_0__. Charms: wearing amulets was very common. Gungnir: Othin’s spear, crafted by dwarfs, which he sometimes loaned to heroes he granted victory to. Grani: Sigurth’s horse; the Volsungasaga refers to “giantesses.”

18. Stanzas 18–19, which editors have freely rearranged, apparently come from another source than any of the rest. Shaved off: the runes were shaved off by Othin from the wood on which they were carved, and the shavings bearing them were put into the magic mead. Wanes: cf. Voluspo, 21, note.

__A_TAG_PLACEHOLDER_0__. Stanzas 18–19, which editors have rearranged without hesitation, seem to come from a different source than the rest. Shaved off: Othin shaved the runes off the wood where they were carved, and the shavings containing them were added to the magic mead. Wanes: see Voluspo, 21, note.

19. Lines 3, 6, and 7 look like spurious additions, but the whole stanza is chaotic. Beech-runes: runes carved on beech-trees. [396]

__A_TAG_PLACEHOLDER_0__. Lines 3, 6, and 7 seem like random additions, but the entire stanza is a mess. Beech-runes: symbols carved into beech trees. [__A_TAG_PLACEHOLDER_0__]

20. Stanzas 20–21 are all that remains of the dialogue between Brynhild and Sigurth from the poem to which stanzas 2–4 belong; cf. Introductory Note. In the intervening lost stanzas Brynhild has evidently warned Sigurth of the perils that will follow if he swears loyalty to her; hence the choice to which she here refers. Tree, etc.: warrior. The manuscript does not indicate the speaker of either this or the following stanza; the Volsungasaga names Sigurth before stanza 21.

__A_TAG_PLACEHOLDER_0__. Stanzas 20–21 are all that’s left of the conversation between Brynhild and Sigurth from the poem containing stanzas 2–4; see Introductory Note. In the missing stanzas, Brynhild clearly warned Sigurth about the dangers he would face if he pledged his loyalty to her; that’s the choice she refers to here. Tree, etc.: warrior. The manuscript doesn’t specify who’s speaking in this or the next stanza; the Volsungasaga identifies Sigurth before stanza 21.

21. It is quite possible that the original poem concluded with two stanzas after this, paraphrased thus in the Volsungasaga: “Sigurth said: ‘Nowhere is to be found any one wiser than thou, and this I swear, that I shall have thee for mine, and that thou art after my heart’s desire.’ She answered: ‘I would rather have thee though I might choose among all men.’ And this they bound between them with oaths.” Stanzas 22–37, which the Volsungasaga paraphrases, may have been introduced at a relatively early time, but can hardly have formed part of the original poem. [397]

__A_TAG_PLACEHOLDER_0__. It's quite likely that the original poem ended with two stanzas after this, which are summarized in the Volsungasaga: “Sigurth said: ‘You can’t find anyone wiser than you, and I swear that you will be mine because you are my heart’s desire.’ She replied: ‘I would choose you above all men.’ And they sealed this with oaths.” Stanzas 22–37, which the Volsungasaga summarizes, may have been added at an earlier time, but they probably weren’t part of the original poem. [__A_TAG_PLACEHOLDER_0__]

22. With this stanza begins the list of numbered counsels, closely resembling the Loddfafnismol (Hovamol, 111–138), here attributed to Brynhild. That the section originally had anything to do with Brynhild is more than improbable.

__A_TAG_PLACEHOLDER_0__. This stanza starts the numbered advice, which closely resembles the Loddfafnismol (Hovamol, 111–138), and is attributed to Brynhild here. It's highly unlikely that this section was originally connected to Brynhild in any way.

23. Wolf of his word: oath-destroyer, oath-breaker.

__A_TAG_PLACEHOLDER_0__. Wolf of his word: someone who breaks promises, a liar.

25. This chaotic and obscure jumble of lines has been unsuccessfully “improved” by various editors. It is clearly an interpolation, meaning, in substance: “It is dangerous to keep silent too long, as men may think you a coward; but if any one taunts [398]you falsely because of your silence, do not argue with him, but the next morning kill him as proof that he is a liar.”

__A_TAG_PLACEHOLDER_0__. This chaotic and confusing mix of lines has been “improved” by various editors without success. It's clearly an added section, which essentially means: “It’s risky to stay quiet for too long, as people might think you're a coward; but if someone insults you falsely because you’re silent, don’t argue with him—just take action the next morning to show he’s lying.” [__A_TAG_PLACEHOLDER_0__]

27. Probably another interpolation.

__A_TAG_PLACEHOLDER_0__. Probably another mix-in.

28. Silver of kinship: the passage is doubtful, but apparently it means the “marriage-price” for which a bride was “bought.”

__A_TAG_PLACEHOLDER_0__. Silver of kinship: the meaning is uncertain, but it seems to refer to the "bride price" for which a bride was "purchased."

29. Line 1 comes at the end of the thirty-second leaf of Regius, and whatever further was contained in that manuscript has vanished [399]with the lost eight-leaf folio (cf. Introductory Note). The rest of stanza 29, and stanzas 30–37, are added from later paper manuscripts, which were undoubtedly copied from an old parchment, though probably not from the complete Regius. The Volsungasaga paraphrases these additional stanzas.

__A_TAG_PLACEHOLDER_0__. Line 1 appears at the end of the thirty-second page of Regius, and whatever else was in that manuscript has disappeared [__A_TAG_PLACEHOLDER_0__]along with the lost eight-page folio (see Introductory Note). The rest of stanza 29, and stanzas 30–37, are taken from later paper manuscripts, which were definitely copied from an old parchment, although likely not from the entire Regius. The Volsungasaga paraphrases these additional stanzas.

30. Probably an interpolation.

__A_TAG_PLACEHOLDER_0__. Likely an interpolation.

31. The meaning is that it is better to go forth to battle than to stay at home and be burned to death. Many a Norse warrior met his death in this latter way; the burning of the house in the Njalssaga is the most famous instance.

__A_TAG_PLACEHOLDER_0__. The point is that it's better to head into battle than to stay home and get burned alive. Many Norse warriors ended up dying this way; the house burning in the Njalssaga is the most well-known example.

34. Probably an interpolation. [400]

__A_TAG_PLACEHOLDER_0__. Probably a guess. [__A_TAG_PLACEHOLDER_1__]

35. Lines 3–4 are probably interpolated. Race of wolves: family of a slain foe.

__A_TAG_PLACEHOLDER_0__. Lines 3–4 are likely added later. Race of wolves: family of a fallen enemy.

36. Probably an interpolation.

__A_TAG_PLACEHOLDER_0__. Probably an estimate.

37. Lines 3–4 may well have come from the old Sigurth-Brynhild poem, like stanzas 2–4 and 20–21, being inserted here, where they do not fit particularly well, in place of the two lines with which the eleventh counsel originally ended. Perhaps they formed part of the stanza of warning which evidently preceded Brynhild’s speech in stanza 20. In the Volsungasaga they are paraphrased at the end of Brynhild’s long speech of advice (stanzas 20–37), and are immediately followed by the prose passage given in the note on stanza 21. It seems likely, therefore, [401]that the paper manuscripts have preserved all of the so-called Sigrdrifumol which was contained in the lost section of Regius, with the possible exception of these two concluding stanzas, and these may very well have been given only in the form of a prose note, though it is practically certain that at one time they existed in verse form. [402]

__A_TAG_PLACEHOLDER_0__. Lines 3–4 likely originated from the old Sigurth-Brynhild poem, similar to stanzas 2–4 and 20–21, and were inserted here, where they don't quite fit, instead of the two lines with which the eleventh counsel originally concluded. They might have been part of the warning stanza that probably came before Brynhild’s speech in stanza 20. In the Volsungasaga, they’re paraphrased at the end of Brynhild’s long speech of advice (stanzas 20–37), and are immediately followed by the prose section mentioned in the note on stanza 21. It seems likely, therefore, [__A_TAG_PLACEHOLDER_0__] that the paper manuscripts have preserved all of the so-called Sigrdrifumol that was found in the lost part of Regius, possibly excluding these two concluding stanzas, which may have been provided only as a prose note, though it’s almost certain that they once existed in verse form. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

BROT AF SIGURTHARKVITHU

Fragment of a Sigurth Lay

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The gap of eight leaves in the Codex Regius (cf. introductory note to the Sigrdrifumol) is followed by a passage of twenty stanzas which is evidently the end of a longer poem, the greater part of it having been contained in the lost section of the manuscript. There is here little question of such a compilation as made up the so-called Reginsmol, Fafnismol, and Sigrdrifumol; the extant fragment shows every sign of being part of a poem which, as it stood in the manuscript, was a complete and definite unit. The end is clearly marked; the following poem, Guthrunarkvitha I, carries a specific heading in the manuscript, so that there is no uncertainty as to where the fragment closes.

The gap of eight leaves in the Codex Regius (see introductory note to the Sigrdrifumol) is followed by a passage of twenty stanzas that clearly marks the end of a longer poem, most of which was in the missing section of the manuscript. It’s unlikely that this was part of a collection like the so-called Reginsmol, Fafnismol, and Sigrdrifumol; the remaining fragment appears to be a section of a poem that, as it was in the manuscript, was a complete and distinct piece. The end is clearly marked; the next poem, Guthrunarkvitha I, has a specific title in the manuscript, so there's no confusion about where the fragment ends.

It seems altogether likely that the twenty stanzas thus remaining are the end of a poem entitled Sigurtharkvitha (Lay of Sigurth), and, more specifically, the “Long” Lay of Sigurth. The extant and complete Sigurth lay, a relatively late work, is referred to by the annotator as the “Short” Lay of Sigurth, which, of course, presupposes the existence of a longer poem with the same title. As the “short” lay is one of the longest poems in the whole collection (seventy stanzas), it follows that the other one must have been considerably more extensive in order to have been thus distinguished by its length. It may be guessed, then, that not less than eighty or a hundred stanzas, and possibly more, of the “Long” Lay of Sigurth have been lost with the missing pages of Regius.

It seems very likely that the twenty stanzas that remain are the end of a poem called Sigurtharkvitha (Lay of Sigurth), specifically the “Long” Lay of Sigurth. The complete version of the Sigurth lay, which is a relatively later work, is called the “Short” Lay of Sigurth by the annotator, which implies that there was a longer poem with the same title. Since the “short” lay is one of the longest poems in the entire collection (seventy stanzas), it’s likely that the other one was much longer to be noted for its length. It's reasonable to guess that at least eighty or a hundred stanzas, and possibly more, of the “Long” Lay of Sigurth have been lost along with the missing pages of Regius.

The narrative, from the point at which the so-called Sigrdrifumol breaks off to that at which the Brot takes it up, is given with considerable detail in the Volsungasaga. In this prose narrative four stanzas are quoted, and one of them is specifically introduced with the phrase: “as is told in the Lay of Sigurth.” It is possible, but most unlikely, that the entire passage paraphrases this poem alone; such an assumption would give the Lay of Sigurth not less than two hundred and fifty stanzas (allowing about fifteen stanzas to each of the missing pages), and moreover there are inconsistencies in the Volsungasaga narrative suggesting that different and more or less conflicting poems were used as sources. The chances are that the “Long” Lay of Sigurth [403]filled approximately the latter half of the lost section of the manuscript, the first half including poems of which the only trace is to be found in the Volsungasaga prose paraphrase and in two of the stanzas therein quoted.

The story, from the point where the so-called Sigrdrifumol ends to where the Brot starts, is described in great detail in the Volsungasaga. In this prose narrative, four stanzas are quoted, with one specifically introduced with the phrase: “as is told in the Lay of Sigurth.” It’s possible, though very unlikely, that the entire section paraphrases this poem alone; assuming that would mean the Lay of Sigurth had at least two hundred and fifty stanzas (assuming about fifteen stanzas for each of the missing pages). Additionally, there are inconsistencies in the Volsungasaga narrative that suggest different and somewhat conflicting poems were used as sources. It’s likely that the “Long” Lay of Sigurth [__A_TAG_PLACEHOLDER_0__]covered roughly the latter half of the lost section of the manuscript, with the first half including poems of which the only traces can be found in the Volsungasaga prose paraphrase and in two of the stanzas quoted there.

The course of the Volsungasaga’s story from the Sigrdrifumol to the Brot is, briefly, as follows. After leaving the Valkyrie, Sigurth comes to the dwelling of Heimir, Brynhild’s brother-in-law, where he meets Brynhild and they swear oaths of fidelity anew (the Volsungasaga is no more lucid with regard to the Brynhild-Sigrdrifa confusion than was the annotator of the poems). Then the scene shifts to the home of the Gjukungs. Guthrun, Gjuki’s daughter, has a terrifying dream, and visits Brynhild to have it explained, which the latter does by foretelling pretty much everything that is going to happen; this episode was presumably the subject of a separate poem in the lost section of the manuscript. Guthrun returns home, and Sigurth soon arrives, to be made enthusiastically welcome. Grimhild, mother of Gunnar and Guthrun, gives him a magic draught which makes him forget all about Brynhild, and shortly thereafter he marries Guthrun.

The story of the Volsungasaga from the Sigrdrifumol to the Brot goes like this: After leaving the Valkyrie, Sigurth arrives at the home of Heimir, Brynhild’s brother-in-law, where he meets Brynhild and they renew their vows of loyalty (the Volsungasaga isn’t any clearer about the confusion between Brynhild and Sigrdrifa than the annotator of the poems was). Then the scene shifts to the home of the Gjukungs. Guthrun, Gjuki’s daughter, has a frightening dream and goes to Brynhild for an explanation. Brynhild predicts almost everything that will happen, which likely was the focus of a separate poem in the lost part of the manuscript. Guthrun goes back home, and Sigurth arrives soon after, receiving a warm welcome. Grimhild, mother of Gunnar and Guthrun, gives him a magic potion that makes him forget all about Brynhild, and shortly after that, he marries Guthrun.

Then follows the episode of the winning of Brynhild for Gunnar (cf. Gripisspo, 37 and note). This was certainly the subject of a poem, possibly of the first part of the “Long” Lay of Sigurth, although it seems more likely that the episode was dealt with in a separate poem. The Volsungasaga quotes two stanzas describing Sigurth’s triumphant passing through the flames after Gunnar has failed and the two have changed forms. They run thus:

Then comes the story of how Brynhild was won for Gunnar (see Gripisspo, 37 and note). This was definitely the topic of a poem, possibly the first part of the “Long” Lay of Sigurth, though it seems more likely that this story was told in a separate poem. The Volsungasaga includes two stanzas that describe Sigurth's victorious journey through the flames after Gunnar has failed and they have swapped forms. They go like this:

The fire raged,   |   the earth was rocked,

The fire blazed,   |   the ground shook,

The flames leaped high   |   to heaven itself;

The flames leaped high to the heavens;

Few were the hardy   |   heroes would dare

Few were the brave heroes who would dare

To ride or leap   |   the raging flames.

To ride or jump over the raging flames.

Sigurth urged Grani   |   then with his sword,

Sigurth urged Grani then with his sword,

The fire slackened   |   before the hero,

The fire died down before the hero,

The flames sank low   |   for the greedy of fame,

The flames burned low | for those who crave fame,

The armor flashed   |   that Regin had fashioned.

The armor shone brightly that Regin had made.

After Sigurth has spent three nights with Brynhild, laying his sword between them (cf. Gripisspo, 41 and note), he and Gunnar return home, while Brynhild goes to the dwelling of her brother-in-law, Heimir, and makes ready for her marriage with Gunnar, [404]directing Heimir to care for her daughter by Sigurth, Aslaug. The wedding takes place, to be followed soon after by the quarrel between Guthrun and Brynhild, in which the former betrays the fact that it was Sigurth, and not Gunnar, who rode through the flames. Brynhild speaks with contempt of Guthrun and her whole family, and the following stanza, which presumably belongs to the same Sigurth lay as the Brot, is quoted at this point:

After Sigurth spends three nights with Brynhild, placing his sword between them (cf. Gripisspo, 41 and note), he and Gunnar head back home, while Brynhild goes to her brother-in-law Heimir's place to prepare for her marriage to Gunnar, [__A_TAG_PLACEHOLDER_0__], asking Heimir to take care of her daughter by Sigurth, Aslaug. The wedding happens, soon followed by the argument between Guthrun and Brynhild, where Guthrun reveals that it was Sigurth, not Gunnar, who rode through the flames. Brynhild talks down about Guthrun and her entire family, and the next stanza, which likely belongs to the same Sigurth lay as the Brot, is quoted here:

Sigurth the dragon   |   slew, and that

Sigurth the dragon   |   killed, and that

Will men recall   |   while the world remains;

Will men remember while the world exists;

But little boldness   |   thy brother had

But your brother had little confidence.

To ride or leap   |   the raging flames.

To ride or jump over the raging flames.

Gunnar and Sigurth alike try to appease the angry Brynhild, but in vain. After Sigurth has talked with her, his leaving her hall is described in the following stanza, introduced by the specific phrase: “as is said in the Lay of Sigurth”:

Gunnar and Sigurth both attempt to calm the furious Brynhild, but it's no use. After Sigurth speaks with her, his departure from her hall is described in the following stanza, introduced by the specific phrase: “as is said in the Lay of Sigurth”:

Forth went Sigurth,   |   and speech he sought not,

Forth went Sigurth,   |   and he didn’t seek conversation,

The friend of heroes,   |   his head bowed down;

The friend of heroes,   |   his head bowed down;

Such was his grief   |   that asunder burst

Such was his grief that it tore him apart.

His mail-coat all   |   of iron wrought.

His armor was completely made of forged iron.

Brynhild then tells Gunnar that she had given herself wholly to Sigurth before she had become Gunnar’s wife (the confusion between the two stories is commented on in the note to Gripisspo, 47), and Gunnar discusses plans of vengeance with his brother, Hogni. It is at this point that the action of the Brot begins.

Brynhild then tells Gunnar that she had completely devoted herself to Sigurth before she became Gunnar’s wife (the mix-up between the two stories is noted in the note to Gripisspo, 47), and Gunnar talks about plans for revenge with his brother, Hogni. It's at this point that the action of the Brot starts.

Beginning with this poem, and thence to the end of the cycle, the German features of the narrative predominate (cf. introductory note to Gripisspo).

Beginning with this poem, and continuing to the end of the cycle, the German characteristics of the narrative take over (see introductory note to Gripisspo).

[__A_TAG_PLACEHOLDER_0__]

Hogni spake:

Hogni said:

1. “(What evil deed   |   has Sigurth) done,

__A_TAG_PLACEHOLDER_0__. “(What wrong   |   has Sigurth) done,

That the hero’s life   |   thou fain wouldst have?”

That the hero’s life | you would gladly have?”

[405]

[__A_TAG_PLACEHOLDER_0__]

Gunnar spake:

Gunnar said:

2. “Sigurth oaths   |   to me hath sworn,

__A_TAG_PLACEHOLDER_0__. “Sigurth has sworn oaths to me,

Oaths hath sworn,   |   and all hath broken;

Oaths have been sworn, and all have been broken;

He betrayed me there   |   where truest all

He betrayed me there   |   where it was most real

His oaths, methinks,   |   he ought to have kept.”

His promises, I think, he should have kept.

Hogni spake:

Hogni said:

3. “Thy heart hath Brynhild   |   whetted to hate,

3. “Your heart has been sharpened by Brynhild to hate,

Evil to work   |   and harm to win;

Evil to work  |   and harm to win;

She grudges the honor   |   that Guthrun has,

She resents the honor that Guthrun has,

And that joy of herself   |   thou still dost have.”

And that joy of herself | you still have.

4. They cooked a wolf,   |   they cut up a snake,

__A_TAG_PLACEHOLDER_0__. They cooked a wolf,   |   they cut up a snake,

They gave to Gotthorm   |   the greedy one’s flesh,

They gave Gotthorm the flesh of the greedy one,

Before the men,   |   to murder minded,

Before the men,   |   intent on killing,

Laid their hands   |   on the hero bold.

Laid their hands on the brave hero.

5. Slain was Sigurth   |   south of the Rhine;

__A_TAG_PLACEHOLDER_0__. Sigurth was killed   |   south of the Rhine;

From a limb a raven   |   called full loud: [406]

From a branch, a raven called out loudly: [__A_TAG_PLACEHOLDER_0__]

“Your blood shall redden   |   Atli’s blade,

“Your blood will stain Atli’s blade,

And your oaths shall bind   |   you both in chains.”

And your promises will tie you both up in chains.”

6. Without stood Guthrun,   |   Gjuki’s daughter,

6. There stood Guthrun,   |   Gjuki’s daughter,

Hear now the speech   |   that first she spake:

Hear now the speech   |   that she spoke first:

“Where is Sigurth now,   |   the noble king,

“Where is Sigurth now,   |   the noble king,

That my kinsmen riding   |   before him come?”

That my relatives riding before him come?

7. Only this   |   did Hogni answer:

__A_TAG_PLACEHOLDER_0__. That's all Hogni said:

“Sigurth we   |   with our swords have slain;

“Sigurth we   |   with our swords have slain;

The gray horse mourns   |   by his master dead.”

The gray horse grieves   |   for his master who is gone.”

8. Then Brynhild spake,   |   the daughter of Buthli:

__A_TAG_PLACEHOLDER_0__. Then Brynhild spoke,   |   the daughter of Buthli:

“Well shall ye joy   |   in weapons and lands;

“Well, you shall rejoice | in weapons and land;

Sigurth alone   |   of all had been lord,

Sigurth alone   |   of all had been lord,

If a little longer   |   his life had been.

If his life had been a little longer.

9. “Right were it not   |   that so he should rule

__A_TAG_PLACEHOLDER_0__. “It’s only fair that he should be in charge.

O’er Gjuki’s wealth   |   and the race of the Goths; [407]

O'er Gjuki’s wealth   |   and the lineage of the Goths; [__A_TAG_PLACEHOLDER_0__]

Five are the sons   |   for ruling the folk,

Five are the sons for leading the people,

And greedy of fight,   |   that he hath fathered.”

And eager for a fight, | that he has fathered."

10. Then Brynhild laughed—   |   and the building echoed—

10. Then Brynhild laughed—   |   and the building echoed—

Only once,   |   with all her heart;

Only once,   |   with all her heart;

“Long shall ye joy   |   in lands and men,

“May you always find joy in people and places,

Now ye have slain   |   the hero noble.”

Now you have slain the noble hero.

11. Then Guthrun spake,   |   the daughter of Gjuki:

11. Then Guthrun spoke,   |   the daughter of Gjuki:

“Much thou speakest   |   in evil speech;

“There's a lot you say   |   in a negative way;

Accursed be Gunnar,   |   Sigurth’s killer,

Accursed be Gunnar, | Sigurd’s killer,

Vengeance shall come   |   for his cruel heart.”

Vengeance will come for his cruel heart.

12. Early came evening,   |   and ale was drunk,

__A_TAG_PLACEHOLDER_0__. Evening arrived early,   |   and people drank ale,

And among them long   |   and loud they talked;

And among them, they talked for a long time and spoke loudly;

They slumbered all   |   when their beds they sought,

They slept all night when they went to bed,

But Gunnar alone   |   was long awake.

But Gunnar alone was awake for a long time.

13. His feet were tossing,   |   he talked to himself,

__A_TAG_PLACEHOLDER_0__. His feet were moving around,   |   he was talking to himself,

And the slayer of hosts   |   began to heed

And the killer of armies began to pay attention

What the twain from the tree   |   had told him then,

What the two from the tree told him then,

The raven and eagle,   |   as home they rode.

The raven and eagle,   |   as they flew home.

[408]

[__A_TAG_PLACEHOLDER_0__]

14. Brynhild awoke,   |   the daughter of Buthli,

14. Brynhild woke up,   |   the daughter of Buthli,

The warrior’s daughter,   |   ere dawn of day:

The warrior’s daughter,   |   before the break of day:

“Love me or hate me,   |   the harm is done,

“Love me or hate me, the harm is done,

And my grief cries out,   |   or else I die.”

And my grief screams out,   |   or else I die.”

15. Silent were all   |   who heard her speak,

15. Everyone was quiet   |   who listened to her talk,

And nought of the heart   |   of the queen they knew,

And they didn't know anything about the queen's heart,

Who wept such tears   |   the thing to tell

Who cried such tears | the thing to share

That laughing once   |   of the men she had won.

That laugh once  |   of the men she had conquered.

Brynhild spake:

Brynhild said:

16. “Gunnar, I dreamed   |   a dream full grim:

__A_TAG_PLACEHOLDER_0__. “Gunnar, I had a dark dream:

In the hall were corpses;   |   cold was my bed;

In the hall were bodies;   |   my bed was cold;

And, ruler, thou   |   didst joyless ride,

And, ruler, you rode without joy,

With fetters bound   |   in the foemen’s throng.

With chains tied   |   in the enemy's crowd.

17. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Utterly now   |   your Niflung race

Utterly now   |   your Niflung race

All shall die;   |   your oaths ye have broken.

All will die;   |   you have broken your oaths.

[409]

[__A_TAG_PLACEHOLDER_0__]

18. “Thou hast, Gunnar,   |   the deed forgot,

__A_TAG_PLACEHOLDER_0__. “You have, Gunnar,   |   forgotten the deed,

When blood in your footprints   |   both ye mingled;

When blood is in your footprints   |   both you mingled;

All to him   |   hast repaid with ill

All to him   |   you have repaid with evil

Who fain had made thee   |   the foremost of kings.

Who gladly would have made you the greatest of kings.

19. “Well did he prove,   |   when proud he rode

19. “He really showed it well, when he rode in proudly.”

To win me then   |   thy wife to be,

To win me then   |   your future wife,

How true the host-slayer   |   ever had held

How true the host-slayer always had held

The oaths he had made   |   with the monarch young.

The promises he had made with the young king.

20. “The wound-staff then,   |   all wound with gold,

__A_TAG_PLACEHOLDER_0__. “The wound staff then,   |   all wrapped in gold,

The hero let   |   between us lie;

The hero let   |   lie between us;

With fire the edge   |   was forged full keen,

With fire, the edge was sharpened sharp,

And with drops of venom   |   the blade was damp.”

And with drops of poison   |   the blade was wet.”

Here it is told in this poem about the death of Sigurth, and the story goes here that they slew him out of doors, but some say that they slew him in the house, on his bed [410]while he was sleeping. But German men say that they killed him out of doors in the forest; and so it is told in the old Guthrun lay, that Sigurth and Gjuki’s sons had ridden to the council-place, and that he was slain there. But in this they are all agreed, that they deceived him in his trust of them, and fell upon him when he was lying down and unprepared. [402]

Here this poem tells the story of Sigurth's death, and the narrative suggests that he was killed outside, but some claim he was murdered in the house, in his bed, while he was sleeping. However, the Germans assert that he was killed outdoors in the forest; and it is recounted in the old Guthrun lay that Sigurth and Gjuki's sons had gone to the meeting place, and that’s where he was slain. But they all agree that they betrayed his trust and attacked him when he was lying down and unprepared. [__A_TAG_PLACEHOLDER_0__] [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[404]

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1. The fragment begins with the last words of line 1 (probably line 3 of the stanza). A few editors ascribe this speech to Gunnar and the next to Brynhild; one reconstruction of lines 1–2 on this probably false assumption runs: “Why art thou, Brynhild, [405]  |   daughter of Buthli, / Scheming ill   |   with evil counsel?” Hogni (German Hagene): brother of Gunnar and Guthrun.

__A_TAG_PLACEHOLDER_0__. The fragment starts with the last words of line 1 (likely line 3 of the stanza). Some editors believe this speech is from Gunnar and the next one is from Brynhild; one version of lines 1–2 based on this probably incorrect assumption goes: “Why are you, Brynhild, [__A_TAG_PLACEHOLDER_0__] | daughter of Buthli, / Plotting ill | with wicked advice?” Hogni (German Hagene): brother of Gunnar and Guthrun.

2. A few editors ascribe this speech to Brynhild. Gunnar, if the stanza is his, has believed Brynhild’s statement regarding Sigurth’s disloyalty to his blood-brother.

__A_TAG_PLACEHOLDER_0__. Some editors attribute this speech to Brynhild. Gunnar, if the stanza is his, has accepted Brynhild’s claim about Sigurth’s betrayal of his blood-brother.

4. The Volsungasaga quotes a somewhat different version of this stanza, in which the snake is called “wood-fish” and the third line adds “beer and many things.” Eating snakes and the flesh of beasts of prey was commonly supposed to induce ferocity. Gotthorm: Grimhild’s son, half-brother to Gunnar. He it is who, not having sworn brotherhood with Sigurth, does the killing.

__A_TAG_PLACEHOLDER_0__. The Volsungasaga mentions a slightly different version of this stanza, where the snake is referred to as “wood-fish” and the third line includes “beer and many things.” It was commonly believed that eating snakes and the flesh of predators would make someone fierce. Gotthorm: Grimhild’s son, Gunnar's half-brother. He is the one who, not having sworn brotherhood with Sigurth, carries out the killing.

5. In the manuscript this stanza stands between stanzas 11 and 12; most editions have made the change here indicated. [406]South of the Rhine: the definite localization of the action shows how clearly all this part of the story was recognized in the North as of German origin. Atli (Attila; cf. introductory note to Gripisspo): the Northern version of the story makes him Brynhild’s brother. His marriage with Guthrun, and his slaying of her brothers, are told in the Atli poems. Regarding the manner of Sigurth’s death cf. concluding prose passage and note. Stanza 13 indicates that after stanza 5 a stanza containing the words of an eagle has been lost.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza is located between stanzas 11 and 12; most editions have made the change mentioned here. [__A_TAG_PLACEHOLDER_0__]South of the Rhine: the specific location of the action shows how clearly this part of the story was recognized in the North as being of German origin. Atli (Attila; see introductory note to Gripisspo): the Northern version of the story portrays him as Brynhild’s brother. His marriage to Guthrun and the killing of her brothers are recounted in the Atli poems. For details about Sigurth’s death, see the concluding prose passage and note. Stanza 13 suggests that a stanza containing the words of an eagle has been lost after stanza 5.

7. One line of this stanza, but it is not clear which, seems to have been lost. The gray horse: Grani.

__A_TAG_PLACEHOLDER_0__. One line of this stanza, but it's unclear which one, appears to be missing. The gray horse: Grani.

8. Some editions set stanzas 8 and 9 after stanza 11; Sijmons marks them as spurious. Buthli: cf. Gripisspo, 19, note.

__A_TAG_PLACEHOLDER_0__. Some editions place stanzas 8 and 9 after stanza 11; Sijmons considers them to be false additions. Buthli: see Gripisspo, 19, note.

9. Goths: a generic term for any German race; cf. Gripisspo, [407]35 and note. Five sons: according to the Volsungasaga Sigurth had only one son, named Sigmund, who was killed at Brynhild’s behest. Sigurtharkvitha en skamma and Guthrunarkvitha II likewise mention only one son. The daughter of Sigurth and Guthrun, Svanhild, marries Jormunrek (Ermanarich).

__A_TAG_PLACEHOLDER_0__. Goths: a general term for any Germanic people; see Gripisspo, [__A_TAG_PLACEHOLDER_0__]35 and note. Five sons: according to the Volsungasaga, Sigurth had only one son, named Sigmund, who was killed at Brynhild’s request. Sigurtharkvitha en skamma and Guthrunarkvitha II also mention only one son. The daughter of Sigurth and Guthrun, Svanhild, marries Jormunrek (Ermanarich).

12. The manuscript marks line 4 as the beginning of a new stanza, and a few editions combine it with stanza 13.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates line 4 as the start of a new stanza, and some versions merge it with stanza 13.

13. Slayer of hosts: warrior (Gunnar). Raven and eagle: cf. note on stanza 5. [408]

__A_TAG_PLACEHOLDER_0__. Slayer of hosts: fighter (Gunnar). Raven and eagle: see note on stanza 5. [__A_TAG_PLACEHOLDER_0__]

16. Mogk regards stanzas 16 and 17 as interpolated, but on not very satisfactory grounds. On the death of Gunnar cf. Drap Niflunga.

__A_TAG_PLACEHOLDER_0__. Mogk considers stanzas 16 and 17 to be added later, but his reasoning isn't very convincing. For information on Gunnar's death, see Drap Niflunga.

17. No gap is indicated in the manuscript, and some editions attach these two lines to stanza 16. Niflungs: this name (German Nibelungen), meaning “sons of the mist,” seems to have belonged originally to the race of supernatural beings to which the treasure belonged in the German version. It was subsequently extended to include the Gjukungs and their Burgundians. This question, of minor importance in the Norse poems, has evoked an enormous amount of learned discussion in connection with the Nibelungenlied. [409]

__A_TAG_PLACEHOLDER_0__. There’s no gap shown in the manuscript, and some editions link these two lines to stanza 16. Niflungs: this name (German Nibelungen), meaning “sons of the mist,” seems to have originally referred to the race of supernatural beings associated with the treasure in the German version. It was later expanded to include the Gjukungs and their Burgundian allies. This question, which is of minor importance in the Norse poems, has sparked a huge amount of scholarly debate regarding the Nibelungenlied. [__A_TAG_PLACEHOLDER_0__]

18. Footprints: the actual mingling of blood in one another’s footprints was a part of the ceremony of swearing blood-brotherhood, the oath which Gunnar and Sigurth had taken. The fourth line refers to the fact that Sigurth had won many battles for Gunnar.

__A_TAG_PLACEHOLDER_0__. Footprints: the actual mixing of blood in each other’s footprints was part of the ceremony of swearing blood-brotherhood, the oath that Gunnar and Sigurth had taken. The fourth line refers to the fact that Sigurth had won many battles for Gunnar.

20. Regarding the sword episode cf. Gripisspo, 41 and note. Wound-staff: sword.

__A_TAG_PLACEHOLDER_0__. About the sword episode, see Gripisspo, 41 and note. Wound-staff: sword.

Prose. This prose passage has in the manuscript, written in red, the phrase “Of Sigurth’s Death” as a heading; there is no break between it and the prose introducing Guthrunarkvitha I, the heading for that poem coming just before stanza 1. This note is of special interest as an effort at real criticism. The annotator, troubled by the two versions of the story of Sigurth’s death, feels it incumbent on him not only to point the fact out, but to cite the authority of “German men” for the form which appears [410]in this poem. The alternative version, wherein Sigurth is slain in bed, appears in Sigurtharkvitha en skamma, Guthrunarhvot, and Hamthesmol, and also in the Volsungasaga, which tells how Gotthorm tried twice to kill Sigurth but was terrified by the brightness of his eyes, and succeeded only after the hero had fallen asleep. That the annotator was correct in citing German authority for the slaying of Sigurth in the forest is shown by the Nibelungenlied and the Thithrekssaga. The “old” Guthrun lay is unquestionably Guthrunarkvitha II. [411]

Prose. In the manuscript, the phrase “Of Sigurth’s Death” is written in red as a heading; there’s no gap between it and the prose that introduces Guthrunarkvitha I, with that poem's heading appearing just before stanza 1. This note is particularly interesting as a genuine critique. The annotator, grappling with the two versions of Sigurth’s death, feels it’s important not only to point this out but also to reference the “German men” to support the version presented [__A_TAG_PLACEHOLDER_0__] in this poem. The alternate version, where Sigurth is killed in bed, can be found in Sigurtharkvitha en skamma, Guthrunarhvot, and Hamthesmol, as well as in the Volsungasaga, which recounts how Gotthorm attempted to kill Sigurth twice but was frightened by the brilliance of his eyes and only succeeded after the hero had fallen asleep. The annotator was right to reference German sources regarding Sigurth’s death in the forest, as supported by the Nibelungenlied and the Thithrekssaga. The “old” Guthrun lay is unmistakably Guthrunarkvitha II. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

GUTHRUNARKVITHA I

The First Lay of Guthrun

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The First Lay of Guthrun, entitled in the Codex Regius simply Guthrunarkvitha, immediately follows the remaining fragment of the “long” Sigurth lay in that manuscript. Unlike the poems dealing with the earlier part of the Sigurth cycle, the so-called Reginsmol, Fafnismol, and Sigrdrifumol, it is a clear and distinct unit, apparently complete and with few and minor interpolations. It is also one of the finest poems in the entire collection, with an extraordinary emotional intensity and dramatic force. None of its stanzas are quoted elsewhere, and it is altogether probable that the compilers of the Volsungasaga were unfamiliar with it, for they do not mention the sister and daughter of Gjuki who appear in this poem, or Herborg, “queen of the Huns” (stanza 6).

The First Lay of Guthrun, referred to in the Codex Regius simply as Guthrunarkvitha, comes right after the remaining fragment of the long Sigurth lay in that manuscript. Unlike the poems that focus on the earlier part of the Sigurth cycle, known as Reginsmol, Fafnismol, and Sigrdrifumol, this piece is a clear and distinct unit, apparently complete with only a few minor additions. It is also one of the best poems in the entire collection, showcasing extraordinary emotional depth and dramatic power. None of its stanzas are quoted anywhere else, and it’s very likely that the creators of the Volsungasaga were not familiar with it, as they do not mention Gjuki’s sister and daughter who are featured in this poem, or Herborg, “queen of the Huns” (stanza 6).

The lament of Guthrun (Kriemhild) is almost certainly among the oldest parts of the story. The lament was one of the earliest forms of poetry to develop among the Germanic peoples, and I suspect, though the matter is not susceptible of proof, that the lament of Sigurth’s wife had assumed lyric form as early as the seventh century, and reached the North in that shape rather than in prose tradition (cf. Guthrunarkvitha II, introductory note). We find traces of it in the seventeenth Aventiure of the Nibelungenlied, and in the poems of the Edda it dominates every appearance of Guthrun. The two first Guthrun lays (I and II) are both laments, one for Sigurth’s death and the other including both that and the lament over the slaying of her brothers; the lament theme is apparent in the third Guthrun lay and in the Guthrunarhvot.

The lament of Guthrun (Kriemhild) is probably one of the oldest parts of the story. This lament was one of the first forms of poetry to develop among the Germanic peoples, and I believe, though it can't be proven, that the lament of Sigurth’s wife took on a lyrical form as early as the seventh century, reaching the North in that form rather than through prose tradition (cf. Guthrunarkvitha II, introductory note). We can see traces of it in the seventeenth Aventiure of the Nibelungenlied, and in the poems of the Edda, it dominates every appearance of Guthrun. The first two Guthrun lays (I and II) are both laments—one for Sigurth’s death and the other combining that lament with one for her slain brothers; the lament theme is clear in the third Guthrun lay and in the Guthrunarhvot.

In their present forms the second Guthrun lay is undoubtedly older than the first; in the prose following the Brot the annotator refers to the “old” Guthrun lay in terms which can apply only to the second one in the collection. The shorter and “first” lay, therefore, can scarcely have been composed much before the year 1000, and may be somewhat later. The poet appears to have known and made use of the older lament; stanza 17, for example, is a close parallel to stanza 2 of the earlier poem; but whatever material he used he fitted into a definite poetic scheme of his [412]own. And while this particular poem is, as critics have generally agreed, one of the latest of the collection, it probably represents one of the earliest parts of the entire Sigurth cycle to take on verse form.

In their current forms, the second Guthrun lay is definitely older than the first; in the prose that follows the Brot, the annotator mentions the “old” Guthrun lay in a way that can only refer to the second one in the collection. Therefore, the shorter and “first” lay must have been composed not long before the year 1000 and could be a bit later. The poet seems to have been aware of and used the older lament; stanza 17, for instance, closely resembles stanza 2 of the earlier poem. However, whatever material he used, he adapted it into a specific poetic structure of his own. And while this particular poem is generally agreed by critics to be one of the latest in the collection, it likely represents one of the earliest parts of the entire Sigurth cycle to be put into verse form.

Guthrunarkvitha I, so far as the narrative underlying it is concerned, shows very little northern addition to the basic German tradition. Brynhild appears only as Guthrun’s enemy and the cause of Sigurth’s death; the three women who attempt to comfort Guthrun, though unknown to the southern stories, seem to have been rather distinct creations of the poet’s than traditional additions to the legend. Regarding the relations of the various elements in the Sigurth cycle, cf. introductory note to Gripisspo.

Guthrunarkvitha I, in terms of the story it tells, doesn’t add much from the northern perspective to the basic German tradition. Brynhild only shows up as Guthrun’s foe and the reason for Sigurth’s death; the three women who try to console Guthrun, while not found in the southern tales, appear to be more original inventions of the poet rather than traditional expansions of the legend. For details on how the different elements in the Sigurth cycle relate to each other, see the introductory note to Gripisspo.

[__A_TAG_PLACEHOLDER_0__]

Guthrun sat by the dead Sigurth; she did not weep as other women, but her heart was near to bursting with grief. The men and women came to her to console her, but that was not easy to do. It is told of men that Guthrun had eaten of Fafnir’s heart, and that she understood the speech of birds. This is a poem about Guthrun.

Guthrun sat beside the dead Sigurth; she didn't cry like other women, but her heart felt like it was about to break with sorrow. The men and women came to her to offer comfort, but it wasn't easy for them. It’s said that Guthrun had eaten Fafnir’s heart and could understand the language of birds. This is a poem about Guthrun.

1. Then did Guthrun   |   think to die,

__A_TAG_PLACEHOLDER_0__. Then Guthrun considered death,

When she by Sigurth   |   sorrowing sat;

When she sat sorrowfully by Sigurth;

Tears she had not,   |   nor wrung her hands,

Tears she did not have,   |   nor did she wring her hands,

Nor ever wailed,   |   as other women.

Nor did she ever wail,   |   like other women.

[413]

[__A_TAG_PLACEHOLDER_0__]

2. To her the warriors   |   wise there came,

Smart warriors came to her,

Longing her heavy   |   woe to lighten;

Longing for her heavy sorrow to lighten;

Grieving could not   |   Guthrun weep,

Grieving could not | Guthrun weep,

So sad her heart,   |   it seemed, would break.

So sad was her heart, it seemed like it would break.

3. Then the wives   |   of the warriors came,

3. Then the wives of the warriors came,

Gold-adorned,   |   and Guthrun sought;

Gold-adorned, and Guthrun searched;

Each one then   |   of her own grief spoke,

Each one then spoke of her own grief,

The bitterest pain   |   she had ever borne.

The most intense pain she had ever experienced.

4. Then spake Gjaflaug,   |   Gjuki’s sister:

__A_TAG_PLACEHOLDER_0__. Then Gjaflaug, Gjuki's sister, said:

“Most joyless of all   |   on earth am I;

“Most joyless of all on earth am I;

Husbands five   |   were from me taken,

Husbands five   |   were taken from me,

(Two daughters then,   |   and sisters three,)

(Two daughters then,   |   and three sisters,)

Brothers eight,   |   yet I have lived.”

Brothers eight, yet I have lived.

5. Grieving could not   |   Guthrun weep,

__A_TAG_PLACEHOLDER_0__. Grieving could not  |  Guthrun weep,

Such grief she had   |   for her husband dead,

Such grief she had for her dead husband,

And so grim her heart   |   by the hero’s body.

And so heavy her heart   |   by the hero’s body.

6. Then Herborg spake,   |   the queen of the Huns: [414]

__A_TAG_PLACEHOLDER_0__. Then Herborg spoke,   |   the queen of the Huns: [__A_TAG_PLACEHOLDER_0__]

“I have a greater   |   grief to tell;

“I have a greater | grief to share;

My seven sons   |   in the southern land,

My seven sons | in the southern land,

And my husband, fell   |   in fight all eight.

And my husband fell in battle all eight.

(Father and mother   |   and brothers four

(Father and mother   |   and four brothers

Amid the waves   |   the wind once smote,

Amid the waves   |   the wind once struck,

And the seas crashed through   |   the sides of the ship.)

And the waves crashed against the sides of the ship.)

7. “The bodies all   |   with my own hands then

__A_TAG_PLACEHOLDER_0__. “I buried all the bodies myself then

I decked for the grave,   |   and the dead I buried;

I prepared for the grave,   |   and I buried the dead;

A half-year brought me   |   this to bear;

A six-month period led me to this conclusion;

And no one came   |   to comfort me.

And no one came to comfort me.

8. “Then bound I was,   |   and taken in war,

8. “Then I was captured and held as a prisoner of war,

A sorrow yet   |   in the same half-year;

A sadness yet | in the same six months;

They bade me deck   |   and bind the shoes

They asked me to put on and tie the shoes.

Of the wife of the monarch   |   every morn.

Of the king's wife   |   every morning.

9. “In jealous rage   |   her wrath she spake,

__A_TAG_PLACEHOLDER_0__. “In a fit of jealousy   |   she expressed her anger,

And beat me oft   |   with heavy blows; [415]

And often hit me with hard blows; [__A_TAG_PLACEHOLDER_0__]

Never a better   |   lord I knew,

Never a better lord I knew,

And never a woman   |   worse I found.”

And I found no woman worse.

10. Grieving could not   |   Guthrun weep,

__A_TAG_PLACEHOLDER_0__. Grieving could not   |   Guthrun weep,

Such grief she had   |   for her husband dead,

Such grief she had for her dead husband,

And so grim her heart   |   by the hero’s body.

And so heavy was her heart by the hero’s body.

11. Then spake Gollrond,   |   Gjuki’s daughter:

__A_TAG_PLACEHOLDER_0__. Then Gollrond spoke,   |   Gjuki’s daughter:

“Thy wisdom finds not,   |   my foster-mother,

“Your wisdom doesn't find,   |   my foster-mother,

The way to comfort   |   the wife so young.”

The way to comfort the young wife.

She bade them uncover   |   the warrior’s corpse.

She asked them to uncover the warrior's corpse.

12. The shroud she lifted   |   from Sigurth, laying

__A_TAG_PLACEHOLDER_0__. The veil she raised  |   from Sigurth, placing

His well-loved head   |   on the knees of his wife:

His beloved head on his wife's knees:

“Look on thy loved one,   |   and lay thy lips

“Look at your loved one,   |   and lay your lips

To his as if yet   |   the hero lived.”

To his as if yet   |   the hero lived.”

13. Once alone   |   did Guthrun look;

13. Once he was alone, Guthrun looked;

His hair all clotted   |   with blood beheld,

His hair all matted with blood.

The blinded eyes   |   that once shone bright,

The blind eyes   |   that used to shine bright,

The hero’s breast   |   that the blade had pierced.

The hero's chest   |   where the blade had struck.

14. Then Guthrun bent,   |   on her pillow bowed, [416]

__A_TAG_PLACEHOLDER_0__. Then Guthrun leaned down,   |   resting her head on the pillow, [__A_TAG_PLACEHOLDER_0__]

Her hair was loosened,   |   her cheek was hot,

Her hair was down,   |   her cheek was flushed,

And the tears like raindrops   |   downward ran.

And the tears flowed down like rain.

15. Then Guthrun, daughter   |   of Gjuki, wept,

__A_TAG_PLACEHOLDER_0__. Then Guthrun, daughter   |   of Gjuki, cried,

And through her tresses   |   flowed the tears;

And her hair was streaming with tears;

And from the court   |   came the cry of geese,

And from the court   |   came the honking of geese,

The birds so fair   |   of the hero’s bride.

The beautiful birds of the hero’s bride.

16. Then Gollrond spake,   |   the daughter of Gjuki:

__A_TAG_PLACEHOLDER_0__. Then Gollrond spoke,   |   the daughter of Gjuki:

“Never a greater   |   love I knew

“Never have I known a greater love.”

Than yours among   |   all men on earth;

Than yours among all men on earth;

Nowhere wast happy,   |   at home or abroad,

Nowhere was happy, | at home or abroad,

Sister mine,   |   with Sigurth away.”

Sister, with Sigurth missing.

Guthrun spake:

Guthrun said:

17. “So was my Sigurth   |   o’er Gjuki’s sons

__A_TAG_PLACEHOLDER_0__. “So was my Sigurth   |   over Gjuki’s sons

As the spear-leek grown   |   above the grass,

As the spear-leek grows above the grass,

Or the jewel bright   |   borne on the band,

Or the bright jewel   |   carried on the band,

The precious stone   |   that princes wear.

The precious gem   |   that royalty wears.

18. “To the leader of men   |   I loftier seemed

__A_TAG_PLACEHOLDER_0__. “To the leader of men   |   I appeared more elevated

And higher than all   |   of Herjan’s maids; [417]

And above all of Herjan's maids; [__A_TAG_PLACEHOLDER_0__]

As little now   |   as the leaf I am

As small now   |   as the leaf I am

On the willow hanging;   |   my hero is dead.

On the willow hanging;   |   my hero is gone.

19. “In his seat, in his bed,   |   I see no more

19. “In his seat, in his bed, | I see no more

My heart’s true friend;   |   the fault is theirs,

My heart’s true friend;   |   the fault is theirs,

The sons of Gjuki,   |   for all my grief,

The sons of Gjuki,   |   for all my grief,

That so their sister   |   sorely weeps.

That their sister is really upset and crying.

20. “So shall your land   |   its people lose

__A_TAG_PLACEHOLDER_0__. “This is how your land will lose its people.”

As ye have kept   |   your oaths of yore;

As you have kept your oaths from the past;

Gunnar, no joy   |   the gold shall give thee,

Gunnar, no joy   |   the gold will give you,

(The rings shall soon   |   thy slayers be,)

(The rings will soon be your killers,)

Who swarest oaths   |   with Sigurth once.

Who swore oaths with Sigurth once.

21. “In the court was greater   |   gladness then

__A_TAG_PLACEHOLDER_0__. “In the court, there was more joy than

The day my Sigurth   |   Grani saddled,

The day my Sigurth | Grani got saddled,

And went forth Brynhild’s   |   hand to win,

And went out Brynhild’s hand to win,

That woman ill,   |   in an evil hour.”

That woman is sick, at a bad time.

22. Then Brynhild spake,   |   the daughter of Buthli:

__A_TAG_PLACEHOLDER_0__. Then Brynhild spoke,   |   the daughter of Buthli:

“May the witch now husband   |   and children want

“May the witch now have a husband and children want”

Who, Guthrun, loosed   |   thy tears at last,

Who, Guthrun, let your tears fall at last,

And with magic today   |   hath made thee speak.”

And with magic today | has made you speak.”

[418]

[__A_TAG_PLACEHOLDER_0__]

23. Then Gollrond, daughter   |   of Gjuki, spake:

__A_TAG_PLACEHOLDER_0__. Then Gollrond, daughter of Gjuki, said:

“Speak not such words,   |   thou hated woman;

“Don’t say things like that, you hated woman;

Bane of the noble   |   thou e’er hast been,

Bane of the noble | you have always been,

(Borne thou art   |   on an evil wave,

(Borne thou art | on an evil wave,

Sorrow hast brought   |   to seven kings,)

Sorrow has brought | to seven kings,)

And many a woman   |   hast loveless made.”

And many a woman has been left without love.

24. Then Brynhild, daughter   |   of Buthli, spake:

__A_TAG_PLACEHOLDER_0__. Then Brynhild, daughter of Buthli, spoke:

“Atli is guilty   |   of all the sorrow,

“Atli is guilty   |   of all the sorrow,

(Son of Buthli   |   and brother of mine,)

(Son of Buthli   |   and my brother,)

When we saw in the hall   |   of the Hunnish race

When we saw in the hall of the Hunnish race

The flame of the snake’s bed   |   flash round the hero;

The snake's bed of flames flashes around the hero;

(For the journey since   |   full sore have I paid,

(For the journey since   |   full sore have I paid,

And ever I seek   |   the sight to forget.)”

And I keep looking for the sight to forget.

[419]

[__A_TAG_PLACEHOLDER_0__]

25. By the pillars she stood,   |   and gathered her strength,

25. She stood by the pillars,   |   and gathered her strength,

From the eyes of Brynhild,   |   Buthli’s daughter,

From the perspective of Brynhild, Buthli's daughter,

Fire there burned,   |   and venom she breathed,

Fire burned there,   |   and she breathed poison,

When the wounds she saw   |   on Sigurth then.

When she saw the wounds on Sigurth then.

Guthrun went thence away to a forest in the waste, and journeyed all the way to Denmark, and was there seven half-years with Thora, daughter of Hokon. Brynhild would not live after Sigurth. She had eight of her thralls slain and five serving-women. Then she killed herself with a sword, as is told in the Short Lay of Sigurth. [411]

Guthrun then went to a remote forest and traveled all the way to Denmark, where she stayed for seven and a half years with Thora, Hokon's daughter. Brynhild couldn't bear to live after Sigurth. She had eight of her thralls killed and five serving women as well. Then she took her own life with a sword, as mentioned in the Short Lay of Sigurth. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[412]

[__A_TAG_PLACEHOLDER_0__]

Prose. The prose follows the concluding prose of the Brot without indication of a break, the heading standing immediately before stanza 1. Fafnir’s heart: this bit of information is here quite without point, and it is nowhere else stated that Guthrun understood the speech of birds. In the Volsungasaga it is stated that Sigurth gave Guthrun some of Fafnir’s heart to eat, “and thereafter she was much grimmer than before, and wiser.”

Prose. The prose continues right after the ending prose of the Brot with no sign of a break, the heading appearing immediately before stanza 1. Fafnir’s heart: this piece of information seems irrelevant here, and it’s not mentioned anywhere else that Guthrun understood the language of birds. In the Volsungasaga, it says that Sigurth gave Guthrun some of Fafnir’s heart to eat, “and after that she became much grimmer than before, and wiser.”

1. This stanza seems to be based on Guthrunarkvitha II, 11–12. [413]

__A_TAG_PLACEHOLDER_0__. This stanza appears to be inspired by Guthrunarkvitha II, 11–12. [__A_TAG_PLACEHOLDER_0__]

4. Gjaflaug: nothing further is known of this aunt of Guthrun, or of the many relatives whom she has lost. Very likely she is an invention of the poet’s, for it seems improbable that otherwise all further trace of her should have been lost. Line 4 has been marked by many editors as spurious.

__A_TAG_PLACEHOLDER_0__. Gjaflaug: nothing more is known about this aunt of Guthrun or the many relatives she has lost. It's likely that she was created by the poet, as it seems unlikely that all evidence of her would have disappeared otherwise. Many editors have marked line 4 as fake.

5. Some editors assume the loss of a line, after either line 1 or line 3. I prefer to believe that here and in stanza 10 the poet knew exactly what he was doing, and that both stanzas are correct.

__A_TAG_PLACEHOLDER_0__. Some editors think there’s a missing line after either line 1 or line 3. I’d rather believe that here and in stanza 10, the poet knew exactly what he was doing, and that both stanzas are complete.

6. Herborg: neither she nor her sorrows are elsewhere mentioned, [414]nor is it clear what a “queen of the Huns” is doing in Gunnar’s home, but the word “Hun” has little definiteness of meaning in the poems, and is frequently applied to Sigurth himself (cf. note on stanza 24). Herborg appears from stanza 11 to have been the foster-mother of Gollrond, Guthrun’s sister. Lines 5–7 may be interpolations, or may form a separate stanza.

__A_TAG_PLACEHOLDER_0__. Herborg: neither she nor her troubles are mentioned anywhere else, [__A_TAG_PLACEHOLDER_0__] and it's not clear what a “queen of the Huns” is doing in Gunnar’s house, but the term “Hun” is vague in meaning in the poems and is often used to refer to Sigurth himself (see note on stanza 24). Herborg seems from stanza 11 to have been Gollrond’s foster-mother, who is Guthrun’s sister. Lines 5–7 might be inserted material or could be part of a separate stanza.

7. Lines 1 and 2 stand in reversed order in the manuscript; I have followed Gering’s conjectural transposition.

__A_TAG_PLACEHOLDER_0__. Lines 1 and 2 are switched in the manuscript; I've gone with Gering’s suggested reordering.

9. Herborg implies that the queen’s jealousy was not altogether misplaced. [415]

__A_TAG_PLACEHOLDER_0__. Herborg suggests that the queen’s jealousy was somewhat justified. [__A_TAG_PLACEHOLDER_0__]

10. Cf. stanza 5 and note. The manuscript abbreviates to first letters.

__A_TAG_PLACEHOLDER_0__. See stanza 5 and the note. The manuscript shortens to initial letters.

11. Gollrond: not elsewhere mentioned. Line 4 looks like an interpolation replacing a line previously lost.

__A_TAG_PLACEHOLDER_0__. Gollrond: not mentioned anywhere else. Line 4 seems to be an addition replacing a line that was lost.

12. The manuscript indicates line 3 as the beginning of a stanza, and some editors have attempted to follow this arrangement.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza, and some editors have tried to stick to this layout.

14. Many editors assume the loss of a line from this stanza. [416]

__A_TAG_PLACEHOLDER_0__. Many editors think a line is missing from this stanza. [__A_TAG_PLACEHOLDER_0__]

15. The word here translated “tresses” is sheer guesswork. The detail of the geese is taken from Sigurtharkvitha en skamma, 29, line 3 here being identical with line 4 of that stanza.

__A_TAG_PLACEHOLDER_0__. The word translated as “tresses” here is just a guess. The detail about the geese comes from Sigurtharkvitha en skamma, 29, with line 3 being exactly the same as line 4 of that stanza.

16. Line 1, abbreviated in the manuscript, very likely should be simply “Gollrond spake.”

__A_TAG_PLACEHOLDER_0__. Line 1, shortened in the manuscript, probably should just read “Gollrond said.”

17. Cf. Guthrunarkvitha II, 2. The manuscript does not name the speaker, and some editions have a first line, “Then Guthrun spake,   |   the daughter of Gjuki.”

__A_TAG_PLACEHOLDER_0__. Cf. Guthrunarkvitha II, 2. The manuscript doesn’t mention who is speaking, and some versions start with the line, “Then Guthrun said,   |   the daughter of Gjuki.”

18. Herjan: Othin; his maids are the Valkyries; cf. Voluspo, 31, where the same phrase is used. [417]

__A_TAG_PLACEHOLDER_0__. Herjan: Othin; his attendants are the Valkyries; see Voluspo, 31, where the same term is used. [__A_TAG_PLACEHOLDER_0__]

20. Line 4 looks like an interpolation (cf. Fafnismol, 9, line 4), but some editors instead have queried line 5. How Guthrun’s curse is fulfilled is told in the subsequent poems. That desire for Sigurth’s treasure (the gold cursed by Andvari and Loki) was one of the motives for his murder is indicated in Sigurtharkvitha en skamma (stanza 16), and was clearly a part of the German tradition, as it appears in the Nibelungenlied.

__A_TAG_PLACEHOLDER_0__. Line 4 seems to be an addition (see Fafnismol, 9, line 4), but some editors have questioned line 5 instead. The way Guthrun’s curse is fulfilled is described in the poems that follow. The desire for Sigurth’s treasure (the gold cursed by Andvari and Loki) was one of the reasons behind his murder, which is noted in Sigurtharkvitha en skamma (stanza 16), and this theme is clearly part of the German tradition, as seen in the Nibelungenlied.

21. Cf. Gripisspo, 35 and note.

__A_TAG_PLACEHOLDER_0__. See Gripisspo, 35 and note.

22. Line 1 is abbreviated in the manuscript. [418]

__A_TAG_PLACEHOLDER_0__. Line 1 is shortened in the manuscript. [__A_TAG_PLACEHOLDER_0__]

23. Editors are agreed that this stanza shows interpolations, but differ as to the lines to reject. Line 4 (literally “every wave of ill-doing drives thee”) is substantially a proverb, and line 5, with its apparently meaningless reference to “seven” kings, may easily have come from some other source.

__A_TAG_PLACEHOLDER_0__. Editors agree that this stanza contains added lines, but they disagree on which lines to discard. Line 4 (literally “every wave of wrongdoing pushes you”) is essentially a proverb, and line 5, with its seemingly irrelevant mention of “seven” kings, may have originated from another source.

24. The stanza is obviously in bad shape; perhaps it represents two separate stanzas, or perhaps three of the lines are later additions. Atli: Brynhild here blames her brother, following the frequent custom of transferring the responsibility for a murder (cf. Helgakvitha Hundingsbana II, 33), because he compelled her to marry Gunnar against her will, an idea which the poet seems to have gained from Sigurtharkvitha en skamma, 32–39. These stanzas represent an entirely different version of the story, wherein Atli, attacked by Gunnar and Sigurth, buys them off by giving Gunnar his sister, Brynhild, as wife. He seems to have induced the latter to marry Gunnar by falsely telling her that Gunnar was Sigurth (a rationalistic explanation of the interchange of forms described in the Volsungasaga and Gripisspo, 37–39). In the present stanza Atli is made to do this out of desire for Sigurth’s treasure. Hunnish race: this may be [419]merely an error (neither Gunnar nor Sigurth could properly have been connected in any way with Atli and his Huns), based on Sigurtharkvitha en skamma, wherein Sigurth appears more than once as the “Hunnish king.” The North was very much in the dark as to the differences between Germans, Burgundians, Franks, Goths, and Huns, and used the words without much discrimination. On the other hand, it may refer to Sigurth’s appearance when, adorned with gold, he came with Gunnar to besiege Atli, in the alternative version of the story just cited (cf. Sigurtharkvitha en skamma, 36). Flame of the snake’s bed: gold, so called because serpents and dragons were the traditional guardians of treasure, on which they lay.

__A_TAG_PLACEHOLDER_0__. The stanza is clearly in poor condition; it might represent two separate stanzas, or perhaps three of the lines were added later. Atli: Brynhild here blames her brother, following the common practice of shifting the blame for a murder (cf. Helgakvitha Hundingsbana II, 33), since he forced her to marry Gunnar against her will. This concept seems to have come from Sigurtharkvitha en skamma, 32–39. These stanzas present a completely different version of the story, where Atli, attacked by Gunnar and Sigurth, tries to appease them by offering Gunnar his sister, Brynhild, as a wife. He appears to have persuaded her to marry Gunnar by falsely claiming that Gunnar was Sigurth (a rational explanation for the name changes described in the Volsungasaga and Gripisspo, 37–39). In the current stanza, Atli is motivated by a desire for Sigurth’s treasure. Hunnish race: this may simply be [__A_TAG_PLACEHOLDER_0__] an error (neither Gunnar nor Sigurth could meaningfully be connected to Atli and his Huns), based on Sigurtharkvitha en skamma, where Sigurth appears multiple times as the “Hunnish king.” The North had a limited understanding of the distinctions between Germans, Burgundians, Franks, Goths, and Huns, using the terms interchangeably. On the other hand, it might refer to Sigurth’s appearance when, adorned with gold, he came with Gunnar to lay siege to Atli in the alternate version of the story just mentioned (cf. Sigurtharkvitha en skamma, 36). Flame of the snake’s bed: gold, referred to this way because serpents and dragons were the traditional guardians of treasure, resting upon it.

Prose. The manuscript has “Gunnar” in place of “Guthrun,” but this is an obvious mistake; the entire prose passage is based on Guthrunarkvitha II, 14. The Volsungasaga likewise merely paraphrases Guthrunarkvitha II, and nothing further is known of Thora or her father, Hokon, though many inconclusive attempts have been made to identify the latter. Brynhild: the story of her death is told in great detail in the latter part of Sigurtharkvitha en skamma. [420]

Prose. The manuscript has “Gunnar” instead of “Guthrun,” but that's clearly a mistake; the entire prose section is based on Guthrunarkvitha II, 14. The Volsungasaga similarly just paraphrases Guthrunarkvitha II, and nothing more is known about Thora or her father, Hokon, although many inconclusive attempts have been made to identify him. Brynhild: her death story is elaborately told in the later part of Sigurtharkvitha en skamma. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

SIGURTHARKVITHA EN SKAMMA

The Short Lay of Sigurth

[__A_TAG_PLACEHOLDER_0__]

Intro Note

Guthrunarkvitha I is immediately followed in the Codex Regius by a long poem which in the manuscript bears the heading “Sigurtharkvitha,” but which is clearly referred to in the prose link between it and Guthrunarkvitha I as the “short” Lay of Sigurth. The discrepancy between this reference and the obvious length of the poem has led to many conjectures, but the explanation seems to be that the “long” Sigurth lay, of which the Brot is presumably a part, was materially longer even than this poem. The efforts to reduce the “short” Sigurth lay to dimensions which would justify the appellation in comparison with other poems in the collection, either by separating it into two poems or by the rejection of many stanzas as interpolations, have been utterly inconclusive.

Guthrunarkvitha I is immediately followed in the Codex Regius by a lengthy poem that is titled “Sigurtharkvitha” in the manuscript, but is referred to in the prose connecting it to Guthrunarkvitha I as the “short” Lay of Sigurth. The difference between this reference and the clear length of the poem has led to various theories, but it seems the “long” Sigurth lay, of which the Brot is presumably a part, was significantly longer than this poem. Attempts to reduce the “short” Sigurth lay to a size that would justify the name compared to other poems in the collection, either by splitting it into two poems or by dismissing many stanzas as later additions, have been completely inconclusive.

Although there are probably several interpolated passages, and indications of omissions are not lacking, the poem as we now have it seems to be a distinct and coherent unit. From the narrative point of view it leaves a good deal to be desired, for the reason that the poet’s object was by no means to tell a story, with which his hearers were quite familiar, but to use the narrative simply as the background for vivid and powerful characterization. The lyric element, as Mogk points out, overshadows the epic throughout, and the fact that there are frequent confusions of narrative tradition does not trouble the poet at all.

Even though there are likely several added sections and signs of missing parts, the poem as we have it now appears to be a distinct and cohesive piece. From a storytelling perspective, it leaves a lot to be desired because the poet's goal was not to tell a story, which his audience already knew, but to use the narrative mainly as a backdrop for strong and vivid characterization. The lyrical aspect, as Mogk notes, dominates the epic throughout, and the frequent mix-ups in narrative tradition don't seem to bother the poet at all.

The material on which the poem was based seems to have existed in both prose and verse form; the poet was almost certainly familiar with some of the other poems in the Eddic collection, with poems which have since been lost, and with the narrative prose traditions which never fully assumed verse form. The fact that he seems to have known and used the Oddrunargratr, which can hardly have been composed before 1050, and that in any case he introduces the figure of Oddrun, a relatively late addition to the story, dates the poem as late as the end of the eleventh century, or even the first half of the twelfth. There has been much discussion as to where it was composed, the debate centering chiefly on the reference to glaciers (stanza 8). There is something to be said in favor of Greenland [421]as the original home of the poem (cf. introductory note to Atlakvitha), but the arguments for Iceland are even stronger; Norway in this case is practically out of the question.

The material that inspired the poem seems to have existed in both prose and verse; the poet was likely familiar with some of the other poems in the Eddic collection, as well as with lost poems and narrative prose traditions that never fully turned into verse. The fact that he appears to have known and used the Oddrunargratr, which could not have been composed before 1050, and that he includes the character of Oddrun, a relatively recent addition to the story, suggests that the poem dates to the end of the eleventh century or even the first half of the twelfth. There has been a lot of debate about where it was composed, mainly focused on the mention of glaciers (stanza 8). There are valid arguments for Greenland being the original location of the poem (see introductory note to Atlakvitha), but the arguments for Iceland are even stronger; Norway is almost certainly not the place of origin.

The narrative features of the poem are based on the German rather than the Norse elements of the story (cf. introductory note to Gripisspo), but the poet has taken whatever material he wanted without much discrimination as to its source. By the year 1100 the story of Sigurth, with its allied legends, existed throughout the North in many and varied forms, and the poem shows traces of variants of the main story which do not appear elsewhere.

The narrative elements of the poem are more influenced by German rather than Norse aspects of the story (see introductory note to Gripisspo), but the poet borrowed from various sources without much regard for their origins. By the year 1100, the tale of Sigurth and its related legends were widely known across the North in many different versions, and the poem contains hints of alternative versions of the main story that aren’t found elsewhere.

[__A_TAG_PLACEHOLDER_0__]

1. Of old did Sigurth   |   Gjuki seek,

__A_TAG_PLACEHOLDER_0__. Long ago, Sigurth   |   Gjuki was on a quest,

The Volsung young,   |   in battles victor;

The Volsung youth, in battles victorious;

Well he trusted   |   the brothers twain,

Well, he trusted the two brothers,

With mighty oaths   |   among them sworn.

With powerful promises among them made.

2. A maid they gave him,   |   and jewels many,

2. They gave him a maid,   |   and lots of jewels,

Guthrun the young,   |   the daughter of Gjuki;

Guthrun the young,   |   the daughter of Gjuki;

They drank and spake   |   full many a day,

They drank and talked for many days,

Sigurth the young   |   and Gjuki’s sons.

Sigurth the Young | and Gjuki’s sons.

3. Thereafter went they   |   Brynhild to woo,

__A_TAG_PLACEHOLDER_0__. After that, they went to court Brynhild,

And so with them   |   did Sigurth ride, [422]

And so Sigurth rode with them, [__A_TAG_PLACEHOLDER_0__]

The Volsung young,   |   in battle valiant,—

The young Volsung, | brave in battle,—

Himself would have had her   |   if all he had seen.

Himself would have had her | if all he had seen.

4. The southern hero   |   his naked sword,

__A_TAG_PLACEHOLDER_0__. The southern hero | his bare sword,

Fair-flashing, let   |   between them lie;

Fair-flashing, let   |   between them lie;

(Nor would he come   |   the maid to kiss;)

(Nor would he come  |   the maid to kiss;)

The Hunnish king   |   in his arms ne’er held

The Hunnish king   |   never held in his arms

The maiden he gave   |   to Gjuki’s sons.

The girl he gave to Gjuki’s sons.

5. Ill she had known not   |   in all her life,

__A_TAG_PLACEHOLDER_0__. She would have been better off if she hadn't known anything in her whole life,

And nought of the sorrows   |   of men she knew;

And she knew nothing of the sorrows of men;

Blame she had not,   |   nor dreamed she should bear it,

Blame she didn’t have,   |   nor did she ever think she would have to carry it,

But cruel the fates   |   that among them came.

But the fates were cruel that among them arrived.

[423]

[__A_TAG_PLACEHOLDER_0__]

6. By herself at the end   |   of day she sat,

__A_TAG_PLACEHOLDER_0__. Alone at the end of the day, she sat,

And in open words   |   her heart she uttered:

And in plain words | her heart she expressed:

“I shall Sigurth have,   |   the hero young,

“I shall Sigurth have,   |   the hero young,

E’en though within   |   my arms he die.

Even though he dies in my arms.

7. “The word I have spoken;   |   soon shall I rue it,

__A_TAG_PLACEHOLDER_0__. “What I said; | I’ll regret it soon,

His wife is Guthrun,   |   and Gunnar’s am I;

His wife is Guthrun, and I'm Gunnar's;

Ill Norns set for me   |   long desire.”

Ill Norns set for me   |   long desire.”

8. Oft did she go   |   with grieving heart

__A_TAG_PLACEHOLDER_0__. Often she went   |   with a heavy heart

On the glacier’s ice   |   at even-tide,

On the glacier's ice   |   at dusk,

When Guthrun then   |   to her bed was gone,

When Guthrun finally went to her bed,

And the bedclothes Sigurth   |   about her laid.

And the bedclothes Sigurth laid over her.

9. “(Now Gjuki’s child   |   to her lover goes,) [424]

__A_TAG_PLACEHOLDER_0__. “(Now Gjuki’s child   |   goes to her lover,) [__A_TAG_PLACEHOLDER_0__]

And the Hunnish king   |   with his wife is happy;

And the Hunnish king with his wife is happy;

Joyless I am   |   and mateless ever,

Joyless I am | and will always be alone,

Till cries from my heavy   |   heart burst forth.”

Till cries from my heavy heart burst forth.

10. In her wrath to battle   |   she roused herself:

__A_TAG_PLACEHOLDER_0__. In her anger to fight   |   she energized herself:

“Gunnar, now   |   thou needs must lose

“Gunnar, now you have to lose”

Lands of mine   |   and me myself,

Lands of mine   |   and me myself,

No joy shall I have   |   with the hero ever.

No joy will I ever have with the hero.

11. “Back shall I fare   |   where first I dwelt,

__A_TAG_PLACEHOLDER_0__. “I will return to where I first lived,

Among the kin   |   that come of my race,

Among the relatives that come from my family,

To wait there, sleeping   |   my life away,

To wait there, sleeping my life away,

If Sigurth’s death   |   thou shalt not dare,

If Sigurth’s death | you shall not dare,

(And best of heroes   |   thou shalt not be.)

(And best of heroes   |   you shall not be.)

12. “The son shall fare   |   with his father hence,

__A_TAG_PLACEHOLDER_0__. “The son will go with his father from here,

And let not long   |   the wolf-cub live;

And don’t let the wolf cub live for long;

Lighter to pay   |   is the vengeance-price

Lighter to pay   |   is the price of revenge

After the deed   |   if the son is dead.”

After the deed   |   if the son is dead.

13. Sad was Gunnar,   |   and bowed with grief,

__A_TAG_PLACEHOLDER_0__. Gunnar was sad,   |   and weighed down by grief,

Deep in thought   |   the whole day through; [425]

Deep in thought   |   throughout the entire day; [__A_TAG_PLACEHOLDER_0__]

Yet from his heart   |   it was ever hid

Yet from his heart, it was always hidden.

What deed most fitting   |   he should find,

What action would be most appropriate for him to discover,

(Or what thing best   |   for him should be,

(Or what thing best   |   for him should be,

Or if he should seek   |   the Volsung to slay,

Or if he should try to kill the Volsung,

For with mighty longing   |   Sigurth he loved.)

For with great longing | Sigurth he loved.)

14. Much he pondered   |   for many an hour;

__A_TAG_PLACEHOLDER_0__. He thought deeply for a long time;

Never before   |   was the wonder known

Never before | was the wonder known

That a queen should thus   |   her kingdom leave;

That a queen should therefore leave her kingdom;

In counsel then   |   did he Hogni call,

In a meeting then, Hogni called,

(For him in truest   |   trust he held.)

(For him in truest   |   trust he held.)

15. “More than all   |   to me is Brynhild,

__A_TAG_PLACEHOLDER_0__. “More than anything else, Brynhild means everything to me,

Buthli’s child,   |   the best of women;

Buthli’s child,   |   the best of women;

My very life   |   would I sooner lose

My life   |   I would rather lose

Than yield the love   |   of yonder maid.

Than give in to the love of that girl over there.

16. “Wilt thou the hero   |   for wealth betray? [426]

__A_TAG_PLACEHOLDER_0__. “Will you betray the hero for wealth? [__A_TAG_PLACEHOLDER_0__]

’Twere good to have   |   the gold of the Rhine,

’Twas good to have the gold of the Rhine,

And all the hoard   |   in peace to hold,

And all the treasure   |   to keep in peace,

And waiting fortune   |   thus to win.”

And waiting for luck to come this way.

17. Few the words   |   of Hogni were:

17. Hogni said only a few words:

“Us it beseems not   |   so to do,

“It's not appropriate for us to do that,

To cleave with swords   |   the oaths we swore,

To cut with swords   |   the promises we made,

The oaths we swore   |   and all our vows.

The promises we made   |   and all our commitments.

18. “We know no mightier   |   men on earth

__A_TAG_PLACEHOLDER_0__. “We know no stronger  | men on earth

The while we four   |   o’er the folk hold sway,

The while we four | over the people hold power,

And while the Hunnish   |   hero lives,

And while the Hun hero is alive,

Nor higher kinship   |   the world doth hold.

Nor higher kinship the world holds.

19. “If sons we five   |   shall soon beget,

__A_TAG_PLACEHOLDER_0__. “If we have five sons, we will quickly have more.”

Great, methinks,   |   our race shall grow; [427]

Great, I think, our race will grow; [__A_TAG_PLACEHOLDER_0__]

Well I see   |   whence lead the ways;

Well, I see where the paths lead;

Too bitter far   |   is Brynhild’s hate.”

Brynhild’s hate is too bitter.

Gunnar spake:

Gunnar said:

20. “Gotthorm to wrath   |   we needs must rouse,

__A_TAG_PLACEHOLDER_0__. “We must stir up Gotthorm's anger,"

Our younger brother,   |   in rashness blind;

Our younger brother, in reckless blindness;

He entered not   |   in the oaths we swore,

He didn't come in with the promises we made,

The oaths we swore   |   and all our vows.”

The oaths we swore   |   and all our promises.”

21. It was easy to rouse   |   the reckless one.

__A_TAG_PLACEHOLDER_0__. It was easy to wake up the wild one.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The sword in the heart   |   of Sigurth stood.

The sword in the heart of Sigurth stood.

22. In vengeance the hero   |   rose in the hall,

__A_TAG_PLACEHOLDER_0__. In revenge, the hero   |   stood up in the hall,

And hurled his sword   |   at the slayer bold; [428]

And threw his sword at the brave killer; [__A_TAG_PLACEHOLDER_0__]

At Gotthorm flew   |   the glittering steel

At Gotthorm flew   |   the shining steel

Of Gram full hard   |   from the hand of the king.

Of Gram full hard   |   from the hand of the king.

23. The foeman cleft   |   asunder fell,

__A_TAG_PLACEHOLDER_0__. The enemy split apart and fell,

Forward hands   |   and head did sink,

Forward hands   |   and head did sink,

And legs and feet   |   did backward fall.

And legs and feet   |   fell backward.

24. Guthrun soft   |   in her bed had slept,

__A_TAG_PLACEHOLDER_0__. Guthrun, gentle, had been sleeping in her bed,

Safe from care   |   at Sigurth’s side;

Safe from worry   |   at Sigurth’s side;

She woke to find   |   her joy had fled,

She woke up to realize her joy was gone.

In the blood of the friend   |   of Freyr she lay.

In the blood of Freyr's friend she lay.

25. So hard she smote   |   her hands together

__A_TAG_PLACEHOLDER_0__. So forcefully she clapped   |   her hands together

That the hero rose up,   |   iron-hearted:

That the hero stood up,   |   strong and unyielding:

“Weep not, Guthrun,   |   grievous tears,

“Weep not, Guthrun,   |   grievous tears,

Bride so young,   |   for thy brothers live.

Bride so young, | for your brothers are alive.

26. “Too young, methinks,   |   is my son as yet,

__A_TAG_PLACEHOLDER_0__. “I think my son is still too young,

He cannot flee   |   from the home of his foes; [429]

He can't escape   |   from the home of his enemies; [__A_TAG_PLACEHOLDER_0__]

Fearful and deadly   |   the plan they found,

Fearful and deadly   |   the plan they discovered,

The counsel new   |   that now they have heeded.

The advice they have just listened to.

27. “No son will ride,   |   though seven thou hast,

__A_TAG_PLACEHOLDER_0__. “No son will ride,   |   even if you have seven,

To the Thing as the son   |   of their sister rides;

To the Thing as the son of their sister rides;

Well I see   |   who the ill has worked,

Well, I see who the illness has affected,

On Brynhild alone   |   lies the blame for all.

On Brynhild alone   |   rests the blame for everything.

28. “Above all men   |   the maiden loved me,

__A_TAG_PLACEHOLDER_0__. "Above everyone, the girl loved me,

Yet false to Gunnar   |   I ne’er was found;

Yet I was never untrue to Gunnar;

I kept the oaths   |   and the kinship I swore;

I kept the promises and the loyalty I pledged;

Of his queen the lover   |   none may call me.”

Of his queen, no one can call me a lover.

29. In a swoon she sank   |   when Sigurth died;

__A_TAG_PLACEHOLDER_0__. She passed out when Sigurth died;

So hard she smote   |   her hands together

So hard she clapped   |   her hands together

That all the cups   |   in the cupboard rang,

That all the cups in the cupboard rang,

And loud in the courtyard   |   cried the geese.

And the geese were honking loudly in the courtyard.

30. Then Brynhild, daughter   |   of Buthli, laughed,

__A_TAG_PLACEHOLDER_0__. Then Brynhild, daughter of Buthli, laughed,

Only once,   |   with all her heart,

Only once,   |   with all her heart,

When as she lay   |   full loud she heard

When she lay there, she heard a loud sound.

The grievous wail   |   of Gjuki’s daughter.

The sad cry of Gjuki’s daughter.

[430]

[__A_TAG_PLACEHOLDER_0__]

31. Then Gunnar, monarch   |   of men, spake forth:

__A_TAG_PLACEHOLDER_0__. Then Gunnar, king of men, spoke up:

“Thou dost not laugh,   |   thou lover of hate,

“You're not laughing,   |   you lover of hate,

In gladness there,   |   or for aught of good;

In happiness there,   |   or for anything good;

Why has thy face   |   so white a hue,

Why is your face so pale?

Mother of ill?   |   Foredoomed thou art.

Mother of illness?   |   You are doomed.

32. “A worthier woman   |   wouldst thou have been

__A_TAG_PLACEHOLDER_0__. “You would have been a better woman

If before thine eyes   |   we had Atli slain;

If we had killed Atli before your eyes;

If thy brother’s bleeding   |   body hadst seen

If you had seen your brother’s bleeding body

And the bloody wounds   |   that thou shouldst bind.”

And the bloody wounds that you should bandage.

Brynhild spake:

Brynhild said:

33. “None mock thee, Gunnar!   |   thou hast mightily fought,

__A_TAG_PLACEHOLDER_0__. “No one mocks you, Gunnar!   |   you have fought bravely,

But thy hatred little   |   doth Atli heed;

But Atli cares little for your hatred;

Longer than thou,   |   methinks, shall he live,

Longer than you, I think, he will live,

And greater in might   |   shall he ever remain.

And he will always remain greater in strength.

[431]

[__A_TAG_PLACEHOLDER_0__]

34. “To thee I say,   |   and thyself thou knowest,

__A_TAG_PLACEHOLDER_0__. “I tell you,   |   and you already know this,

That all these ills   |   thou didst early shape;

That you shaped all these problems early on;

No bonds I knew,   |   nor sorrow bore,

No ties I knew,   |   nor burden of sadness,

And wealth I had   |   in my brother’s home.

And I had wealth in my brother's home.

35. “Never a husband   |   sought I to have,

__A_TAG_PLACEHOLDER_0__. "I never wanted to have a husband,

Before the Gjukungs   |   fared to our land;

Before the Gjukungs came to our land;

Three were the kings   |   on steeds that came,—

Three were the kings on horses that came,—

Need of their journey   |   never there was.

Need of their journey | never there was.

36. “To the hero great   |   my troth I gave

__A_TAG_PLACEHOLDER_0__. “To the great hero   |   my loyalty I pledged

Who gold-decked sat   |   on Grani’s back;

Who sat, adorned with gold, on Grani's back;

Not like to thine   |   was the light of his eyes,

Not like yours | was the light in his eyes,

(Nor like in form   |   and face are ye,)

(Nor like in form   |   and face are you,)

Though kingly both   |   ye seemed to be.

Though you both seemed to be like kings.

37. “And so to me   |   did Atli say

__A_TAG_PLACEHOLDER_0__. “And so to me   |   Atli said

That share in our wealth   |   I should not have, [432]

That share in our wealth | I shouldn't have, [__A_TAG_PLACEHOLDER_0__]

Of gold or lands,   |   if my hand I gave not;

Of gold or land,   |   if I didn't offer my hand;

(More evil yet,   |   the wealth I should yield,)

(More evil yet,   |   the wealth I should yield,)

The gold that he   |   in my childhood gave me,

The gold that he gave me in my childhood,

(The wealth from him   |   in my youth I had.)

(The wealth from him   |   in my youth I had.)

38. “Oft in my mind   |   I pondered much

__A_TAG_PLACEHOLDER_0__. “Often in my mind   |   I thought a lot

If still I should fight,   |   and warriors fell,

If I still have to fight,   |   and warriors die,

Brave in my byrnie,   |   my brother defying;

Brave in my chainmail,   |   my brother standing strong;

That would wide   |   in the world be known,

That would be widely known in the world,

And sorrow for many   |   a man would make.

And sadness for many   |   a man would create.

39. “But the bond at last   |   I let be made,

__A_TAG_PLACEHOLDER_0__. “But in the end, I allowed the connection to form,

For more the hoard   |   I longed to have,

For more of the treasure   |   I wanted to have,

The rings that the son   |   of Sigmund won;

The rings that Sigmund's son won;

No other’s treasure   |   e’er I sought.

No one else's treasure ever did I seek.

40. “One alone   |   of all I loved,

40. “One person only | of all I loved,

Nor changing heart   |   I ever had;

Nor changing heart   |   I ever had;

All in the end   |   shall Atli know, [433]

All in the end shall Atli know, [__A_TAG_PLACEHOLDER_0__]

When he hears I have gone   |   on the death-road hence.”

When he hears I have left on the path to death.

*    *    *    *    *    *

*    *    *    *    *    *

41. “Never a wife   |   of fickle will

__A_TAG_PLACEHOLDER_0__. “A wife with an unsteady heart never...”

Yet to another   |   man should yield.

Yet to another man should yield.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

So vengeance for all   |   my ills shall come.”

So revenge for everything that’s wrong with me will come.

42. Up rose Gunnar,   |   the people’s ruler,

__A_TAG_PLACEHOLDER_0__. Up rose Gunnar, | the people's leader,

And flung his arms   |   round her neck so fair;

And threw his arms around her beautiful neck;

And all who came,   |   of every kind,

And everyone who showed up, | of all types,

Sought to hold her   |   with all their hearts.

Sought to embrace her with all their hearts.

43. But back she cast   |   all those who came,

__A_TAG_PLACEHOLDER_0__. But she turned back   |   all those who approached,

Nor from the long road   |   let them hold her; [434]

Nor from the long road   |   let them stop her; [__A_TAG_PLACEHOLDER_0__]

In counsel then   |   did he Hogni call:

In that moment, he called for counsel, Hogni:

“Of wisdom now   |   full great is our need.

“Right now, we really need wisdom.”

44. “Let the warriors here   |   in the hall come forth,

__A_TAG_PLACEHOLDER_0__. “Let the fighters here   |   in the hall step forward,

Thine and mine,   |   for the need is mighty,

Thine and mine,   |   for the need is great,

If haply the queen   |   from death they may hold,

If by chance the queen   |   they might save from death,

Till her fearful thoughts   |   with time shall fade.”

Till her fearful thoughts with time shall fade.

45. (Few the words   |   of Hogni were:)

__A_TAG_PLACEHOLDER_0__. (Hogni said a few words:)

“From the long road now   |   shall ye hold her not,

“From the long road now | shall you not hold her,”

That born again   |   she may never be!

That she may never be born again!

Foul she came   |   from her mother forth,

Foul she came from her mother.

And born she was   |   for wicked deeds,

And she was born for evil deeds,

(Sorrow to many   |   a man to bring.)”

(Sorrow to many   |   a man to bring.)”

46. From the speaker gloomily   |   Gunnar turned,

__A_TAG_PLACEHOLDER_0__. From the speaker sadly   |   Gunnar turned,

For the jewel-bearer   |   her gems was dividing; [435]

For the jewel-bearer, her gems were separating; [__A_TAG_PLACEHOLDER_0__]

On all her wealth   |   her eyes were gazing,

On all her wealth   |   her eyes were looking,

On the bond-women slain   |   and the slaughtered slaves.

On the murdered women and the killed slaves.

47. Her byrnie of gold   |   she donned, and grim

__A_TAG_PLACEHOLDER_0__. She put on her gold shirt, looking fierce

Was her heart ere the point   |   of her sword had pierced it;

Was her heart ever the point | of her sword had pierced it;

On the pillow at last   |   her head she laid,

On the pillow at last   |   she laid her head,

And, wounded, her plan   |   she pondered o’er.

And, hurt, she thought about her plan.

48. “Hither I will   |   that my women come

__A_TAG_PLACEHOLDER_0__. “Here I will   |   have my women come

Who gold are fain   |   from me to get;

Who wants gold from me?

Necklaces fashioned   |   fair to each

Necklaces for everyone

Shall I give, and cloth,   |   and garments bright.”

Shall I give, and clothing,   |   and bright garments?”

49. Silent were all   |   as so she spake,

__A_TAG_PLACEHOLDER_0__. Everyone was quiet as she spoke,

And all together   |   answer made:

And everyone replied in unison:

“Slain are enough;   |   we seek to live,

“Many have died; | we want to survive,

Not thus thy women   |   shall honor win.”

Not like this will your women earn respect.”

[436]

[__A_TAG_PLACEHOLDER_0__]

50. Long the woman,   |   linen-decked, pondered,—

50. The woman, dressed in linen, thought long and hard,—

—Young she was,—   |   and weighed her words:

—She was young,—   |   and carefully chose her words:

“For my sake now   |   shall none unwilling

“For my sake now shall none unwilling

Or loath to die   |   her life lay down.

Or reluctant to die   |   her life came to an end.

51. “But little of gems   |   to gleam on your limbs

__A_TAG_PLACEHOLDER_0__. “But not many gems   |   to shine on your body

Ye then shall find   |   when forth ye fare

You will find when you go out

To follow me,   |   or of Menja’s wealth.

To follow me,   |   or of Menja’s wealth.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

52. “Sit now, Gunnar!   |   for I shall speak

__A_TAG_PLACEHOLDER_0__. “Sit down, Gunnar!   |   because I have something to say

Of thy bride so fair   |   and so fain to die;

Of your beautiful bride | and so eager to die;

Thy ship in harbor   |   home thou hast not,

Thy ship in harbor   |   home you do not have,

Although my life   |   I now have lost.

Although my life   |   I now have lost.

53. “Thou shalt Guthrun requite   |   more quick than thou thinkest,

__A_TAG_PLACEHOLDER_0__. “You will repay Guthrun   |   faster than you think,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Though sadly mourns   |   the maiden wise

Though sadly mourns the wise maiden

Who dwells with the king,   |   o’er her husband dead.

Who lives with the king,   |   over her dead husband.

[437]

[__A_TAG_PLACEHOLDER_0__]

54. “A maid shall then   |   the mother bear;

__A_TAG_PLACEHOLDER_0__. “A girl shall then  |   the mother bear;

Brighter far   |   than the fairest day

Brighter far   |   than the prettiest day

Svanhild shall be,   |   or the beams of the sun.

Svanhild will be,   |   or the rays of the sun.

55. “Guthrun a noble   |   husband thou givest,

__A_TAG_PLACEHOLDER_0__. “Guthrun, you give a noble husband,

Yet to many a warrior   |   woe will she bring,

Yet to many a warrior, she will bring sorrow,

Not happily wedded   |   she holds herself;

Not happily married   |   she carries herself;

Her shall Atli   |   hither seek,

Her shall Atli   |   hither seek,

(Buthli’s son,   |   and brother of mine.)

(Buthli’s son,   |   and my brother.)

56. “Well I remember   |   how me ye treated

__A_TAG_PLACEHOLDER_0__. “Well, I remember how you treated me.”

When ye betrayed me   |   with treacherous wiles;

When you betrayed me   |   with deceitful tricks;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Lost was my joy   |   as long as I lived.

Lost was my joy   |   as long as I lived.

[438]

[__A_TAG_PLACEHOLDER_0__]

57. “Oddrun as wife   |   thou fain wouldst win,

__A_TAG_PLACEHOLDER_0__. “Oddrun as your wife   |   you would gladly win,

But Atli this   |   from thee withholds;

But Atli this | withholds from you;

Yet in secret tryst   |   ye twain shall love;

Yet in secret meetings   |   you both shall love;

She shall hold thee dear,   |   as I had done

She will cherish you, as I once did.

If kindly fate   |   to us had fallen.

If kind fate had smiled upon us.

58. “Ill to thee   |   shall Atli bring,

__A_TAG_PLACEHOLDER_0__. “Atli will cause you issues,

When he casts thee down   |   in the den of snakes.

When he throws you down in the snake pit.

59. “But soon thereafter   |   Atli too

__A_TAG_PLACEHOLDER_0__. “But soon after that, Atli also

His life, methinks,   |   as thou shalt lose,

His life, I think, | as you will lose,

(His fortune lose   |   and the lives of his sons;)

(His fortune lost   |   and the lives of his sons;)

Him shall Guthrun,   |   grim of heart,

Him will Guthrun,   |   fierce of heart,

With the biting blade   |   in his bed destroy.

With the sharp edge in his bed destroy.

60. “It would better beseem   |   thy sister fair [439]

__A_TAG_PLACEHOLDER_0__. “It would suit your beautiful sister better. [__A_TAG_PLACEHOLDER_0__]

To follow her husband   |   first in death,

To follow her husband | first in death,

If counsel good   |   to her were given,

If she were given good advice,

Or a heart akin   |   to mine she had.

Or she had a heart similar to mine.

61. “Slowly I speak,—   |   but for my sake

__A_TAG_PLACEHOLDER_0__. “I speak slowly,—   |   but for my sake

Her life, methinks,   |   she shall not lose;

Her life, I think, she won't lose;

She shall wander over   |   the tossing waves,

She will wander over the crashing waves,

To where Jonak rules   |   his father’s realm.

To where Jonak governs   |   his father's territory.

62. “Sons to him   |   she soon shall bear,

__A_TAG_PLACEHOLDER_0__. “She will soon give him sons,

Heirs therewith   |   of Jonak’s wealth;

Heirs of Jonak's fortune;

But Svanhild far   |   away is sent,

But Svanhild is sent far away,

The child she bore   |   to Sigurth brave.

The child she had with brave Sigurth.

63. “Bikki’s word   |   her death shall be,

__A_TAG_PLACEHOLDER_0__. “Bikki’s word   |   her death shall be,

For dreadful the wrath   |   of Jormunrek;

For terrible is the anger of Jormunrek;

So slain is all   |   of Sigurth’s race,

So all of Sigurth's family is dead,

And greater the woe   |   of Guthrun grows.

And greater grows the sorrow of Guthrun.

[440]

[__A_TAG_PLACEHOLDER_0__]

64. “Yet one boon   |   I beg of thee,

__A_TAG_PLACEHOLDER_0__. “But there’s one thing I ask of you,

The last of boons   |   in my life it is:

The last of blessings in my life is:

Let the pyre be built   |   so broad in the field

Let the funeral pyre be built   |   so wide in the field

That room for us all   |   will ample be,

That room will be more than enough for all of us,

(For us who slain   |   with Sigurth are.)

(For us who were slain with Sigurth are.)

65. “With shields and carpets   |   cover the pyre,

__A_TAG_PLACEHOLDER_0__. “With shields and carpets | cover the pyre,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Shrouds full fair,   |   and fallen slaves,

Shrouds fully fair,   |   and fallen slaves,

And besides the Hunnish   |   hero burn me.

And besides the Hunnish hero, burn me.

66. “Besides the Hunnish   |   hero there

__A_TAG_PLACEHOLDER_0__. “Besides the Hun hero there

Slaves shall burn,   |   full bravely decked,

Slaves will burn,   |   fully decked out,

Two at his head   |   and two at his feet,

Two at his head | and two at his feet,

A brace of hounds   |   and a pair of hawks,

A couple of dogs   |   and a pair of hawks,

For so shall all   |   be seemly done.

For everything should be done properly.

67. “Let between us   |   lie once more [441]

__A_TAG_PLACEHOLDER_0__. “Let's create some space between us again [__A_TAG_PLACEHOLDER_0__]

The steel so keen,   |   as so it lay

The steel so sharp,   |   as it lay there

When both within   |   one bed we were,

When we were both in one bed,

And wedded mates   |   by men were called.

And married partners | were called by men.

68. “The door of the hall   |   shall strike not the heel

__A_TAG_PLACEHOLDER_0__. “The door of the hall   |   shall not hit the heel

Of the hero fair   |   with flashing rings,

Of the beautiful hero   |   with shining rings,

If hence my following   |   goes with him;

If so, my following goes with him;

Not mean our faring   |   forth shall be.

Not mean our faring   |   forth shall be.

69. “Bond-women five   |   shall follow him,

__A_TAG_PLACEHOLDER_0__. “Five slave women shall follow him,

And eight of my thralls,   |   well-born are they,

And eight of my servants,   |   they come from good families,

Children with me,   |   and mine they were

Children with me,   |   and they were mine

As gifts that Buthli   |   his daughter gave.

As gifts that Buthli | his daughter gave.

70. “Much have I told thee,   |   and more would say

70. “I’ve shared a lot with you, and I have even more to say.

If fate more space   |   for speech had given;

If fate had given more space for speech;

My voice grows weak,   |   my wounds are swelling;

My voice is getting weak,   |   my injuries are swelling;

Truth I have said,   |   and so I die.”

Truth I have spoken,   |   and now I die.”

[420]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[421]

[__A_TAG_PLACEHOLDER_0__]

1. Gjuki: father of the brothers twain, Gunnar and Hogni, and of Guthrun. In this version of the story Sigurth goes straight to the home of the Gjukungs after his victory over the dragon Fafnir, without meeting Brynhild on the way (cf. Gripisspo, 13 and note). Volsung: Sigurth’s grandfather was Volsung; cf. Fra Dautha Sinfjotla and note. Oaths: regarding the blood-brotherhood sworn by Sigurth, Gunnar, and Hogni cf. Brot, 18 and note.

__A_TAG_PLACEHOLDER_0__. Gjuki: father of the two brothers, Gunnar and Hogni, and of Guthrun. In this version of the story, Sigurth goes directly to the home of the Gjukungs after his victory over the dragon Fafnir, without encountering Brynhild on the way (cf. Gripisspo, 13 and note). Volsung: Sigurth’s grandfather was Volsung; cf. Fra Dautha Sinfjotla and note. Oaths: regarding the blood-brotherhood sworn by Sigurth, Gunnar, and Hogni cf. Brot, 18 and note.

3. Brynhild: on the winning of Brynhild by Sigurth in Gunnar’s shape cf. Gripisspo, 37 and note. The poet here omits details, [422]and in stanzas 32–39 appears a quite different tradition regarding the winning of Brynhild, which I suspect he had in mind throughout the poem.

__A_TAG_PLACEHOLDER_0__. Brynhild: about how Sigurth won Brynhild in Gunnar's form, see Gripisspo, 37 and note. The poet leaves out some details, [__A_TAG_PLACEHOLDER_0__]and in stanzas 32–39, there's a completely different version of how Brynhild was won, which I think he kept in mind while writing the poem.

4. Southern hero: Sigurth, whose Frankish origin is seldom wholly lost sight of in the Norse versions of the story. On the episode of the sword cf. Gripisspo, 41 and note. Line 3 may well be an interpolation; both lines 4 and 5 have also been questioned, and some editions combine line 5 with lines 1–3 of stanza 5. Hunnish king: Sigurth, who was, of course, not a king of the Huns, but was occasionally so called in the later poems owing to the lack of ethnological distinction made by the Norse poets (cf. Guthrunarkvitha I, 24 and note).

__A_TAG_PLACEHOLDER_0__. Southern hero: Sigurth, whose Frankish background is usually acknowledged in the Norse versions of the tale. Regarding the sword episode, see Gripisspo, 41 and note. Line 3 might be an addition; both lines 4 and 5 have also been questioned, and some editions merge line 5 with lines 1–3 of stanza 5. Hunnish king: Sigurth, who was actually not a king of the Huns, but was sometimes referred to as such in later poems due to the lack of clear ethnic distinctions made by the Norse poets (see Guthrunarkvitha I, 24 and note).

5. This stanza may refer, as Gering thinks, merely to the fact that Brynhild lived happy and unsuspecting as Gunnar’s wife until the fatal quarrel with Guthrun (cf. Gripisspo, 45 and note) revealed to her the deceit whereby she had been won, or it may refer to the version of the story which appears in stanzas 32–39, wherein Brynhild lived happily with Atli, her brother, until he was attacked by Gunnar and Sigurth, and was compelled to give his sister to Gunnar, winning her consent thereto by representing [423]Gunnar as Sigurth, her chosen hero (cf. Guthrunarkvitha I, 24 and note). The manuscript marks line 4 as the beginning of a new stanza, and many editors combine it with stanza 6.

__A_TAG_PLACEHOLDER_0__. This stanza might refer, as Gering suggests, simply to the fact that Brynhild lived happily and unsuspecting as Gunnar’s wife until the tragic conflict with Guthrun (cf. Gripisspo, 45 and note) exposed the deceit that led to her being won, or it could refer to the version of the story found in stanzas 32–39, where Brynhild lived contentedly with Atli, her brother, until he was attacked by Gunnar and Sigurth, and was forced to give his sister to Gunnar, convincing her to agree by presenting Gunnar as Sigurth, her chosen hero (cf. Guthrunarkvitha I, 24 and note). The manuscript indicates that line 4 starts a new stanza, and many editors merge it with stanza 6.

6. Brynhild has now discovered the deceit that has been practised on her. That she had loved Sigurth from the outset (cf. stanza 40) fits well with the version of the story wherein Sigurth meets her before he comes to Gunnar’s home (the version not used in this poem), or the one outlined in the note on stanza 5, but does not accord with the story of Sigurth’s first meeting Brynhild in Gunnar’s form—an added reason for believing that the poet in stanzas 5–6 had in mind the story represented by stanzas 32–39. The hero: the manuscript originally had the phrase thus, then corrected it to “though I die,” and finally crossed out the correction. Many editions have “I.”

__A_TAG_PLACEHOLDER_0__. Brynhild has now realized the trick that’s been played on her. The fact that she loved Sigurth from the very beginning (see stanza 40) aligns well with the version of the story where Sigurth meets her before he arrives at Gunnar’s home (the version not used in this poem), or the one described in the note on stanza 5, but it doesn’t match the story of Sigurth’s first encounter with Brynhild while disguised as Gunnar—an additional reason to believe that the poet had in mind the story portrayed in stanzas 32–39 in stanzas 5–6. The hero: the manuscript originally had this phrase, then corrected it to “though I die,” and finally crossed out the correction. Many editions have “I.”

7. Perhaps a line is missing after line 3.

__A_TAG_PLACEHOLDER_0__. Maybe there's a line missing after line 3.

8. Glacier: a bit of Icelandic (or Greenland) local color.

__A_TAG_PLACEHOLDER_0__. Glacier: a touch of Icelandic (or Greenland) local flavor.

9. Line 1 does not appear in the manuscript, and is based on [424]a conjecture by Bugge. Some editions add line 2 to stanza 8. The manuscript indicates line 3 as the beginning of a stanza, and some editors assume a gap of two lines after line 4. Hunnish king: cf. stanza 4.

__A_TAG_PLACEHOLDER_0__. Line 1 is missing from the manuscript and is based on [__A_TAG_PLACEHOLDER_0__] a guess by Bugge. Some editions include line 2 in stanza 8. The manuscript marks line 3 as the start of a stanza, and some editors believe there’s a two-line gap after line 4. Hunnish king: see stanza 4.

10. Lands: Brynhild’s wealth again points to the story represented by stanzas 32–39; elsewhere she is not spoken of as bringing wealth to Gunnar.

__A_TAG_PLACEHOLDER_0__. Lands: Brynhild’s wealth again highlights the story told in stanzas 32–39; in other instances, she is not mentioned as bringing wealth to Gunnar.

11. Line 5, or perhaps line 3, may be interpolated.

__A_TAG_PLACEHOLDER_0__. Line 5, or maybe line 3, could be adjusted.

12. The son: the three-year-old son of Sigurth and Guthrun, Sigmund, who was killed at Brynhild’s behest. [425]

__A_TAG_PLACEHOLDER_0__. The son: the three-year-old son of Sigurth and Guthrun, Sigmund, who was killed at Brynhild’s request. [__A_TAG_PLACEHOLDER_0__]

13. This stanza has been the subject of many conjectural emendations. Some editions assume a gap after line 2, and make a separate stanza of lines 3–7; others mark lines 5–7 as spurious. The stanza seems to have been expanded by repetition. Grief (line 1): the manuscript has “wrath,” involving a metrical error.

__A_TAG_PLACEHOLDER_0__. This stanza has been the focus of many speculative revisions. Some editions propose a gap after line 2 and create a separate stanza from lines 3–7; others label lines 5–7 as inauthentic. The stanza appears to have been lengthened through repetition. Grief (line 1): the manuscript has “wrath,” which contains a metrical mistake.

14. Bugge and Gering transfer lines 4–5 to the beginning of stanza 16, on the basis of the Volsungasaga paraphrase, and assume a gap of one line after line 3. Line 5, which is in the nature of a stereotyped clause, may well be interpolated.

__A_TAG_PLACEHOLDER_0__. Bugge and Gering move lines 4–5 to the start of stanza 16, based on the Volsungasaga paraphrase, and suggest there's a missing line after line 3. Line 5, which seems to be a standard phrase, might have been added later.

15. After “Buthli” in line 2 the manuscript has “my brother,” apparently a scribal error. In line 4 the manuscript has “wealth” instead of “love,” apparently with stanza 10 in mind, but the Volsungasaga paraphrase has “love,” and many editors have suspected an error.

__A_TAG_PLACEHOLDER_0__. After “Buthli” in line 2, the manuscript includes “my brother,” which seems to be a scribal mistake. In line 4, the manuscript says “wealth” instead of “love,” likely referencing stanza 10, but the Volsungasaga paraphrase uses “love,” leading many editors to believe it was an error.

16. Cf. note on stanza 14. After thus adding lines 4–5 of [426]stanza 14 at the beginning of stanza 16, Gering marks line 4 as probably spurious; others reject both lines 3 and 4 as mere repetitions. Rhine: the Rhine, the sands of which traditionally contained gold, was apparently the original home of the treasure of the Nibelungs, converted in the North to Andvari’s treasure (cf. Reginsmol, 1–9). That greed for Sigurth’s wealth was one of the motives for his slaying is indicated likewise in Guthrunarkvitha I, 20, and in the German versions of the story.

__A_TAG_PLACEHOLDER_0__. See the note on stanza 14. After adding lines 4–5 of [__A_TAG_PLACEHOLDER_0__] stanza 14 at the start of stanza 16, Gering suggests that line 4 is probably not authentic; others dismiss both lines 3 and 4 as simple repetitions. Rhine: the Rhine, whose sands were said to hold gold, was likely the original location of the Nibelungs' treasure, which was later transformed into Andvari’s treasure in the North (see Reginsmol, 1–9). The desire for Sigurth’s riches is also indicated as one of the reasons for his murder in Guthrunarkvitha I, 20, and in the German retellings of the story.

18. We four: if line 1 of stanza 19 is spurious, or the reference therein to “five” is a blunder, as may well be the case, then the “four” are Sigurth and the three brothers, Gunnar, Hogni, and Gotthorm. But it may be that the poet had in mind a tradition which, as in the Thithrekssaga, gave Gjuki a fourth son, in which case the “four” refers only to the four Gjukungs. Hunnish hero: Sigurth; cf. stanza 4 and note. Some editions put line 4 between lines 1 and 2. Some add lines 1–2 of stanza 19 to stanza 18, marking them as spurious.

__A_TAG_PLACEHOLDER_0__. We four: if line 1 of stanza 19 is fake, or if the mention of “five” is a mistake, which could definitely be the case, then the “four” refers to Sigurth and the three brothers, Gunnar, Hogni, and Gotthorm. However, it’s possible that the poet was referring to a tradition, like in the Thithrekssaga, where Gjuki had a fourth son, in which case the “four” only includes the four Gjukungs. Hunnish hero: Sigurth; see stanza 4 and note. Some editions place line 4 between lines 1 and 2. Some combine lines 1–2 of stanza 19 with stanza 18, marking them as fake.

19. We five: see note on preceding stanza. Some editors mark [427]lines 1–2 as spurious, and either assume a gap of two lines after line 4 or combine lines 3–4 with stanza 20. Whence lead the ways: a proverbial expression signifying “whence the trouble comes.”

__A_TAG_PLACEHOLDER_0__. We five: see the note on the previous stanza. Some editors label [__A_TAG_PLACEHOLDER_0__]lines 1–2 as not authentic, and either suggest there's a missing two lines after line 4 or merge lines 3–4 with stanza 20. Whence lead the ways: a common saying that means “where the trouble originates.”

20. The manuscript does not name the speaker. Gotthorm (the name is variously spelt): half-brother of Gunnar and Hogni (cf. Hyndluljoth, 27 and note, and Brot, 4 and note). The name is the northern form of Gundomar; a prince of this name is mentioned in the Lex Burgundionum, apparently as a brother of Gundahari (Gundicarius). In the Nibelungenlied the third brother is called Gernot.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify the speaker. Gotthorm (the name is spelled differently in various sources): he is the half-brother of Gunnar and Hogni (see Hyndluljoth, 27 and note, and Brot, 4 and note). The name is the northern version of Gundomar; a prince with this name is mentioned in the Lex Burgundionum, apparently as a brother of Gundahari (Gundicarius). In the Nibelungenlied, the third brother is referred to as Gernot.

21. No gap is indicated in the manuscript, and many editors combine stanza 21 with stanza 22, but it seems likely that not only two lines, but one or more stanzas in addition, have been lost; cf. Brot, 4, and also the detailed account of the slaying of Sigurth in the Volsungasaga, wherein, as here, Sigurth is killed in his bed (cf. stanza 24) and not in the forest.

__A_TAG_PLACEHOLDER_0__. There's no gap noted in the manuscript, and many editors merge stanza 21 with stanza 22, but it seems likely that not just two lines, but one or more stanzas in addition, have been lost; see Brot, 4, and also the detailed account of Sigurth's slaying in the Volsungasaga, where, as in this case, Sigurth is killed in his bed (see stanza 24) and not in the forest.

22. Some editions combine lines 3–4 with stanza 23. Gram: [428]Sigurth’s sword (cf. Reginsmol, prose after stanza 14); the word here, however, may not be a proper name, but may mean “the hero.”

__A_TAG_PLACEHOLDER_0__. Some editions combine lines 3–4 with stanza 23. Gram: [__A_TAG_PLACEHOLDER_0__]Sigurth’s sword (see Reginsmol, prose after stanza 14); however, the word here might not be a proper name, but could mean “the hero.”

23. A line may well have been lost from this stanza.

__A_TAG_PLACEHOLDER_0__. A line might have been missing from this stanza.

24. Freyr: if the phrase “the friend of Freyr” means anything more than “king” (cf. Rigsthula, 46 etc.), which I doubt, it has reference to the late tradition that Freyr, and not Othin, was the ancestor of the Volsungs (cf. Helgakvitha Hundingsbana I, 57 and note).

__A_TAG_PLACEHOLDER_0__. Freyr: if the term “the friend of Freyr” means anything beyond “king” (see Rigsthula, 46 etc.), which I’m skeptical about, it relates to the later tradition that Freyr, not Othin, was the ancestor of the Volsungs (see Helgakvitha Hundingsbana I, 57 and note).

25. Müllenhoff thinks this stanza, or at any rate lines 1–2, a later addition based on stanza 29.

__A_TAG_PLACEHOLDER_0__. Müllenhoff believes that this stanza, or at least lines 1–2, is a later addition based on stanza 29.

26. My son: Sigmund; cf. stanza 12 and note, and also Brot, 9 and note. [429]

__A_TAG_PLACEHOLDER_0__. My son: Sigmund; see stanza 12 and note, and also Brot, 9 and note. [__A_TAG_PLACEHOLDER_0__]

27. Sigurth means that although Guthrun may have seven sons by a later marriage, none of them will equal Sigmund, “son of their (i.e., Gunnar’s and Hogni’s) sister.” Thing: council.

__A_TAG_PLACEHOLDER_0__. Sigurth means that even though Guthrun may have seven sons from a later marriage, none of them will compare to Sigmund, “the son of their (i.e., Gunnar’s and Hogni’s) sister.” Thing: council.

28. Sigurth’s protestation of guiltlessness fits perfectly with the story of his relations with Brynhild used in this poem, but not, of course, with the alternative version, used in the Gripisspo and elsewhere, wherein Sigurth meets Brynhild before he woos her for Gunnar, and they have a daughter, Aslaug.

__A_TAG_PLACEHOLDER_0__. Sigurth's claim of innocence aligns perfectly with his relationship with Brynhild as described in this poem, but it doesn’t match the other version found in the Gripisspo and other texts, where Sigurth encounters Brynhild before he seeks her hand for Gunnar, and they have a daughter named Aslaug.

29. Cf. Guthrunarkvitha I, 15.

__A_TAG_PLACEHOLDER_0__. See Guthrunarkvitha I, 15.

30. Cf. Brot, 10. [430]

__A_TAG_PLACEHOLDER_0__. See Brot, 10. [__A_TAG_PLACEHOLDER_1__]

31. Line 1 may well be a mere expansion of “Gunnar spake.” The manuscript marks line 4 as the beginning of a new stanza, and some editions combine lines 4–5 with stanza 32.

__A_TAG_PLACEHOLDER_0__. Line 1 might just be an elaboration of “Gunnar spoke.” The manuscript indicates that line 4 starts a new stanza, and some versions merge lines 4–5 with stanza 32.

32. This stanza, which all editors have accepted as an integral part of the poem, apparently refers to the same story represented by stanzas 37–39, which most editors have (I believe mistakenly) marked as interpolated. As is pointed out in the notes on stanzas 3, 5, 6 and 10, the poet throughout seems to have accepted the version of the story wherein Gunnar and Sigurth besiege Atli, and are bought off by the gift of Atli’s sister, Brynhild, to Gunnar as wife, her consent being won by Atli’s representation that Gunnar is Sigurth (cf. also Guthrunarkvitha I, 24 and note).

__A_TAG_PLACEHOLDER_0__. This stanza, which all editors have recognized as an essential part of the poem, seems to refer to the same story depicted in stanzas 37–39, which most editors have (I think incorrectly) labeled as added later. As noted in the comments on stanzas 3, 5, 6, and 10, the poet consistently appears to follow the version of the story where Gunnar and Sigurth lay siege to Atli, and they’re convinced to withdraw by Atli’s promise of his sister, Brynhild, as a wife for Gunnar, with her agreement secured by Atli claiming that Gunnar is actually Sigurth (see also Guthrunarkvitha I, 24 and note).

33. The manuscript does not name the speaker, and some editions add a first line: “Then Brynhild, daughter   |   of Buthli, spake.” [431]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t mention who the speaker is, and some versions include a first line: “Then Brynhild, daughter of Buthli, spoke.” [__A_TAG_PLACEHOLDER_0__]

34. Cf. stanza 5.

__A_TAG_PLACEHOLDER_0__. See stanza 5.

35. Three kings: Gunnar, Hogni, and Sigurth.

__A_TAG_PLACEHOLDER_0__. Three kings: Gunnar, Hogni, and Sigurth.

36. Some editions place this stanza after stanza 39, on the theory that stanzas 37–39 are interpolated. Line 4, as virtually a repetition of line 3, has generally been marked as spurious. In this version of the winning of Brynhild it appears that Atli pointed out Sigurth as Gunnar, and Brynhild promptly fell in love with the hero whom, as he rode on Grani and was decked with some of the spoils taken from Fafnir, she recognized as the dragon’s slayer. Thus no change of form between Sigurth and Gunnar was necessary. The oath to marry Gunnar had to be carried out even after Brynhild had discovered the deception.

__A_TAG_PLACEHOLDER_0__. Some editions place this stanza after stanza 39, based on the idea that stanzas 37–39 are added later. Line 4, which is almost a repeat of line 3, has typically been considered questionable. In this version of Brynhild's story, Atli identifies Sigurth as Gunnar, and Brynhild immediately falls for the hero who, as he rides on Grani and wears some of the spoils taken from Fafnir, she recognizes as the dragon slayer. This means that there was no need for a change in form between Sigurth and Gunnar. The promise to marry Gunnar had to be fulfilled even after Brynhild discovered the trickery.

37. Most editors mark stanzas 37–39 as interpolated, but cf. note on stanza 32. Stanza 37 has been variously emended. Lines 4 and 6 look like interpolated repetitions, but many editors make [432]two stanzas, following the manuscript in beginning a new stanza with line 4. After line 1 Grundtvig adds: “Son of Buthli,   |   and brother of mine.” After line 6 Bugge adds: “Not thou was it, Gunnar,   |   who Grani rode, / Though thou my brother   |   with rings didst buy.” Regarding Brynhild’s wealth cf. stanza 10 and note.

__A_TAG_PLACEHOLDER_0__. Most editors consider stanzas 37–39 to be added later, but see the note on stanza 32. Stanza 37 has been edited in different ways. Lines 4 and 6 seem like repeated additions, but many editors create [__A_TAG_PLACEHOLDER_0__]two stanzas, starting a new stanza with line 4 as per the manuscript. After line 1, Grundtvig adds: “Son of Buthli,   |   and brother of mine.” After line 6, Bugge adds: “It wasn’t you, Gunnar,   |   who rode Grani, / Though you, my brother,   |   bought it with rings.” For more about Brynhild’s wealth, see stanza 10 and the note.

38. Brynhild here again appears as a Valkyrie. The manuscript marks line 4 as the beginning of a new stanza. Any one of the last three lines may be spurious.

__A_TAG_PLACEHOLDER_0__. Brynhild shows up again as a Valkyrie. The manuscript indicates that line 4 starts a new stanza. Any of the last three lines could be fake.

39. Some editions combine this stanza with lines 4–5 of stanza 38, with lines 1–2 of stanza 40, or with the whole of stanza 40. The bond: Brynhild thought she was marrying Sigurth, owner of the treasure, whereas she was being tricked into marrying Gunnar. [433]

__A_TAG_PLACEHOLDER_0__. Some editions merge this stanza with lines 4–5 of stanza 38, with lines 1–2 of stanza 40, or with the entire stanza 40. The bond: Brynhild believed she was marrying Sigurth, the owner of the treasure, while she was actually being deceived into marrying Gunnar. [__A_TAG_PLACEHOLDER_0__]

41. At this point there seem to be several omissions. Brynhild’s statement in lines 1–2 seems to refer to the episode, not here mentioned but told in detail in the Volsungasaga, of Sigurth’s effort to repair the wrong that has been done her by himself giving up Guthrun in her favor, an offer which she refuses. The lacuna here suggested, which is not indicated in the manuscript, may be simply a single line (line 1) or a stanza or more. After line 2 there is almost certainly a gap of at least one stanza, and possibly more, in which Brynhild states her determination to die.

__A_TAG_PLACEHOLDER_0__. At this point, it looks like there are several gaps. Brynhild’s statement in lines 1–2 seems to refer to the episode, not mentioned here but detailed in the Volsungasaga, about Sigurth’s attempt to make up for the wrong he did to her by giving up Guthrun in her favor, which she refuses. The gap suggested here, which isn't noted in the manuscript, could just be a single line (line 1) or a stanza or more. After line 2, there's almost certainly a gap of at least one stanza, and possibly more, where Brynhild expresses her determination to die.

42. Hardly any two editions agree as to the arrangement of the lines in stanzas 42–44. I have followed the manuscript except in transposing line 4 of stanza 43 to this position from the place it holds in the manuscript after line 4 of stanza 44. All the other arrangements involve the rejection of two or more lines as spurious and the assumption of various gaps. Gering and Sijmons both arrange the lines thus: 42, 1–2; two-line gap; 43, 3 [434](marked probably spurious); 44, 1–4; 43–4 (marked probably spurious); 42, 3–4; 43, 1–2.

__A_TAG_PLACEHOLDER_0__. Hardly any two editions agree on the arrangement of the lines in stanzas 42–44. I've followed the manuscript, except for moving line 4 of stanza 43 to this position from where it is in the manuscript, coming after line 4 of stanza 44. All the other arrangements involve rejecting two or more lines as questionable and assuming various gaps. Gering and Sijmons both arrange the lines like this: 42, 1–2; two-line gap; 43, 3 [__A_TAG_PLACEHOLDER_0__] (marked probably spurious); 44, 1–4; 43–4 (marked probably spurious); 42, 3–4; 43, 1–2.

43. Cf. note on preceding stanza.

__A_TAG_PLACEHOLDER_0__. See note on the previous stanza.

44. Cf. note on stanza 42.

__A_TAG_PLACEHOLDER_0__. See note on stanza 42.

45. Perhaps the remains of two stanzas; the manuscript marks line 4 as the beginning of a new stanza, and after line 4 an added line has been suggested: “She was ever known   |   for evil thoughts.” On the other hand, line 1, identical with line 1 of stanza 17, may well be a mere expansion of “Hogni spake,” and line 6 may have been introduced, with a slight variation, from line 5 of stanza 38. Born again: this looks like a trace of Christian influence (the poem was composed well after the coming of Christianity to Iceland) in the assumption that if Brynhild killed herself she could not be “born again” (cf. concluding prose to Helgakvitha Hundingsbana II).

__A_TAG_PLACEHOLDER_0__. It seems like there are the remains of two stanzas; the manuscript indicates that line 4 starts a new stanza, and an additional line has been proposed after line 4: “She was always known   |   for evil thoughts.” On the other hand, line 1, which is the same as line 1 of stanza 17, could simply be a variation of “Hogni spake,” and line 6 might have been adapted, with a slight change, from line 5 of stanza 38. Born again: this appears to show a sense of Christian influence (the poem was created well after Christianity arrived in Iceland) with the idea that if Brynhild killed herself, she could not be “born again” (see the concluding prose of Helgakvitha Hundingsbana II).

46. The manuscript marks line 3 as beginning a stanza; some [435]editions treat lines 1–2 as a separate stanza, and combine lines 3–4 with lines 1–2 of stanza 47. Jewel-bearer (literally “land of jewels”): woman, here Brynhild. Bond-women, etc.: in stanza 69 we learn that five female slaves and eight serfs were killed to be burned on the funeral pyre, and thus to follow Sigurth in death.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a stanza; some [__A_TAG_PLACEHOLDER_0__]editions consider lines 1–2 as a separate stanza and merge lines 3–4 with lines 1–2 of stanza 47. Jewel-bearer (literally “land of jewels”): refers to a woman, here Brynhild. Bond-women, etc.: in stanza 69, we find out that five female slaves and eight serfs were killed to be burned on the funeral pyre, so they could accompany Sigurth in death.

47. The manuscript marks line 3, and not line 1, as beginning a stanza, and some editions treat lines 3–4 as a separate stanza, or combine them with stanza 48.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates line 3, rather than line 1, as the start of a stanza, and some editions view lines 3–4 as a separate stanza or merge them with stanza 48.

48. Brynhild means, as stanzas 49–51 show, that those of her women who wish to win rewards must be ready to follow her in death. The word translated “women” in line 1 is conjectural, but the general meaning is clear enough.

__A_TAG_PLACEHOLDER_0__. Brynhild means, as stanzas 49–51 show, that those of her female followers who want to earn rewards must be prepared to join her in death. The word translated as “women” in line 1 is uncertain, but the overall meaning is quite clear.

49. In place of “as so she spake” in line 1 the manuscript has [436]“of their plans they thought,” which involves a metrical error.

__A_TAG_PLACEHOLDER_0__. Instead of “as she said” in line 1, the manuscript has [__A_TAG_PLACEHOLDER_0__]“of their plans they thought,” which contains a metrical mistake.

51. No gap indicated in the manuscript; many editions place it between lines 3 and 4. Menja’s wealth: gold; the story of the mill Grotti, whereby the giantesses Menja and Fenja ground gold for King Frothi, is told in the Grottasongr.

__A_TAG_PLACEHOLDER_0__. No gap indicated in the manuscript; many editions place it between lines 3 and 4. Menja’s wealth: gold; the story of the mill Grotti, where the giantesses Menja and Fenja ground gold for King Frothi, is told in the Grottasongr.

52. With this stanza begins Brynhild’s prophesy of what is to befall Gunnar, Guthrun, Atli, and the many others involved in their fate. Line 3 is a proverbial expression meaning simply “your troubles are not at an end.”

__A_TAG_PLACEHOLDER_0__. With this stanza starts Brynhild’s prophecy of what will happen to Gunnar, Guthrun, Atli, and the many others caught up in their destiny. Line 3 is a saying that means “your troubles are far from over.”

53. No gap is indicated in the manuscript; one suggestion for line 2 runs: “Grimhild shall make her   |   to laugh once [437]more.” Gering suggests a loss of three lines, and joins lines 3–4 with stanza 54.

__A_TAG_PLACEHOLDER_0__. There's no gap in the manuscript; one idea for line 2 goes: “Grimhild shall make her   |   laugh once [__A_TAG_PLACEHOLDER_0__]more.” Gering proposes that three lines are missing and combines lines 3–4 with stanza 54.

54. Probably a line has been lost from this stanza. Grundtvig adds as a new first line: “Her shalt thou find   |   in the hall of Half.” Some editions query line 3 as possibly spurious. Svanhild: the figure of Svanhild is exceedingly old. The name means “Swan-Maiden-Warrior,” applying to just such mixtures of swan-maiden and Valkyrie as appear in the Völundarkvitha. Originally part of a separate tradition, Svanhild appears first to have been incorporated in the Jormunrek (Ermanarich) story as the unhappy wife of that monarch, and much later to have been identified as the daughter of Sigurth and Guthrun, thus linking the two sets of legends.

__A_TAG_PLACEHOLDER_0__. It seems like a line is missing from this stanza. Grundtvig has added a new first line: “Here you will find | in the hall of Half.” Some editions question line 3 as possibly being added later. Svanhild: the character of Svanhild is very ancient. The name means “Swan-Maiden-Warrior,” referring to the combination of swan-maiden and Valkyrie seen in the Völundarkvitha. Originally from a different tradition, Svanhild first appears to have been included in the Jormunrek (Ermanarich) story as the unfortunate wife of that king, and later was identified as the daughter of Sigurth and Guthrun, connecting the two sets of legends.

55. Line 2 in the original is almost totally obscure. Line 4 should very possibly precede line 2, while line 5 looks like an unwarranted addition.

__A_TAG_PLACEHOLDER_0__. The second line in the original is pretty much unclear. The fourth line might actually come before the second line, and the fifth line seems like an unnecessary addition.

56. This stanza probably ought to follow stanza 52, as it refers solely to the winning of Brynhild by Gunnar and Sigurth. Müllenhoff regards stanzas 53–55 as interpolated. The manuscript indicates no gap after line 3. [438]

__A_TAG_PLACEHOLDER_0__. This stanza should probably come after stanza 52, as it only talks about Brynhild being won by Gunnar and Sigurth. Müllenhoff views stanzas 53–55 as added later. The manuscript shows no break after line 3. [__A_TAG_PLACEHOLDER_0__]

57. Stanzas 57–58 seem to be the remains of two stanzas, but the Volsungasaga paraphrase follows closely the form here given. Line 3 may well be spurious; line 5 has likewise been questioned. Oddrun: this sister of Atli and Brynhild, known mainly through the Oddrunargratr, is a purely northern addition to the cycle, and apparently one of a relatively late date. She figures solely by reason of her love affair with Gunnar.

__A_TAG_PLACEHOLDER_0__. Stanzas 57–58 appear to be the leftovers of two stanzas, but the Volsungasaga paraphrase closely follows the structure presented here. Line 3 might be a later addition; line 5 has also been questioned. Oddrun: this sister of Atli and Brynhild, primarily known through the Oddrunargratr, is a purely northern addition to the saga and seems to be from a relatively recent period. She is included mainly because of her romantic relationship with Gunnar.

58. Possibly two lines have been lost; many editions combine the two remaining lines with lines 1–3 of stanza 59. Concerning the manner of Gunnar’s death cf. Drap Niflunga.

__A_TAG_PLACEHOLDER_0__. It’s possible that two lines are missing; many editions merge the two lines that are left with lines 1–3 of stanza 59. For more on the way Gunnar died, see Drap Niflunga.

59. Line 3 may well be spurious, as it is largely repetition. The manuscript has “sofa” (“sleep”) in place of “sona” (“sons”), but the Volsungasaga paraphrase says clearly “sons.” The slaying of Atli by Guthrun in revenge for his killing of her brothers is told in the two Atli lays. The manuscript marks line 4 as the beginning of a new stanza, and some editions make a separate stanza out of lines 4–5, or else combine them with stanza 60.

__A_TAG_PLACEHOLDER_0__. Line 3 might be inaccurate since it mostly repeats what was previously said. The manuscript uses “couch” (“sleep”) instead of “sona” (“sons”), but the Volsungasaga version clearly states “sons.” The story of Guthrun avenging her brothers by killing Atli is recounted in the two Atli lays. The manuscript indicates that line 4 starts a new stanza, and some editions either make lines 4–5 a separate stanza or combine them with stanza 60.

60. To follow in death: this phrase is not in Regius, but is [439]included in late paper manuscripts, and has been added in most editions.

__A_TAG_PLACEHOLDER_0__. To follow in death: this phrase isn't in Regius, but is [__A_TAG_PLACEHOLDER_0__]included in later paper manuscripts, and has been added to most editions.

61. Jonak: this king, known only through the Hamthesmol and the stories which, like this one, are based thereon, is another purely northern addition to the legend. The name is apparently of Slavic origin. He appears solely as Guthrun’s third husband and the father of Hamther, Sorli, and Erp (cf. introductory prose to Guthrunarhvot).

__A_TAG_PLACEHOLDER_0__. Jonak: this king, known only through the Hamthesmol and the stories based on it, is another purely northern addition to the legend. The name seems to have Slavic origins. He appears only as Guthrun’s third husband and the father of Hamther, Sorli, and Erp (see introductory prose to Guthrunarhvot).

62. Svanhild: cf. stanza 54 and note.

__A_TAG_PLACEHOLDER_0__. Svanhild: see stanza 54 and note.

63. Bikki: Svanhild is married to the aged Jormunrek (Ermanarich), but Bikki, one of his followers, suggests that she is unduly intimate with Jormunrek’s son, Randver. Thereupon Jormunrek has Randver hanged, and Svanhild torn to pieces by wild horses. Ermanarich’s cruelty and his barbarous slaying of his wife and son were familiar traditions long before they became [440]in any way connected with the Sigurth cycle (cf. introductory note to Gripisspo).

__A_TAG_PLACEHOLDER_0__. Bikki: Svanhild is married to the old Jormunrek (Ermanarich), but Bikki, one of his followers, claims that she is too close with Jormunrek’s son, Randver. As a result, Jormunrek has Randver hanged, and Svanhild is torn apart by wild horses. Ermanarich’s cruelty and the brutal murders of his wife and son were well-known stories long before they became [__A_TAG_PLACEHOLDER_0__] connected to the Sigurth cycle (see introductory note to Gripisspo).

64. Line 5 is very probably spurious.

__A_TAG_PLACEHOLDER_0__. Line 5 is most likely not authentic.

65. The manuscript indicates no gap; a suggested addition runs “Gold let there be,   |   and jewels bright.” Fallen slaves: cf. stanzas 66 and 69. Hunnish hero: cf. stanza 4 and note.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no break; a proposed addition suggests “Let there be gold,   |   and bright jewels.” Fallen slaves: see stanzas 66 and 69. Hunnish hero: see stanza 4 and note.

66. In place of lines 3–4 the manuscript has one line “Two at his head,   |   and a pair of hawks”; the addition is made from the Volsungasaga paraphrase. The burning or burying of slaves or beasts to accompany their masters in death was a general custom in the North. The number of slaves indicated in this stanza does not tally with the one given in stanza 69, wherefore Vigfusson rejects most of this stanza. [441]

__A_TAG_PLACEHOLDER_0__. Instead of lines 3–4, the manuscript has one line: “Two at his head,   |   and a pair of hawks”; this addition comes from the Volsungasaga paraphrase. It was a common practice in the North to burn or bury slaves or animals to accompany their masters in death. The number of slaves mentioned in this stanza doesn’t match the one given in stanza 69, which is why Vigfusson dismisses most of this stanza. [__A_TAG_PLACEHOLDER_0__]

67. Cf. Gripisspo, 41 and note. After line 1 the manuscript adds the phrase “bright, ring-decked,” referring to the sword, but it is metrically impossible, and many editions omit it.

__A_TAG_PLACEHOLDER_0__. See Gripisspo, 41 and note. After line 1, the manuscript adds the phrase “bright, ring-decked” to describe the sword, but it doesn’t fit the meter, and many editions leave it out.

68. The door: The gate of Hel’s domain, like that of Mengloth’s house (cf. Svipdagsmol, 26 and note), closes so fast as to catch any one attempting to pass through. Apparently the poet here assumes that the gate of Valhall does likewise, but that it will be kept open for Sigurth’s retinue.

__A_TAG_PLACEHOLDER_0__. The door: The gate to Hel’s realm, similar to Mengloth’s home (see Svipdagsmol, 26 and note), shuts so quickly that it can trap anyone trying to get through. It seems the poet believes that the gate of Valhall does the same, but it will remain open for Sigurth’s crew.

69. Cf. stanza 66. [442]

__A_TAG_PLACEHOLDER_0__. See stanza 66. [__A_TAG_PLACEHOLDER_1__]

[__A_TAG_PLACEHOLDER_0__]

HELREITH BRYNHILDAR

Brynhild’s Hell-Ride

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The little Helreith Brynhildar immediately follows the “short” Sigurth lay in the Codex Regius, being linked to it by the brief prose note; the heading, “Brynhild’s Ride on Hel-Way,” stands just before the first stanza. The entire poem, with the exception of stanza 6, is likewise quoted in the Nornageststhattr. Outside of one stanza (No. 11), which is a fairly obvious interpolation, the poem possesses an extraordinary degree of dramatic unity, and, certain pedantic commentators notwithstanding, it is one of the most vivid and powerful in the whole collection. None the less, it has been extensively argued that parts of it belonged originally to the so-called Sigrdrifumol. That it stands in close relation to this poem is evident enough, but it is difficult to believe that such a masterpiece of dramatic poetry was ever the result of mere compilation. It seems more reasonable to regard the Helreith, with the exception of stanza 11 and allowing for the loss of two lines from stanza 6, as a complete and carefully constructed unit, based undoubtedly on older poems, but none the less an artistic creation in itself.

The little Helreith Brynhildar comes right after the “short” Sigurth lay in the Codex Regius, connected to it by a brief prose note; the title, “Brynhild’s Ride on Hel-Way,” appears just before the first stanza. The entire poem, except for stanza 6, is also quoted in the Nornageststhattr. Aside from one stanza (No. 11), which is clearly an addition, the poem has an impressive level of dramatic unity, and despite some pedantic critics, it is one of the most vivid and powerful pieces in the whole collection. However, there has been a lot of debate suggesting that parts of it originally belonged to the so-called Sigrdrifumol. It's clear that it is closely related to this poem, but it's hard to believe that such a masterpiece of dramatic poetry was merely put together. It seems more logical to consider the Helreith, apart from stanza 11 and accounting for the loss of two lines from stanza 6, as a complete and carefully constructed piece, undoubtedly based on older poems, but still an artistic creation on its own.

The poem is generally dated as late as the eleventh century, and the concluding stanza betrays Christian influence almost unmistakably. It shows the confusion of traditions manifest in all the later poems; for example, Brynhild is here not only a Valkyrie but also a swan-maiden. Only three stanzas have any reference to the Guthrun-Gunnar part of the story; otherwise the poem is concerned solely with the episode of Sigurth’s finding the sleeping Valkyrie. Late as it is, therefore, it is essentially a Norse creation, involving very few of the details of the German cycle (cf. introductory note to Gripisspo).

The poem is generally considered to be from as late as the eleventh century, and the final stanza clearly shows Christian influence. It reflects the mix of traditions that appears in all the later poems; for instance, Brynhild is portrayed not only as a Valkyrie but also as a swan-maiden. Only three stanzas reference the Guthrun-Gunnar part of the story; otherwise, the poem focuses entirely on the episode of Sigurth discovering the sleeping Valkyrie. Even though it’s late, it remains fundamentally a Norse creation, incorporating very few details from the German cycle (see introductory note to Gripisspo).

[__A_TAG_PLACEHOLDER_0__]

After the death of Brynhild there were made two bale-fires, the one for Sigurth, and that burned first, and on the other was Brynhild burned, and she was on a [443]wagon which was covered with a rich cloth. Thus it is told, that Brynhild went in the wagon on Hel-way, and passed by a house where dwelt a certain giantess. The giantess spake:

After Brynhild died, they made two funeral pyres, one for Sigurth, which was burned first, and the other for Brynhild, who was cremated on a [__A_TAG_PLACEHOLDER_0__]wagon covered with expensive cloth. It's said that Brynhild traveled in the wagon along the road to the underworld and passed by a house where a giantess lived. The giantess spoke:

1. “Thou shalt not further   |   forward fare,

1. "You shall not go any further,

My dwelling ribbed   |   with rocks across;

My home is lined with rocks all around;

More seemly it were   |   at thy weaving to stay,

More fitting it would be | at your weaving to stay,

Than another’s husband   |   here to follow.

Than another’s husband   |   here to follow.

2. “What wouldst thou have   |   from Valland here,

__A_TAG_PLACEHOLDER_0__. “What do you want   |   from Valland here,

Fickle of heart,   |   in this my house?

Fickle at heart,   |   in my house?

Gold-goddess, now,   |   if thou wouldst know,

Gold-goddess, now,   |   if you would like to know,

Heroes’ blood   |   from thy hands hast washed.”

Heroes' blood   |   you've washed from your hands.”

Brynhild spake:

:

3. “Chide me not, woman   |   from rocky walls,

3. “Don’t scold me, woman   |   from rocky walls,

Though to battle once   |   I was wont to go;

Though I used to go to battle once

Better than thou   |   I shall seem to be,

Better than you will seem to be,

When men us two   |   shall truly know.”

When men use the two | shall truly know.”

The giantess spake:

The giantess spoke:

4. “Thou wast, Brynhild,   |   Buthli’s daughter, [444]

4. “You were, Brynhild,   |   Buthli’s daughter, [__A_TAG_PLACEHOLDER_0__]

For the worst of evils   |   born in the world;

For the worst of evils born in the world;

To death thou hast given   |   Gjuki’s children,

To death, you have given   |   Gjuki’s children,

And laid their lofty   |   house full low.”

And built their grand house down low.

Brynhild spake:

Brynhild said:

5. “Truth from the wagon   |   here I tell thee,

5. “Truth from the wagon | here I tell you,

Witless one,   |   if know thou wilt

Witless one,   |   if you want to know

How the heirs of Gjuki   |   gave me to be

How the heirs of Gjuki   |   made me who I am

Joyless ever,   |   a breaker of oaths.

Joyless forever,   |   a promise breaker.

6. “Hild the helmed   |   in Hlymdalir

__A_TAG_PLACEHOLDER_0__. “Hild the armored   |   in Hlymdalir

They named me of old,   |   all they who knew me.

They named me long ago,   |   all those who knew me.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

7. “The monarch bold   |   the swan-robes bore

__A_TAG_PLACEHOLDER_0__. “The brave king | wore the swan robes

Of the sisters eight   |   beneath an oak; [445]

Of the eight sisters   |   under an oak; [__A_TAG_PLACEHOLDER_0__]

Twelve winters I was,   |   if know thou wilt,

Twelve winters I was,   |   if you want to know.

When oaths I yielded   |   the king so young.

When I swore my oaths, the king was so young.

8. “Next I let   |   the leader of Goths,

__A_TAG_PLACEHOLDER_0__. “Next I let   |   the leader of the Goths,

Hjalmgunnar the old,   |   go down to hell,

Hjalmgunnar the old,   |   go down to hell,

And victory brought   |   to Autha’s brother;

And victory brought to Autha’s brother;

For this was Othin’s   |   anger mighty.

For this was Othin's anger intense.

9. “He beset me with shields   |   in Skatalund,

__A_TAG_PLACEHOLDER_0__. “He surrounded me with shields   |   in Skatalund,

Red and white,   |   their rims o’erlapped;

Red and white,   |   their rims overlapped;

He bade that my sleep   |   should broken be

He requested that my sleep be interrupted.

By him who fear   |   had nowhere found.

By him who feared | had nowhere found.

10. “He let round my hall,   |   that southward looked,

__A_TAG_PLACEHOLDER_0__. “He walked around my hall,   |   which faced south,

The branches’ foe   |   high-leaping burn;

The branches’ enemy   |   high-jumping fire;

Across it he bade   |   the hero come

Across it he called the hero to come.

Who brought me the gold   |   that Fafnir guarded.

Who brought me the gold   |   that Fafnir protected.

11. “On Grani rode   |   the giver of gold, [446]

__A_TAG_PLACEHOLDER_0__. “The giver of gold rode on Grani, [__A_TAG_PLACEHOLDER_0__]

Where my foster-father   |   ruled his folk;

Where my foster father ruled his people;

Best of all   |   he seemed to be,

Best of all | he appeared to be,

The prince of the Danes,   |   when the people met.

The prince of the Danes,   |   when the people gathered.

12. “Happy we slept,   |   one bed we had,

__A_TAG_PLACEHOLDER_0__. “We slept well, | we shared one bed,

As he my brother   |   born had been;

As he had been born my brother;

Eight were the nights   |   when neither there

Eight were the nights   |   when neither there

Loving hand   |   on the other laid.

Loving hand on the other side.

13. “Yet Guthrun reproached me,   |   Gjuki’s daughter,

13. “Yet Guthrun criticized me,   |   Gjuki’s daughter,

That I in Sigurth’s   |   arms had slept;

That I had slept in Sigurth’s arms;

Then did I hear   |   what I would were hid,

Then I heard what I wish was hidden,

That they had betrayed me   |   in taking a mate.

That they had betrayed me by choosing a partner.

14. “Ever with grief   |   and all too long

__A_TAG_PLACEHOLDER_0__. “Always with sadness | and for way too long

Are men and women   |   born in the world;

Are men and women born into this world?

But yet we shall live   |   our lives together,

But we will still live our lives together,

Sigurth and I.   |   Sink down, Giantess!”

Sigurth and I.   |   "Go down, Giantess!"

[442]

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[__A_TAG_PLACEHOLDER_0__]

NOTES

[443]

[__A_TAG_PLACEHOLDER_0__]

Prose. The prose follows the last stanza of Sigurtharkvitha en skamma without break. Two bale-fires: this contradicts the statement made in the concluding stanzas of Sigurtharkvitha en skamma, that Sigurth and Brynhild were burned on the same pyre; there is no evidence that the annotator here had anything but his own mistaken imagination to go on.

Prose. The prose continues directly from the last stanza of Sigurtharkvitha en skamma. Two bale-fires: this contradicts what is stated in the final stanzas of Sigurtharkvitha en skamma, which says that Sigurth and Brynhild were burned on the same pyre; there’s no evidence that the annotator had anything to rely on besides his own flawed imagination.

2. Valland: this name (“Land of Slaughter”) is used elsewhere of mythical places; cf. Harbarthsljoth, 24, and prose introduction to Völundarkvitha; it may here not be a proper name at all. Gold-goddess: poetic circumlocution for “woman.” [444]

__A_TAG_PLACEHOLDER_0__. Valland: this name (“Land of Slaughter”) is referenced in other myths; see Harbarthsljoth, 24, and the prose introduction to Völundarkvitha; it might not even be a proper name here. Gold-goddess: a poetic way of saying “woman.” [__A_TAG_PLACEHOLDER_0__]

6. In Regius these two lines stand after stanza 7, but most editions place them as here. They are not quoted in the Nornageststhattr. Presumably two lines, and perhaps more, have been lost. It has frequently been argued that all or part of the passage from stanza 6 through stanza 10 (6–10, 7–10 or 8–10) comes originally from the so-called Sigrdrifumol, where it would undoubtedly fit exceedingly well. Hild: a Valkyrie name meaning “Fighter” (cf. Voluspo, 31). In such compound names as Brynhild (“Fighter in Armor”) the first element was occasionally omitted. Hlymdalir (“Tumult-Dale”): a mythical name, merely signifying the place of battle as the home of Valkyries.

__A_TAG_PLACEHOLDER_0__. In Regius, these two lines appear after stanza 7, but most editions place them as shown here. They are not referenced in the Nornageststhattr. It's likely that two lines, and possibly more, have been lost. It's often argued that all or part of the passage from stanza 6 through stanza 10 (6–10, 7–10, or 8–10) originally came from the so-called Sigrdrifumol, where it would definitely fit very well. Hild: a Valkyrie name meaning “Fighter” (see Voluspo, 31). In some compound names like Brynhild (“Fighter in Armor”), the first element was sometimes left out. Hlymdalir (“Tumult-Dale”): a mythical name simply indicating the place of battle as the home of Valkyries.

7. Regarding the identification of swan-maidens with Valkyries, and the manner in which men could get them in their power by stealing their swan-garments, cf. Völundarkvitha, introductory prose and note, where the same thing happens. The monarch: perhaps Agnar, brother of Autha, mentioned in Sigrdrifumol (prose and quoted verse following stanza 4) as the warrior for [445]whose sake Brynhild defied Othin in slaying Hjalmgunnar. Eight: the Nornageststhattr manuscripts have “sisters of Atli” instead of “sisters eight.”

__A_TAG_PLACEHOLDER_0__. About the connection between swan-maidens and Valkyries, and how men could gain control over them by stealing their swan-garments, see Völundarkvitha, introductory prose and notes, where the same thing occurs. The monarch: possibly Agnar, brother of Autha, mentioned in Sigrdrifumol (prose and quoted verse following stanza 4) as the warrior for [__A_TAG_PLACEHOLDER_0__] for whom Brynhild stood against Othin in the killing of Hjalmgunnar. Eight: the Nornageststhattr manuscripts refer to “sisters of Atli” instead of “sisters eight.”

8. Hjalmgunnar: regarding this king of the Goths (the phrase means little) and his battle with Agnar, brother of Autha, cf. Sigrdrifumol, prose after stanza 4. One Nornageststhattr manuscript has “brother of the giantess” in place of “leader of Goths.”

__A_TAG_PLACEHOLDER_0__. Hjalmgunnar: about this king of the Goths (the phrase isn't very meaningful) and his fight with Agnar, brother of Autha, see Sigrdrifumol, prose after stanza 4. One Nornageststhattr manuscript has “brother of the giantess” instead of “leader of Goths.”

9. Cf. Sigrdrifumol, prose introduction. Skatalund (“Warriors’ Grove”): a mythical name; elsewhere the place where Brynhild lay is called Hindarfjoll.

__A_TAG_PLACEHOLDER_0__. Cf. Sigrdrifumol, prose introduction. Skatalund (“Warriors’ Grove”): a legendary name; in other accounts, the place where Brynhild was found is referred to as Hindarfjoll.

10. Branches’ foe: fire. Regarding the treasure cf. Fafnismol.

__A_TAG_PLACEHOLDER_0__. Branches’ enemy: fire. For information about the treasure, see Fafnismol.

11. This stanza is presumably an interpolation, reflecting a different version of the story, wherein Sigurth meets Brynhild at the home of her brother-in-law and foster-father, Heimir (cf. [446]Gripisspo, 19 and 27). Grani: Sigurth’s horse. Danes: nowhere else does Sigurth appear in this capacity. Perhaps this is a curious relic of the Helgi tradition.

__A_TAG_PLACEHOLDER_0__. This stanza is likely an addition, showing a different version of the story, where Sigurth meets Brynhild at her brother-in-law and foster-father Heimir's home (cf. [__A_TAG_PLACEHOLDER_0__]Gripisspo, 19 and 27). Grani: Sigurth’s horse. Danes: Sigurth doesn’t show up in this role anywhere else. This could be a strange remnant of the Helgi tradition.

12. Eight nights: elsewhere (cf. Gripisspo, 42) the time is stated as three nights, not eight. There is a confusion of traditions here, as in Gripisspo. In the version of the story wherein Sigurth met Brynhild before he encountered the Gjukungs, Sigurth was bound by no oaths, and the union was completed; it is only in the alternative version that the episode of the sword laid between the two occurs.

__A_TAG_PLACEHOLDER_0__. Eight nights: in other sources (see Gripisspo, 42), it mentions the time as three nights instead of eight. This indicates a mix-up of traditions, similar to what we find in Gripisspo. In the version where Sigurth meets Brynhild before coming across the Gjukungs, Sigurth is not bound by any oaths, and their union is completed; it's only in the other version that the scene with the sword placed between them takes place.

14. The idea apparently conveyed in the concluding lines, that Sigurth and Brynhild will be together in some future life, is utterly out of keeping with the Norse pagan traditions, and the whole stanza indicates the influence of Christianity. [447]

__A_TAG_PLACEHOLDER_0__. The suggestion in the last lines that Sigurth and Brynhild will reunite in some future life completely clashes with Norse pagan beliefs, and the entire stanza shows the influence of Christianity. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

DRAP NIFLUNGA

The Slaying of The Niflungs

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Intro Note

It has been already pointed out (introductory note to Reginsmol) that the compiler of the Eddic collection had clearly undertaken to formulate a coherent narrative of the entire Sigurth cycle, piecing together the various poems by means of prose narrative links. To some extent these links were based on traditions existing outside of the lays themselves, but in the main the material was gathered from the contents of the poems. The short prose passage entitled Drap Niflunga, which in the Codex Regius immediately follows the Helreith Brynhildar, is just such a narrative link, and scarcely deserves a special heading, but as nearly all editions separate it from the preceding and following poems, I have followed their example.

It has already been noted (introductory note to Reginsmol) that the compiler of the Eddic collection clearly set out to create a coherent story of the entire Sigurth cycle, connecting the various poems with prose narrative links. To some extent, these links were based on traditions outside of the poems themselves, but mainly the material was gathered from the contents of the poems. The short prose section titled Drap Niflunga, which in the Codex Regius immediately follows the Helreith Brynhildar, serves as such a narrative link and hardly warrants its own heading. However, since nearly all editions separate it from the poems before and after it, I have followed their example.

With Sigurth and Brynhild both dead, the story turns to the slaying of the sons of Gjuki by Atli, Guthrun’s second husband, and to a few subsequent incidents, mostly late incorporations from other narrative cycles, including the tragic death of Svanhild, daughter of Sigurth and Guthrun and wife of Jormunrek (Ermanarich), and the exploits of Hamther, son of Guthrun and her third husband, Jonak. These stories are told, or outlined, in the two Atli lays, the second and third Guthrun lays, the Oddrunargratr, the Guthrunarhvot, and the Hamthesmol. Had the compiler seen fit to put the Atli lays immediately after the Helreith Brynhildar, he would have needed only a very brief transitional note to make the course of the story clear, but as the second Guthrun lay, the next poem in the collection, is a lament following the death of Guthrun’s brothers, some sort of a narrative bridge was manifestly needed.

With Sigurth and Brynhild both dead, the story shifts to the killing of Gjuki's sons by Atli, Guthrun’s second husband, and to a few later events, mainly added from other narrative cycles, including the tragic death of Svanhild, the daughter of Sigurth and Guthrun and wife of Jormunrek (Ermanarich), as well as the adventures of Hamther, the son of Guthrun and her third husband, Jonak. These tales are shared, or summarized, in the two Atli lays, the second and third Guthrun lays, the Oddrunargratr, the Guthrunarhvot, and the Hamthesmol. If the compiler had decided to place the Atli lays right after the Helreith Brynhildar, he would have only needed a very brief transitional note to clarify the storyline, but since the second Guthrun lay, the next poem in the collection, is a lament for Guthrun’s brothers' deaths, a narrative bridge was clearly necessary.

Drap Niflunga is based entirely on the poems which follow it in the collection, with no use of extraneous material. The part of the story which it summarizes belongs to the semi-historical Burgundian tradition (cf. introductory note to Gripisspo), in many respects parallel to the familiar narrative of the Nibelungenlied, and, except in minor details, showing few essentially Northern additions. Sigurth is scarcely mentioned, and the outstanding episode is the slaying of Gunnar and Hogni, following their journey to Atli’s home.

Drap Niflunga is entirely based on the poems that come after it in the collection, without any outside material. The section of the story it summarizes belongs to the semi-historical Burgundian tradition (see the introductory note to Gripisspo), which is quite similar to the well-known tale of the Nibelungenlied, and, except for a few minor details, includes very few distinctly Northern elements. Sigurth is hardly mentioned, and the main event is the killing of Gunnar and Hogni after their journey to Atli’s home.

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[448]

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Gunnar and Hogni then took all the gold that Fafnir had had. There was strife between the Gjukungs and Atli, for he held the Gjukungs guilty of Brynhild’s death. It was agreed that they should give him Guthrun as wife, and they gave her a draught of forgetfulness to drink before she would consent to be wedded to Atli. The sons of Atli were Erp and Eitil, and Svanhild was the daughter of Sigurth and Guthrun. King Atli invited Gunnar and Hogni to come to him, and sent as messenger Vingi or Knefröth. Guthrun was aware of treachery, and sent with him a message in runes that they should not come, and as a token she sent to Hogni the ring Andvaranaut and tied a wolf’s hair in it. Gunnar had sought Oddrun, Atli’s sister, for his wife, but had her not; then he married Glaumvor, and Hogni’s wife was [449]Kostbera; their sons were Solar and Snævar and Gjuki. And when the Gjukungs came to Atli, then Guthrun besought her sons to plead for the lives of both the Gjukungs, but they would not do it. Hogni’s heart was cut out, and Gunnar was cast into the serpent’s den. He smote on the harp and put the serpents to sleep, but an adder stung him in the liver. [447]

Gunnar and Hogni took all the gold that Fafnir had owned. There was conflict between the Gjukungs and Atli, who blamed the Gjukungs for Brynhild’s death. It was decided that they would give him Guthrun as a wife, and they made her drink a potion of forgetfulness before she would agree to marry Atli. Atli’s sons were Erp and Eitil, and Svanhild was the daughter of Sigurth and Guthrun. King Atli invited Gunnar and Hogni to visit him, sending either Vingi or Knefröth as a messenger. Guthrun sensed betrayal and sent a message in runes warning them not to come. As a sign, she sent Hogni the ring Andvaranaut tied with a strand of wolf's hair. Gunnar had wanted to marry Oddrun, Atli’s sister, but she was not available; instead, he married Glaumvor, while Hogni’s wife was Kostbera. Their sons were Solar, Snævar, and Gjuki. When the Gjukungs arrived at Atli's, Guthrun asked her sons to plead for the lives of both Gjukungs, but they refused. Hogni had his heart cut out, and Gunnar was thrown into the snake pit. He played his harp to put the snakes to sleep, but an adder bit him in the liver.

[__A_TAG_PLACEHOLDER_0__]

NOTE

[448]

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Prose. Niflungs: regarding the mistaken application of this name to the sons of Gjuki, who were Burgundians, cf. Brot, 17 and note. Draught of forgetfulness: according to the Volsungasaga Grimhild, Guthrun’s mother, administered this, just as she did the similar draught which made Sigurth forget Brynhild. Erp and Eitil: Guthrun kills her two sons by Atli as part of her revenge; the annotator here explains her act further by saying that Guthrun asked her sons to intercede with their father in favor of Guthrun’s brothers, but that they refused, a detail which he appears to have invented, as it is found nowhere else. Svanhild: cf. Sigurtharkvitha en skamma, 54 and note. Vingi or Knefröth: Atlakvitha (stanza 1) calls the messenger Knefröth; Atlamol (stanza 4) speaks of two messengers, but names only one of them, Vingi. The annotator has here tried, unsuccessfully, to combine the two accounts. Andvaranaut: regarding the origin of Andvari’s ring cf. Reginsmol, prose after stanzas 4 and 5 and notes; Sigurth gave the ring to Guthrun. Here again the annotator is combining two stories; in Atlakvitha (stanza 8) Guthrun sends a ring (not Andvaranaut) with a wolf’s hair; in Atlamol (stanza 4) she sends a message written [449]in runes. The messenger obscures these runes, and Kostbera, Hogni’s wife, who attempts to decipher them, is not clear as to their meaning, though she suspects danger. Oddrun: cf. Sigurtharkvitha en skamma, 57 and note. Glaumvor: almost nothing is told of Gunnar’s second wife, though she appears frequently in the Atlamol. Kostbera (or Bera), Hogni’s wife, is known only as skilled in runes. Her brother was Orkning. The sons of Hogni and Kostbera, according to the Atlamol (stanza 28), were Solar and Snævar; the third son, Gjuki, named after his grandfather, seems to be an invention of the annotator’s. Adder: according to Oddrunargratr (stanza 30) Atli’s mother assumed this form in order to complete her son’s vengeance. [450]

Prose. Niflungs: about the incorrect use of this name for Gjuki's sons, who were Burgundians, see Brot, 17 and note. Draught of forgetfulness: in the Volsungasaga, Grimhild, Guthrun’s mother, gave this, just like she did with the similar drink that made Sigurth forget Brynhild. Erp and Eitil: Guthrun kills her two sons by Atli as part of her revenge; the annotator explains this further by saying that Guthrun asked her sons to plead with their father for her brothers, but they refused, a detail he seems to have made up since it’s not found anywhere else. Svanhild: see Sigurtharkvitha en skamma, 54 and note. Vingi or Knefröth: Atlakvitha (stanza 1) refers to the messenger as Knefröth; Atlamol (stanza 4) mentions two messengers but names only one, Vingi. The annotator has tried, unsuccessfully, to merge the two accounts. Andvaranaut: for the origin of Andvari’s ring, see Reginsmol, prose after stanzas 4 and 5 and notes; Sigurth gave the ring to Guthrun. Again, the annotator is mixing two stories; in Atlakvitha (stanza 8), Guthrun sends a ring (not Andvaranaut) with a wolf's hair; in Atlamol (stanza 4), she sends a message written [__A_TAG_PLACEHOLDER_0__]in runes. The messenger obscures these runes, and Kostbera, Hogni’s wife, who tries to interpret them, is unclear about their meaning, though she suspects danger. Oddrun: see Sigurtharkvitha en skamma, 57 and note. Glaumvor: almost nothing is mentioned about Gunnar’s second wife, even though she appears often in the Atlamol. Kostbera (or Bera), Hogni’s wife, is only known for her skill in runes. Her brother was Orkning. The sons of Hogni and Kostbera, according to Atlamol (stanza 28), were Solar and Snævar; the third son, Gjuki, named after his grandfather, seems to be a creation of the annotator. Adder: according to Oddrunargratr (stanza 30), Atli’s mother took this form to achieve her son's revenge. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

GUTHRUNARKVITHA II, EN FORNA

The Second, or Old, Lay of Guthrun

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Introduction

It has already been pointed out (introductory note to Guthrunarkvitha I) that the tradition of Guthrun’s lament was known wherever the Sigurth story existed, and that this lament was probably one of the earliest parts of the legend to assume verse form. Whether it reached the North as verse cannot, of course, be determined, but it is at least possible that this was the case, and in any event it is clear that by the tenth and eleventh centuries there were a number of Norse poems with Guthrun’s lament as the central theme. Two of these are included in the Eddic collection, the second one being unquestionably much the older. It is evidently the poem referred to by the annotator in the prose note following the Brot as “the old Guthrun lay,” and its character and state of preservation have combined to lead most commentators to date it as early as the first half of the tenth century, whereas Guthrunarkvitha I belongs a hundred years later.

It has already been noted (introductory note to Guthrunarkvitha I) that the tradition of Guthrun’s lament was known wherever the Sigurth story was told, and this lament was likely one of the earliest parts of the legend to be put into verse. Whether it arrived in the North as verse can't really be determined, but it’s at least possible that it did, and in any case, it's clear that by the tenth and eleventh centuries, there were several Norse poems focused on Guthrun’s lament. Two of these are included in the Eddic collection, with the second one being definitely much older. It is clearly the poem referred to by the annotator in the prose note following the Brot as “the old Guthrun lay,” and its character and state of preservation have led most scholars to date it to the first half of the tenth century, while Guthrunarkvitha I comes about a hundred years later.

The poem has evidently been preserved in rather bad shape, with a number of serious omissions and some interpolations, but in just this form it lay before the compilers of the Volsungasaga, who paraphrased it faithfully, and quoted five of its stanzas. The interpolations are on the whole unimportant; the omissions, while they obscure the sense of certain passages, do not destroy the essential continuity of the poem, in which Guthrun reviews her sorrows from the death of Sigurth through the slaying of her brothers to Atli’s dreams foretelling the death of their sons. It is, indeed, the only Norse poem of the Sigurth cycle antedating the year 1000 which has come down to us in anything approaching complete form; the Reginsmol, Fafnismol, and Sigrdrifumol are all collections of fragments, only a short bit of the “long” Sigurth lay remains, and the others—Gripisspo, Guthrunarkvitha I and III, Sigurtharkvitha en skamma, Helreith Brynhildar, Oddrunargratr, Guthrunarhvot, Hamthesmol, and the two Atli lays—are all generally dated from the eleventh and even the twelfth centuries.

The poem has clearly been preserved in pretty bad shape, with several serious omissions and some added lines, but in this format it was available to the compilers of the Volsungasaga, who paraphrased it faithfully and quoted five of its stanzas. The added lines are mostly unimportant; the omissions, while they make some parts unclear, don’t completely ruin the poem’s essential continuity, where Guthrun reflects on her sorrows from the death of Sigurth through the killing of her brothers to Atli’s dreams predicting the death of their sons. In fact, this is the only Norse poem from the Sigurth cycle that predates the year 1000 and has come down to us in anything like a complete form; the Reginsmol, Fafnismol, and Sigrdrifumol are all just collections of fragments, only a small part of the "long" Sigurth lay remains, and the others—Gripisspo, Guthrunarkvitha I and III, Sigurtharkvitha en skamma, Helreith Brynhildar, Oddrunargratr, Guthrunarhvot, Hamthesmol, and the two Atli lays—are all generally dated to the eleventh and even the twelfth centuries.

An added reason for believing that Guthrunarkvitha II traces its origin back to a lament which reached the North [451]from Germany in verse form is the absence of most of the characteristic Norse additions to the narrative, except in minor details. Sigurth is slain in the forest, as “German men say” (cf. Brot, concluding prose); the urging of Guthrun by her mother and brothers to become Atli’s wife, the slaying of the Gjukungs (here only intimated, for at that point something seems to have been lost), and Guthrun’s prospective revenge on Atli, all belong directly to the German tradition (cf. introductory note to Gripisspo).

An additional reason to believe that Guthrunarkvitha II originated from a lament that came to the North [__A_TAG_PLACEHOLDER_0__] from Germany in verse form is the lack of most of the typical Norse enhancements to the story, except for minor details. Sigurth is killed in the forest, as “German men say” (see Brot, concluding prose); the encouragement of Guthrun by her mother and brothers to marry Atli, the killing of the Gjukungs (only hinted at here, since it seems something has been lost at that point), and Guthrun’s future revenge on Atli all come directly from the German tradition (see introductory note to Gripisspo).

In the Codex Regius the poem is entitled simply Guthrunarkvitha; the numeral has been added in nearly all editions to distinguish this poem from the other two Guthrun lays, and the phrase “the old” is borrowed from the annotator’s comment in the prose note at the end of the Brot.

In the Codex Regius, the poem is titled simply Guthrunarkvitha; the number has been added in almost all editions to set this poem apart from the other two Guthrun lays, and the term “the old” comes from the annotator’s comment in the prose note at the end of the Brot.

[__A_TAG_PLACEHOLDER_0__]

King Thjothrek was with Atli, and had lost most of his men. Thjothrek and Guthrun lamented their griefs together. She spoke to him, saying:

King Thjothrek was with Atli and had lost most of his men. Thjothrek and Guthrun shared their sorrows together. She spoke to him, saying:

1. A maid of maids   |   my mother bore me,

1. A maid among maids | my mother gave birth to me,

Bright in my bower,   |   my brothers I loved,

Bright in my bower,   |   my brothers I loved,

Till Gjuki dowered   |   me with gold,

Till Gjuki dowered me with gold,

Dowered with gold,   |   and to Sigurth gave me.

Dowered with gold,   |   and to Sigurth gave me.

[452]

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2. So Sigurth rose   |   o’er Gjuki’s sons

__A_TAG_PLACEHOLDER_0__. So Sigurth rose   |   above Gjuki’s sons

As the leek grows green   |   above the grass,

As the leek grows green above the grass,

Or the stag o’er all   |   the beasts doth stand,

Or the stag stands over all the beasts,

Or as glow-red gold   |   above silver gray.

Or as glow-red gold   |   above silver gray.

3. Till my brothers let me   |   no longer have

3. Until my brothers allow me to no longer have

The best of heroes   |   my husband to be;

The best of heroes   |   my future husband;

Sleep they could not,   |   or quarrels settle,

Sleep they could not, or settle their quarrels,

Till Sigurth they   |   at last had slain.

Till Sigurth they | at last had slain.

4. From the Thing ran Grani   |   with thundering feet,

__A_TAG_PLACEHOLDER_0__. Grani ran from the Thing   |   with thunderous hooves,

But thence did Sigurth   |   himself come never;

But from there, Sigurth never came himself;

Covered with sweat   |   was the saddle-bearer,

Covered with sweat | was the saddle-bearer,

Wont the warrior’s   |   weight to bear.

Wont the warrior’s | weight to bear.

5. Weeping I sought   |   with Grani to speak,

5. Crying, I tried to talk with Grani,

With tear-wet cheeks   |   for the tale I asked;

With tear-streaked cheeks | for the story I asked;

The head of Grani   |   was bowed to the grass,

The head of Grani   |   was lowered to the grass,

The steed knew well   |   his master was slain.

The horse knew well that his owner was dead.

6. Long I waited   |   and pondered well

__A_TAG_PLACEHOLDER_0__. I waited a long time   |   and thought it through

Ere ever the king   |   for tidings I asked.

Ere ever the king   |   for news I asked.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[453]

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7. His head bowed Gunnar,   |   but Hogni told

__A_TAG_PLACEHOLDER_0__. Gunnar hung his head,   |   but Hogni said

The news full sore   |   of Sigurth slain:

The news was deeply distressing about Sigurth being killed:

“Hewed to death   |   at our hands he lies,

“Hewed to death   |   at our hands he lies,

Gotthorm’s slayer,   |   given to wolves.

Gotthorm’s killer,   |   left for the wolves.

8. “On the southern road   |   thou shalt Sigurth see,

8. “On the southern road | you shall see Sigurth,

Where hear thou canst   |   the ravens cry;

Where you can hear the ravens cry;

The eagles cry   |   as food they crave,

The eagles cry as they crave food,

And about thy husband   |   wolves are howling.”

And about your husband | wolves are howling.”

9. “Why dost thou, Hogni,   |   such a horror

9. “Why do you, Hogni,   |   create such a horror

Let me hear,   |   all joyless left?

Let me hear,   |   is there no joy left?

Ravens yet   |   thy heart shall rend

Ravens still | your heart will be torn

In a land that never   |   thou hast known.”

In a land that you have never known.

10. Few the words   |   of Hogni were,

Hogni didn't say much,

Bitter his heart   |   from heavy sorrow:

Bitter was his heart   |   from deep sorrow:

“Greater, Guthrun,   |   thy grief shall be

“Greater, Guthrun,   |   your grief shall be

If the ravens so   |   my heart shall rend.”

If the ravens do, my heart will break.

11. From him who spake   |   I turned me soon,

__A_TAG_PLACEHOLDER_0__. I quickly turned away from the one who spoke,

In the woods to find   |   what the wolves had left;

In the woods to see what the wolves had left;

Tears I had not,   |   nor wrung my hands, [454]

Tears I didn’t have,   |   nor did I wring my hands, [__A_TAG_PLACEHOLDER_0__]

Nor wailing went,   |   as other women,

Nor did she wail, like other women,

(When by Sigurth   |   slain I sat).

(When by Sigurth   |   killed I sat).

12. Never so black   |   had seemed the night

__A_TAG_PLACEHOLDER_0__. Never had the night seemed so dark

As when in sorrow   |   by Sigurth I sat;

As I sat with Sigurth in sorrow;

The wolves .  .  .  .   |   .  .  .  .  .  .  .  .

The wolves .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

13. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Best of all   |   methought ’twould be

Best of all | I thought it would be

If I my life   |   could only lose,

If I could only lose my life,

Or like to birch-wood   |   burned might be.

Or like to birch wood | burned might be.

14. From the mountain forth   |   five days I fared,

__A_TAG_PLACEHOLDER_0__. I traveled from the mountain for five days,

Till Hoalf’s hall   |   so high I saw; [455]

Till Hoalf’s hall   |   so high I saw; [__A_TAG_PLACEHOLDER_0__]

Seven half-years   |   with Thora I stayed,

Seven half-years | with Thora I stayed,

Hokon’s daughter,   |   in Denmark then.

Hokon’s daughter,   |   in Denmark at that time.

15. With gold she broidered,   |   to bring me joy,

__A_TAG_PLACEHOLDER_0__. She embroidered with gold,   |   to make me happy,

Southern halls   |   and Danish swans;

Southern halls   |   and Danish swans;

On the tapestry wove we   |   warrior’s deeds,

On the tapestry, we wove the warrior's deeds,

And the hero’s thanes   |   on our handiwork;

And the hero's followers | on our work;

(Flashing shields   |   and fighters armed,

(Flashing shields | and fighters armed,

Sword-throng, helm-throng,   |   the host of the king).

Sword-throng, helm-throng,   |   the king's army.

16. Sigmund’s ship   |   by the land was sailing,

__A_TAG_PLACEHOLDER_0__. Sigmund's ship   |   was sailing near the shore,

Golden the figure-head,   |   gay the beaks;

Golden the figurehead, | bright the beaks;

On board we wove   |   the warriors faring,

On board, we spun | the warriors traveling,

Sigar and Siggeir,   |   south to Fjon.

Sigar and Siggeir,   |   south to Fjon.

17. Then Grimhild asked,   |   the Gothic queen,

__A_TAG_PLACEHOLDER_0__. Then Grimhild asked,   |   the Gothic queen,

Whether willingly   |   would I .  .  .  .  .  .

Whether willingly   |   would I .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[456]

[__A_TAG_PLACEHOLDER_0__]

18. Her needlework cast she   |   aside, and called

__A_TAG_PLACEHOLDER_0__. She set aside her needlework and called

Her sons to ask,   |   with stern resolve,

Her sons to ask,   |   with serious determination,

Who amends to their sister   |   would make for her son,

Who changes things for their sister   |   would do so for her son,

Or the wife requite   |   for her husband killed.

Or the wife seeking revenge for her husband’s death.

19. Ready was Gunnar   |   gold to give,

__A_TAG_PLACEHOLDER_0__. Gunnar was all set to give gold,

Amends for my hurt,   |   and Hogni too;

Amends for my hurt,   |   and Hogni too;

Then would she know   |   who now would go,

Then she would know who would leave now,

The horse to saddle,   |   the wagon to harness,

The horse to saddle,   |   the wagon to hitch,

(The horse to ride,   |   the hawk to fly,

(The horse to ride,   |   the hawk to fly,

And shafts from bows   |   of yew to shoot).

And arrows from yew bows to shoot.

20. (Valdar, king   |   of the Danes, was come,

__A_TAG_PLACEHOLDER_0__. (Valdar, king of the Danes, had arrived,

With Jarizleif, Eymoth,   |   and Jarizskar). [457]

With Jarizleif, Eymoth,   |   and Jarizskar). [__A_TAG_PLACEHOLDER_0__]

In like princes   |   came they all,

In the same way, all of them arrived like princes,

The long-beard men,   |   with mantles red,

The long-bearded men,   |   wearing red cloaks,

Short their mail-coats,   |   mighty their helms,

Short their mail-coats,   |   mighty their helms,

Swords at their belts,   |   and brown their hair.

Swords at their belts, and brown hair.

21. Each to give me   |   gifts was fain,

__A_TAG_PLACEHOLDER_0__. Everyone was eager to give me gifts,

Gifts to give,   |   and goodly speech,

Gifts to give,   |   and nice words,

Comfort so   |   for my sorrows great

Comfort so   |   for my sorrows great

To bring they tried,   |   but I trusted them not.

To bring them, they tried,   |   but I didn’t trust them.

22. A draught did Grimhild   |   give me to drink,

__A_TAG_PLACEHOLDER_0__. Grimhild gave me a drink,

Bitter and cold;   |   I forgot my cares; [458]

Bitter and cold;   |   I forgot my worries; [__A_TAG_PLACEHOLDER_0__]

For mingled therein   |   was magic earth,

For mixed in it   |   was enchanted land,

Ice-cold sea,   |   and the blood of swine.

Ice-cold sea,   |   and the blood of pigs.

23. In the cup were runes   |   of every kind,

__A_TAG_PLACEHOLDER_0__. In the cup were symbols   |   of every kind,

Written and reddened,   |   I could not read them;

Written and tinted red,   |   I couldn't read them;

A heather-fish   |   from the Haddings’ land,

A heather-fish   |   from the Haddings' land,

An ear uncut,   |   and the entrails of beasts.

An uncut ear,   |   and the insides of animals.

24. Much evil was brewed   |   within the beer,

__A_TAG_PLACEHOLDER_0__. A lot of trouble was stirred up  |   in the beer,

Blossoms of trees,   |   and acorns burned,

Blossoms of trees,   |   and acorns burned,

Dew of the hearth,   |   and holy entrails,

Dew of the hearth,   |   and sacred guts,

The liver of swine,—   |   all grief to allay.

The liver of pigs, — all sorrow to ease.

25. Then I forgot,   |   when the draught they gave me,

__A_TAG_PLACEHOLDER_0__. Then I forgot,   |   when they gave me the drink,

There in the hall,   |   my husband’s slaying;

There in the hall,   |   my husband’s murder;

On their knees the kings   |   all three did kneel,

On their knees, the three kings knelt,

Ere she herself   |   to speak began:

Ere she herself to speak began:

[459]

[__A_TAG_PLACEHOLDER_0__]

26. “Guthrun, gold   |   to thee I give,

__A_TAG_PLACEHOLDER_0__. “Guthrun, I give you money,

The wealth that once   |   thy father’s was,

The wealth that once belonged to your father,

Rings to have,   |   and Hlothver’s halls,

Rings to have,   |   and Hlothver’s halls,

And the hangings all   |   that the monarch had.

And the tapestries that the king had.

27. “Hunnish women,   |   skilled in weaving,

__A_TAG_PLACEHOLDER_0__. “Women from the Huns,   |   experts in weaving,

Who gold make fair   |   to give thee joy,

Whoever makes gold fair to give you joy,

And the wealth of Buthli   |   thine shall be,

And the wealth of Buthli shall be yours,

Gold-decked one,   |   as Atli’s wife.”

Gold-decked one,   |   as Atli’s wife.

Guthrun spake:

Guthrun said:

28. “A husband now   |   I will not have,

__A_TAG_PLACEHOLDER_0__. “I won’t have a husband now,

Nor wife of Brynhild’s   |   brother be;

Nor should Brynhild's brother have a wife;

It beseems me not   |   with Buthli’s son

It doesn't seem right to me with Buthli's son.

Happy to be,   |   and heirs to bear.”

Happy to be,   |   and heirs to carry on.”

[460]

[__A_TAG_PLACEHOLDER_0__]

Grimhild spake:

Grimhild said:

29. “Seek not on men   |   to avenge thy sorrows,

__A_TAG_PLACEHOLDER_0__. “Don’t rely on others to fix your pain,

Though the blame at first   |   with us hath been;

Though the blame at first was ours;

Happy shalt be   |   as if both still lived,

Happy shall be  |   as if both still lived,

Sigurth and Sigmund,   |   if sons thou bearest.”

Sigurth and Sigmund,   |   if you are their sons.”

Guthrun spake:

Guthrun said:

30. “Grimhild, I may not   |   gladness find,

__A_TAG_PLACEHOLDER_0__. “Grimhild, I might not find any joy,

Nor hold forth hopes   |   to heroes now,

Nor hold out hopes to heroes now,

Since once the raven   |   and ravening wolf

Since once the raven | and the hungry wolf

Sigurth’s heart’s-blood   |   hungrily lapped.”

Sigurth’s blood   |   hungrily lapped.

Grimhild spake:

Grimhild said:

31. “Noblest of birth   |   is the ruler now

31. “The most noble of lineage is the ruler now

I have found for thee,   |   and foremost of all;

I have found for you,   |   and most importantly;

Him shalt thou have   |   while life thou hast,

Him you shall have while you have life,

Or husbandless be   |   if him thou wilt choose not.”

Or be without a husband if you choose not to have him.

Guthrun spake:

Guthrun said:

32. “Seek not so eagerly   |   me to send

__A_TAG_PLACEHOLDER_0__. “Don’t try so hard to get me to send

To be a bride   |   of yon baneful race;

To be a bride of that harmful group;

On Gunnar first   |   his wrath shall fall,

On Gunnar first | his anger shall fall,

And the heart will he tear   |   from Hogni’s breast.”

And he will tear the heart from Hogni's chest.”

[461]

[__A_TAG_PLACEHOLDER_0__]

33. Weeping Grimhild   |   heard the words

__A_TAG_PLACEHOLDER_0__. Weeping Grimhild   |   heard the words

That fate full sore   |   for her sons foretold,

That fate, very painful | for her sons predicted,

(And mighty woe   |   for them should work;)

(And great sorrow   |   should come to them;)

“Lands I give thee,   |   with all that live there,

“Lands I give you,   |   with everyone who lives there,

(Vinbjorg is thine,   |   and Valbjorg too,)

(Vinbjorg is yours,   |   and Valbjorg too,)

Have them forever,   |   but hear me, daughter.”

Have them forever, but listen to me, daughter.”

34. So must I do   |   as the kings besought,

__A_TAG_PLACEHOLDER_0__. So I must do as the kings asked,

And against my will   |   for my kinsmen wed;

And against my will | for my relatives are getting married;

Ne’er with my husband   |   joy I had,

Ne’er with my husband | joy I had,

And my sons by my brothers’   |   fate were saved not.

And my sons by my brothers’ fate were not saved.

35. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

I could not rest   |   till of life I had robbed

I couldn’t relax until I had taken everything from life.

The warrior bold,   |   the maker of battles.

The brave warrior,   |   the creator of conflicts.

36. Soon on horseback   |   each hero was, [462]

__A_TAG_PLACEHOLDER_0__. Before long, each hero was on horseback, [__A_TAG_PLACEHOLDER_0__]

And the foreign women   |   in wagons faring;

And the foreign women in wagons traveling;

A week through lands   |   so cold we went,

A week through lands   |   so cold we traveled,

And a second week   |   the waves we smote,

And a second week | we hit the waves,

(And a third through lands   |   that water lacked).

(And a third through lands   |   that water was missing).

37. The warders now   |   on the lofty walls

__A_TAG_PLACEHOLDER_0__. The guards now   |   on the high walls

Opened the gates,   |   and in we rode.

Opened the gates,   |   and in we rode.

*    *    *    *    *    *

*    *    *    *    *    *

38. Atli woke me,   |   for ever I seemed

38. Atli woke me,   |   for I always seemed

Of bitterness full   |   for my brothers’ death.

Of bitterness full for my brothers' death.

Atli spake:

Atli said:

39. “Now from sleep   |   the Norns have waked me

__A_TAG_PLACEHOLDER_0__. “Now the Norns have woken me from my sleep.

With visions of terror,—   |   to thee will I tell them;

With visions of terror, — | — I will share them with you;

Methought thou, Guthrun,   |   Gjuki’s daughter,

Methought you, Guthrun,   |   Gjuki’s daughter,

With poisoned blade   |   didst pierce my body.”

With a poisoned blade, you pierced my body.

[463]

[__A_TAG_PLACEHOLDER_0__]

Guthrun spake:

Guthrun said:

40. “Fire a dream   |   of steel shall follow

__A_TAG_PLACEHOLDER_0__. “Ignite a dream   |   and steel will come after”

And willful pride   |   one of woman’s wrath;

And stubborn pride   |   one of a woman's anger;

A baneful sore   |   I shall burn from thee,

A harmful sore   |   I will burn away from you,

And tend and heal thee,   |   though hated thou art.”

And take care of you and heal you, even though you're hated.

Atli spake:

Atli said:

41. “Of plants I dreamed,   |   in the garden drooping,

__A_TAG_PLACEHOLDER_0__. “I dreamed of plants,   |   in the garden, wilting,

That fain would I have   |   full high to grow;

That I would gladly have | grow fully high;

Plucked by the roots,   |   and red with blood,

Plucked from the roots,   |   and stained with blood,

They brought them hither,   |   and bade me eat.

They brought them here, and told me to eat.

42. “I dreamed my hawks   |   from my hand had flown,

42. “I dreamed that my hawks had flown from my hand,

Eager for food,   |   to an evil house;

Eager for food,   |   to a wicked house;

I dreamed their hearts   |   with honey I ate,

I dreamed their hearts | with honey I ate,

Soaked in blood,   |   and heavy my sorrow.

Soaked in blood,   |   and my sorrow is heavy.

43. “Hounds I dreamed   |   from my hand I loosed,

43. “I dreamed of hounds that I released from my hand,

Loud in hunger   |   and pain they howled;

Loud with hunger and pain, they howled;

Their flesh methought   |   was eagles’ food,

Their flesh seemed to me | was food for eagles,

And their bodies now   |   I needs must eat.”

And their bodies now | I have to eat.

Guthrun spake:

Guthrun said:

44. “Men shall soon   |   of sacrifice speak, [464]

__A_TAG_PLACEHOLDER_0__. “People will soon talk about sacrifice, [__A_TAG_PLACEHOLDER_0__]

And off the heads   |   of beasts shall hew;

And he will chop off the heads of beasts;

Die they shall   |   ere day has dawned,

Die they shall  |  ere day has dawned,

A few nights hence,   |   and the folk shall have them.”

A few nights from now, and the people will have them.

Atli spake:

Atli said:

45. “On my bed I sank,   |   nor slumber sought,

__A_TAG_PLACEHOLDER_0__. “I lay down on my bed,   |   not looking for sleep,

Weary with woe,—   |   full well I remember.”

Weary with sorrow,—   |   I remember it clearly.”

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

[450]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[451]

[__A_TAG_PLACEHOLDER_0__]

Prose. Thjothrek: the famous Theoderich, king of the Ostrogoths, who became renowned in German story as Dietrich von Bern. The German tradition early accepted the anachronism of bringing together Attila (Etzel, Atli), who died in 453, and Theoderich, who was born about 455, and adding thereto Ermanarich (Jormunrek), king of the Goths, who died about 376. Ermanarich, in German tradition, replaced Theoderich’s actual enemy, Odovakar, and it was in battle with Jormunrek (i.e., Odovakar) that Thjothrek is here said to have lost most of his men. The annotator found the material for this note in Guthrunarkvitha III, in which Guthrun is accused of having Thjothrek as her lover. At the time when Guthrunarkvitha II [452]was composed (early tenth century) it is probable that the story of Theoderich had not reached the North at all, and the annotator is consequently wrong in giving the poem its setting.

Prose. Thjothrek: the famous Theoderich, king of the Ostrogoths, who became well-known in German stories as Dietrich von Bern. Early on, the German tradition accepted the mix-up of bringing together Attila (Etzel, Atli), who died in 453, and Theoderich, who was born around 455, along with Ermanarich (Jormunrek), king of the Goths, who died around 376. In German tradition, Ermanarich took the place of Theoderich’s real enemy, Odovakar, and it was in battle against Jormunrek (essentially Odovakar) that Thjothrek is said to have lost most of his men. The annotator found the material for this note in Guthrunarkvitha III, where Guthrun is accused of having Thjothrek as her lover. When Guthrunarkvitha II [__A_TAG_PLACEHOLDER_0__] was composed (early tenth century), it’s likely that the story of Theoderich hadn't reached the North at all, so the annotator is mistaken in giving the poem its setting.

2. Cf. Guthrunarkvitha I, 17.

__A_TAG_PLACEHOLDER_0__. See Guthrunarkvitha I, 17.

4. Regarding the varying accounts of the manner of Sigurth’s death cf. Brot, concluding prose and note. Grani: cf. Brot, 7.

__A_TAG_PLACEHOLDER_0__. About the different stories surrounding Sigurth’s death, see Brot, concluding prose and note. Grani: see Brot, 7.

6. No gap indicated in the manuscript. Some editions combine these two lines with either stanza 5 or stanza 7. [453]

__A_TAG_PLACEHOLDER_0__. No break is noted in the manuscript. Some versions merge these two lines with either stanza 5 or stanza 7. [__A_TAG_PLACEHOLDER_0__]

7. Gotthorm: from this it appears that in both versions of the death of Sigurth the mortally wounded hero killed his murderer, the younger brother of Gunnar and Hogni. The story of how Gotthorm was slain after killing Sigurth in his bed is told in Sigurtharkvitha en skamma, 22–23, and in the Volsungasaga.

__A_TAG_PLACEHOLDER_0__. Gotthorm: from this, it seems that in both accounts of Sigurth's death, the seriously injured hero managed to kill his murderer, who was Gunnar and Hogni's younger brother. The tale of how Gotthorm was killed after taking down Sigurth in his bed is recounted in Sigurtharkvitha en skamma, 22–23, and in the Volsungasaga.

11. On lines 3–4 cf. Guthrunarkvitha I, 1. Line 5 is probably spurious. [454]

__A_TAG_PLACEHOLDER_0__. On lines 3–4 see Guthrunarkvitha I, 1. Line 5 is likely not original. [__A_TAG_PLACEHOLDER_0__]

12. Many editions make one stanza of stanzas 12 and 13, reconstructing line 3; the manuscript shows no gap. Bugge fills out the stanza thus: “The wolves were howling   |   on all the ways, / The eagles cried   |   as their food they craved.”

__A_TAG_PLACEHOLDER_0__. Many editions combine stanzas 12 and 13 into one, modifying line 3; the manuscript shows no break. Bugge completes the stanza like this: “The wolves were howling   |   on all the paths, / The eagles cried   |   as they sought their food.”

13. Cf. note on preceding stanza. Grundtvig suggests as a first line: “Long did I bide,   |   my brothers awaiting.” Many editors reject line 4.

__A_TAG_PLACEHOLDER_0__. See the note on the previous stanza. Grundtvig proposes starting with: “I waited a long time, | my brothers, in anticipation.” Many editors do not accept line 4.

14. The manuscript marks line 3 as beginning a stanza, and many editions combine lines 3–4 with lines 1–2 of stanza 15. Hoalf (or Half): Gering thinks this Danish king may be identical with Alf, son of King Hjalprek, and second husband of Hjordis, Sigurth’s mother (cf. Fra Dautha Sinfjotla and note), but the name was a common one. Thora and Hokon have not been identified (cf. Guthrunarkvitha I, concluding prose, which is clearly based on this stanza). A Thora appears in Hyndluljoth, 18, as the wife of Dag, one of the sons of Halfdan the Old, the most famous of Denmark’s mythical kings, and one of her sons is Alf (Hoalf?). [455]

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza, and many editions group lines 3–4 with lines 1–2 of stanza 15. Hoalf (or Half): Gering believes this Danish king might be the same as Alf, the son of King Hjalprek, and the second husband of Hjordis, Sigurth’s mother (see Fra Dautha Sinfjotla and note), though the name was quite common. Thora and Hokon haven’t been identified (see Guthrunarkvitha I, the concluding prose, which is clearly based on this stanza). A Thora appears in Hyndluljoth, 18, as the wife of Dag, one of the sons of Halfdan the Old, the most famous of Denmark’s mythical kings, and one of her sons is Alf (Hoalf?). [__A_TAG_PLACEHOLDER_0__]

15. The manuscript marks line 3 as the beginning of a stanza. Some editors combine lines 5–6 with lines 1–2 of stanza 16, while others mark them as interpolated.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a stanza. Some editors merge lines 5–6 with lines 1–2 of stanza 16, while others consider them as added text.

16. Some editions combine lines 3–4 with stanza 17. Sigmund: Sigurth’s father, who here appears as a sea-rover in Guthrun’s tapestry. Sigar: named in Fornaldar sögur II, 10, as the father of Siggeir, the latter being the husband of Sigmund’s twin sister, Signy (cf. Fra Dautha Sinfjotla). Fjon: this name, referring to the Danish island of Fünen, is taken from the Volsungasaga paraphrase as better fitting the Danish setting of the stanza than the name in Regius, which is “Fife” (Scotland).

__A_TAG_PLACEHOLDER_0__. Some editions combine lines 3–4 with stanza 17. Sigmund: Sigurth’s father, who is portrayed here as a sea raider in Guthrun’s tapestry. Sigar: mentioned in Fornaldar sögur II, 10, as the father of Siggeir, who is the husband of Sigmund’s twin sister, Signy (see Fra Dautha Sinfjotla). Fjon: this name, referring to the Danish island of Fünen, is taken from the Volsungasaga paraphrase as it fits the Danish setting of the stanza better than the name in Regius, which is “Fife” (Scotland).

17. No gap is indicated in the manuscript, and most editions combine these two lines either with lines 3–4 of stanza 16, with lines 1–2 of stanza 18, or with the whole of stanza 18. Line 2 [456]has been filled out in various ways. The Volsungasaga paraphrase indicates that these two lines are the remains of a full stanza, the prose passage running: “Now Guthrun was somewhat comforted of her sorrows. Then Grimhild learned where Guthrun was now dwelling.” The first two lines may be the ones missing. Gothic: the term “Goth” was used in the North without much discrimination to apply to all south-Germanic peoples. In Gripisspo, 35, Gunnar, Grimhild’s son, appears as “lord of the Goths.”

__A_TAG_PLACEHOLDER_0__. There's no gap shown in the manuscript, and most editions connect these two lines either with lines 3–4 of stanza 16, with lines 1–2 of stanza 18, or with the entire stanza 18. Line 2 [__A_TAG_PLACEHOLDER_0__] has been interpreted in different ways. The Volsungasaga paraphrase suggests that these two lines are remnants of a complete stanza, with the prose passage stating: “Now Guthrun was somewhat comforted in her sorrows. Then Grimhild found out where Guthrun was living.” The first two lines might be the ones that are missing. Gothic: the term “Goth” was used in the North without much distinction to refer to all south-Germanic peoples. In Gripisspo, 35, Gunnar, Grimhild’s son, is described as the “lord of the Goths.”

18. The manuscript marks line 3 as the beginning of a stanza. Grimhild is eager to have amends made to Guthrun for the slaying of Sigurth and their son, Sigmund, because Atli has threatened war if he cannot have Guthrun for his wife.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates line 3 as the start of a stanza. Grimhild is desperate to make things right with Guthrun for the deaths of Sigurth and their son, Sigmund, because Atli has threatened war if he can't have Guthrun as his wife.

19. Lines 5–6 are almost certainly interpolations, made by a scribe with a very vague understanding of the meaning of the stanza, which refers simply to the journey of the Gjukungs to bring their sister home from Denmark.

__A_TAG_PLACEHOLDER_0__. Lines 5–6 are likely additions made by a scribe who had a pretty unclear idea of what the stanza meant, which is simply about the Gjukungs' journey to bring their sister back from Denmark.

20. Lines 1–2 are probably interpolated, though the Volsungasaga includes the names. Some one apparently attempted to [457]supply the names of Atli’s messengers, the “long-beard men” of line 4, who have come to ask for Guthrun’s hand. Some commentators assume, as the Volsungasaga does, that these messengers went with the Gjukungs to Denmark in search of Guthrun, but it seems more likely that a transitional stanza has dropped out after stanza 19, and that Guthrun received Atli’s emissaries in her brothers’ home. Long-beards: the word may actually mean Langobards or Lombards, but, if it does, it is presumably without any specific significance here. Certainly the names in the interpolated two lines do not fit either Lombards or Huns, for Valdar is identified as a Dane, and Jarizleif and Jarizskar are apparently Slavic. The manuscript indicates line 5 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. Lines 1–2 are likely added later, although the Volsungasaga includes the names. Someone seems to have tried to [__A_TAG_PLACEHOLDER_0__]provide the names of Atli’s messengers, the “long-beard men” mentioned in line 4, who came to ask for Guthrun’s hand. Some commentators believe, as the Volsungasaga does, that these messengers traveled with the Gjukungs to Denmark to find Guthrun, but it seems more plausible that a transitional stanza is missing after stanza 19, and that Guthrun welcomed Atli’s emissaries at her brothers’ home. Long-beards: this term might actually refer to the Langobards or Lombards, but if it does, it probably isn’t significant in this context. Clearly, the names in the added two lines don’t match either the Lombards or Huns, since Valdar is identified as a Dane, and Jarizleif and Jarizskar appear to be Slavic. The manuscript shows line 5 as the start of a new stanza.

21. Each: the reference is presumably to Gunnar and Hogni, and perhaps also Grimhild. I suspect that this stanza belongs before stanza 20.

__A_TAG_PLACEHOLDER_0__. Each: this likely refers to Gunnar and Hogni, and maybe Grimhild as well. I think this stanza should come before stanza 20.

22. Stanzas 22–25 describe the draught of forgetfulness which Grimhild gives Guthrun, just as she gave one to Sigurth (in one version of the story) to make him forget Brynhild. The draught does not seem to work despite Guthrun’s statement in stanza 25 (cf. stanza 30), for which reason Vigfusson, not unwisely, places stanzas 22–25 after stanza 34. Blood of swine: cf. Hyndluljoth, 39 and note. [458]

__A_TAG_PLACEHOLDER_0__. Stanzas 22–25 talk about the potion of forgetfulness that Grimhild gives to Guthrun, just like she gave to Sigurth (in one version of the story) to make him forget Brynhild. The potion doesn’t seem to take effect despite Guthrun’s claim in stanza 25 (see stanza 30), which is why Vigfusson wisely places stanzas 22–25 after stanza 34. Blood of swine: see Hyndluljoth, 39 and note. [__A_TAG_PLACEHOLDER_0__]

23. The Volsungasaga quotes stanzas 23–24. Heather-fish: a snake. Haddings’ land: the world of the dead, so called because, according to Saxo Grammaticus, the Danish king Hadingus once visited it. It is possible that the comma should follow “heather-fish,” making the “ear uncut” (of grain) come from the world of the dead.

__A_TAG_PLACEHOLDER_0__. The Volsungasaga cites stanzas 23–24. Heather-fish: a snake. Haddings’ land: the afterlife, named that way because, according to Saxo Grammaticus, the Danish king Hadingus once went there. It’s possible that the comma should follow “heather-fish,” suggesting that the “ear uncut” (of grain) comes from the afterlife.

24. Dew of the hearth: soot.

__A_TAG_PLACEHOLDER_0__. Dew of the hearth: smoke.

25. In the manuscript, and in some editions, the first line is in the third person plural: “Then they forgot,   |   when the draught they had drunk.” The second line in the original is manifestly in bad shape, and has been variously emended. I forgot: this emendation is doubtful, in view of stanza 30, but cf. note to stanza 22. The kings all three: probably Atli’s emissaries, though the interpolated lines of stanza 20 name four of them. I suspect that line 4 is wrong, and should read: “Ere he himself (Atli)   |   to speak began.” Certainly stanzas 26–27 [459]fit Atli much better than they do Grimhild, and there is nothing unreasonable in Atli’s having come in person, along with his tributary kings, to seek Guthrun’s hand. However, the “three kings” may not be Atli’s followers at all, but Gunnar, Hogni, and the unnamed third brother possibly referred to in Sigurtharkvitha en skamma, 18.

__A_TAG_PLACEHOLDER_0__. In the manuscript, and in some editions, the first line is in the third person plural: “Then they forgot, | when the draft they had drunk.” The second line in the original is clearly in poor condition and has been adjusted in various ways. I forgot: this change is questionable, considering stanza 30, but see the note for stanza 22. The kings all three: likely Atli’s messengers, although the added lines in stanza 20 mention four of them. I suspect that line 4 is incorrect and should say: “Before he himself (Atli) | began to speak.” Certainly, stanzas 26–27 [__A_TAG_PLACEHOLDER_0__] fit Atli much better than they fit Grimhild, and it’s reasonable to think Atli came in person, along with his tributary kings, to ask for Guthrun’s hand. However, the “three kings” might not be Atli’s followers at all, but Gunnar, Hogni, and possibly the unnamed third brother referred to in Sigurtharkvitha en skamma, 18.

26. Thy father’s: So the manuscript, in which case the reference is obviously to Gjuki. But some editions omit the “thy,” and if Atli, and not Grimhild, is speaking (cf. note on stanza 25), the reference may be, as in line 3 of stanza 27, to the wealth of Atli’s father, Buthli. Hlothver: the northern form of the Frankish name Chlodowech (Ludwig), but who this Hlothver was, beyond the fact that he was evidently a Frankish king, is uncertain. If Atli is speaking, he is presumably a Frankish ruler whose land Atli and his Huns have conquered.

__A_TAG_PLACEHOLDER_0__. Your father’s: So the manuscript suggests this is about Gjuki. However, some versions leave out “your,” and if Atli, not Grimhild, is the one speaking (see note on stanza 25), it could also refer to the wealth of Atli’s father, Buthli, as mentioned in line 3 of stanza 27. Hlothver: the northern version of the Frankish name Chlodowech (Ludwig), but it’s unclear who this Hlothver was, aside from being a Frankish king. If Atli is speaking, he is likely a Frankish ruler whose territory Atli and his Huns have taken over.

27. Cf. note on stanza 25 as to the probable speaker.

__A_TAG_PLACEHOLDER_0__. See the note on stanza 25 regarding who might be speaking.

28. In stanzas 28–32 the dialogue, in alternate stanzas, is clearly between Guthrun and her mother, Grimhild, though the manuscript does not indicate the speakers. [460]

__A_TAG_PLACEHOLDER_0__. In stanzas 28–32, the dialogue alternates clearly between Guthrun and her mother, Grimhild, even though the manuscript doesn't specify who is speaking. [__A_TAG_PLACEHOLDER_0__]

29. Sigmund: son of Sigurth and Guthrun, killed at Brynhild’s behest.

__A_TAG_PLACEHOLDER_0__. Sigmund: son of Sigurth and Guthrun, murdered on Brynhild’s orders.

30. This stanza presents a strong argument for transposing the description of the draught of forgetfulness (stanzas 22–24 and lines 1–2 of stanza 25) to follow stanza 33. Raven, etc.: the original is somewhat obscure, and the line may refer simply to the “corpse-eating raven.”

__A_TAG_PLACEHOLDER_0__. This stanza makes a compelling case for moving the description of the draught of forgetfulness (stanzas 22–24 and lines 1–2 of stanza 25) to come after stanza 33. Raven, etc.: the original text is a bit unclear, and the line might just be referring to the “corpse-eating raven.”

32. In the manuscript this stanza is immediately followed by the two lines which here, following Bugge’s suggestion, appear [461]as stanza 35. In lines 3–4 Guthrun foretells what will (and actually does) happen if she is forced to become Atli’s wife. If stanza 35 really belongs here, it continues the prophesy to the effect that Guthrun will have no rest till she has avenged her brothers’ death.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza is immediately followed by the two lines that, following Bugge’s suggestion, are placed here as stanza 35 [__A_TAG_PLACEHOLDER_0__]. In lines 3–4, Guthrun predicts what will (and actually does) happen if she is forced to marry Atli. If stanza 35 truly belongs here, it carries on the prophecy, indicating that Guthrun won't find peace until she avenges her brothers’ deaths.

33. Very likely the remains of two stanzas; the manuscript marks line 4 as beginning a new stanza. On the other hand, lines 3 and 5 may be interpolations. Vinbjorg and Valbjorg: apparently imaginary place-names.

__A_TAG_PLACEHOLDER_0__. Probably the remnants of two stanzas; the manuscript indicates that line 4 starts a new stanza. However, lines 3 and 5 could be additions. Vinbjorg and Valbjorg: seemingly fictional place names.

34. The kings: presumably Gunnar and Hogni. My sons: regarding Guthrun’s slaying of her two sons by Atli, Erp and Eitil, cf. Drap Niflunga, note.

__A_TAG_PLACEHOLDER_0__. The kings: likely Gunnar and Hogni. My sons: about Guthrun’s killing of her two sons by Atli, Erp and Eitil, see Drap Niflunga, note.

35. In the manuscript this stanza follows stanza 32. The loss of two lines, to the effect that “Ill was that marriage for my brothers, and ill for Atli himself,” and the transposition of the remaining two lines to this point, are indicated in a number of editions. The warrior, etc.: Atli, whom Guthrun kills. [462]

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 32. The omission of two lines, stating that “That marriage was bad for my brothers, and bad for Atli himself,” along with the rearrangement of the remaining two lines to this point, is noted in several editions. The warrior, etc.: Atli, who is killed by Guthrun. [__A_TAG_PLACEHOLDER_0__]

36. The stanza describes the journey to Atli’s home, and sundry unsuccessful efforts have been made to follow the travellers through Germany and down the Danube. Foreign women: slaves. Line 5, which the manuscript marks as beginning a stanza, is probably spurious.

__A_TAG_PLACEHOLDER_0__. The stanza talks about the trip to Atli’s home, and various unsuccessful attempts have been made to trace the travelers through Germany and along the Danube. Foreign women: slaves. Line 5, which the manuscript indicates as starting a stanza, is likely a later addition.

37. After these two lines there appears to be a considerable gap, the lost stanzas giving Guthrun’s story of the slaying of her brothers. It is possible that stanzas 38–45 came originally from another poem, dealing with Atli’s dream, and were here substituted for the original conclusion of Guthrun’s lament. Many editions combine stanzas 37 and 38, or combine stanza 38 (the manuscript marks line 1 as beginning a stanza) with lines 1–2 of stanza 39.

__A_TAG_PLACEHOLDER_0__. After these two lines, there seems to be a significant gap where the lost stanzas told Guthrun’s story about the murder of her brothers. It's possible that stanzas 38–45 originally came from a different poem that focuses on Atli’s dream and were substituted here for the original ending of Guthrun’s lament. Many editions merge stanzas 37 and 38, or combine stanza 38 (the manuscript indicates that line 1 starts a new stanza) with lines 1–2 of stanza 39.

39. The manuscript indicates line 3 as the beginning of a stanza. The manuscript and most editions do not indicate the speakers in this and the following stanzas. [463]

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a stanza. The manuscript and most versions do not specify who is speaking in this and the next stanzas. [__A_TAG_PLACEHOLDER_0__]

40. Guthrun, somewhat obscurely, interprets Atli’s first dream (stanza 39) to mean that she will cure him of an abscess by cauterizing it. Her interpretation is, of course, intended merely to blind him to her purpose.

__A_TAG_PLACEHOLDER_0__. Guthrun, somewhat ambiguously, interprets Atli’s first dream (stanza 39) to suggest that she will heal him of an abscess by burning it. Her interpretation is, of course, meant only to distract him from her true intent.

41. In stanzas 41–43 Atli’s dreams forecast the death of his two sons, whose flesh Guthrun gives him to eat (cf. Atlakvitha, 39, and Atlamol, 78).

__A_TAG_PLACEHOLDER_0__. In stanzas 41–43, Atli’s dreams predict the death of his two sons, whose flesh Guthrun provides him to eat (see Atlakvitha, 39, and Atlamol, 78).

44. This stanza is evidently Guthrun’s intentionally cryptic [464]interpretation of Atli’s dreams, but the meaning of the original is more than doubtful. The word here rendered “sacrifice” may mean “sea-catch,” and the one rendered “beasts” may mean “whales.” None of the attempted emendations have rendered the stanza really intelligible, but it appears to mean that Atli will soon make a sacrifice of beasts at night, and give their bodies to the people. Guthrun of course has in mind the slaying of his two sons.

__A_TAG_PLACEHOLDER_0__. This stanza is clearly Guthrun’s deliberately obscure [__A_TAG_PLACEHOLDER_0__]interpretation of Atli’s dreams, but the original meaning is quite uncertain. The term translated as “sacrifice” could refer to “sea-catch,” and the one translated as “beasts” might mean “whales.” None of the proposed changes have made the stanza truly clear, but it seems to suggest that Atli will soon offer a sacrifice of beasts at night and give their bodies to the people. Guthrun is, of course, thinking about the killing of his two sons.

45. With these two lines the poem abruptly ends; some editors assign the speech to Atli (I think rightly), others to Guthrun. Ettmüller combines the lines with stanza 38. Whether stanzas 38–45 originally belonged to Guthrun’s lament, or were interpolated here in place of the lost conclusion of that poem from another one dealing with Atli’s dreams (cf. note on stanza 37), it is clear that the end has been lost. [465]

__A_TAG_PLACEHOLDER_0__. The poem ends abruptly with these two lines; some editors attribute the speech to Atli (which I think is correct), while others assign it to Guthrun. Ettmüller combines these lines with stanza 38. It's uncertain whether stanzas 38–45 were originally part of Guthrun’s lament or if they were added in place of the lost ending of that poem from another one about Atli’s dreams (see note on stanza 37). It’s clear that the conclusion has been lost. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

GUTHRUNARKVITHA III

The Third Lay of Guthrun

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The short Guthrunarkvitha III, entitled in the manuscript simply Guthrunarkvitha, but so numbered in most editions to distinguish it from the first and second Guthrun lays, appears only in the Codex Regius. It is neither quoted nor paraphrased in the Volsungasaga, the compilers of which appear not to have known the story with which it deals. The poem as we have it is evidently complete and free from serious interpolations. It can safely be dated from the first half of the eleventh century, for the ordeal by boiling water, with which it is chiefly concerned, was first introduced into Norway by St. Olaf, who died in 1030, and the poem speaks of it in stanza 7 as still of foreign origin.

The short Guthrunarkvitha III, simply titled Guthrunarkvitha in the manuscript, but numbered in most editions to differentiate it from the first and second Guthrun lays, is found only in the Codex Regius. It isn’t quoted or paraphrased in the Volsungasaga, suggesting that the compilers weren’t familiar with the story it tells. The poem as it exists is clearly complete and free from significant edits. It can be safely dated to the first half of the eleventh century, because the ordeal by boiling water, which it focuses on, was first introduced to Norway by St. Olaf, who died in 1030, and the poem mentions in stanza 7 that it still has foreign origins.

The material for the poem evidently came from North Germany, but there is little indication that the poet was working on the basis of a narrative legend already fully formed. The story of the wife accused of faithlessness who proves her innocence by the test of boiling water had long been current in Germany, as elsewhere, and had attached itself to various women of legendary fame, but not except in this poem, so far as we can judge, to Guthrun (Kriemhild). The introduction of Thjothrek (Theoderich, Dietrich, Thithrek) is another indication of relative lateness, for the legends of Theoderich do not appear to have reached the North materially before the year 1000. On the anachronism of bringing Thjothrek to Atli’s court cf. Guthrunarkvitha II, introductory prose, note, in which the development of the Theoderich tradition in its relation to that of Atli is briefly outlined.

The material for the poem clearly came from North Germany, but there's little evidence that the poet worked from a fully developed narrative legend. The story of the wife accused of infidelity who proves her innocence through the boiling water test had been popular in Germany, and elsewhere, for a long time, and it had been associated with various legendary women, but not, as far as we know, with Guthrun (Kriemhild) until this poem. The introduction of Thjothrek (Theoderich, Dietrich, Thithrek) suggests a later date, as the legends of Theoderich don't seem to have significantly reached the North before around the year 1000. For the anachronism of bringing Thjothrek to Atli’s court, see Guthrunarkvitha II, introductory prose, note, where the development of the Theoderich tradition in relation to that of Atli is briefly discussed.

Guthrunarkvitha III is, then, little more than a dramatic German story made into a narrative lay by a Norse poet, with the names of Guthrun, Atli, Thjothrek, and Herkja incorporated for the sake of greater effectiveness. Its story probably nowhere formed a part of the living tradition of Sigurth and Atli, but the poem has so little distinctively Norse coloring that it may possibly have been based on a story or even a poem which its composer heard in Germany or from the lips of a German narrator.

Guthrunarkvitha III is essentially a dramatic German tale turned into a narrative poem by a Norse poet, incorporating the names Guthrun, Atli, Thjothrek, and Herkja for added impact. Its story likely never truly belonged to the living tradition of Sigurth and Atli, but the poem lacks distinct Norse elements, suggesting it may have been inspired by a story or even a poem that the composer encountered in Germany or from a German storyteller.

[__A_TAG_PLACEHOLDER_0__]

[466]

[__A_TAG_PLACEHOLDER_0__]

Herkja was the name of a serving-woman of Atli’s; she had been his concubine. She told Atli that she had seen Thjothrek and Guthrun both together. Atli was greatly angered thereby. Then Guthrun said:

Herkja was a servant of Atli's; she had been his mistress. She told Atli that she had seen Thjothrek and Guthrun together. Atli was very angry about this. Then Guthrun said:

1. “What thy sorrow, Atli,   |   Buthli’s son?

1. “What’s bothering you, Atli,   |   Buthli’s son?

Is thy heart heavy-laden?   |   Why laughest thou never?

Is your heart weighed down?   |   Why do you never laugh?

It would better befit   |   the warrior far

It would suit the warrior much better.

To speak with men,   |   and me to look on.”

To talk to men, | and for me to watch.”

Atli spake:

Atli said:

2. “It troubles me, Guthrun,   |   Gjuki’s daughter,

__A_TAG_PLACEHOLDER_0__. “It bothers me, Guthrun,   |   Gjuki’s daughter,

What Herkja here   |   in the hall hath told me,

What Herkja has told me here in the hall,

That thou in the bed   |   with Thjothrek liest,

That you lie in bed with Thjothrek,

Beneath the linen   |   in lovers’ guise.”

Beneath the linen   |   in lovers’ guise.”

Guthrun spake:

Guthrun said:

3. “This shall I   |   with oaths now swear,

__A_TAG_PLACEHOLDER_0__. “I swear this now with an oath,

Swear by the sacred   |   stone so white,

Swear by the sacred stone that's so white,

That nought was there   |   with Thjothmar’s son

That nothing was there   |   with Thjothmar’s son

That man or woman   |   may not know.

That person might not know.

[467]

[__A_TAG_PLACEHOLDER_0__]

4. “Nor ever once   |   did my arms embrace

4. “And not once did my arms hold you.”

The hero brave,   |   the leader of hosts;

The brave hero,   |   the leader of the troops;

In another manner   |   our meeting was,

In another way, our meeting was,

When our sorrows we   |   in secret told.

When we quietly shared our sorrows.

5. “With thirty warriors   |   Thjothrek came,

__A_TAG_PLACEHOLDER_0__. “Thjothrek showed up with thirty warriors,

Nor of all his men   |   doth one remain;

Nor does a single one of his men remain;

Thou hast murdered my brothers   |   and mail-clad men,

Thou hast killed my brothers   |   and armored men,

Thou hast murdered all   |   the men of my race.

You have killed all the men of my kind.

6. “Gunnar comes not,   |   Hogni I greet not,

__A_TAG_PLACEHOLDER_0__. “Gunnar doesn’t come,   |   I don’t greet Hogni,

No longer I see   |   my brothers loved;

No longer do I see my beloved brothers;

My sorrow would Hogni   |   avenge with the sword,

My sorrow would Hogni | take revenge with the sword,

Now myself for my woes   |   I shall payment win.

Now, for my troubles, I will earn my reward.

7. “Summon Saxi,   |   the southrons’ king,

__A_TAG_PLACEHOLDER_0__. “Call for Saxi, | the king of the Southrons,

For he the boiling   |   kettle can hallow.” [468]

For he the boiling kettle can bless. [__A_TAG_PLACEHOLDER_0__]

Seven hundred   |   there were in the hall,

Seven hundred | there were in the hall,

Ere the queen her hand   |   in the kettle thrust.

Ere the queen put her hand in the kettle.

8. To the bottom she reached   |   with hand so bright,

8. She reached the bottom with her bright hand,

And forth she brought   |   the flashing stones:

And then she brought the shining stones:

“Behold, ye warriors,   |   well am I cleared

“Look, warriors,   |   I’m completely cleared

Of sin by the kettle’s   |   sacred boiling.”

Of sin by the kettle’s   |   sacred boiling.”

9. Then Atli’s heart   |   in happiness laughed,

9. Then Atli's heart laughed with joy,

When Guthrun’s hand   |   unhurt he saw;

When Guthrun's hand was unhurt, he saw;

“Now Herkja shall come   |   the kettle to try,

“Now Herkja will come   |   to test the kettle,

She who grief   |   for Guthrun planned.”

She who mourned for Guthrun planned.

10. Ne’er saw man sight   |   more sad than this,

__A_TAG_PLACEHOLDER_0__. Never has a person seen a sight more sorrowful than this,

How burned were the hands   |   of Herkja then;

How burned were Herkja's hands then;

In a bog so foul   |   the maid they flung,

In a swamp so disgusting | the girl they tossed,

And so was Guthrun’s   |   grief requited.

And so Guthrun’s grief was repaid.

[465]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[466]

[__A_TAG_PLACEHOLDER_0__]

Prose. The annotator derived all the material for this note from the poem itself, except for the reference to Herkja as Atli’s former concubine. Herkja: the historical Kreka and the Helche of the Nibelungenlied, who there appears as Etzel’s (Attila’s) first wife. Thjothrek: cf. Introductory Note.

Prose. The annotator took all the information for this note from the poem itself, except for the mention of Herkja as Atli’s former concubine. Herkja: the historical Kreka and the Helche from the Nibelungenlied, where she is presented as Etzel’s (Attila’s) first wife. Thjothrek: see Introductory Note.

2. The manuscript omits the names of the speakers throughout.

__A_TAG_PLACEHOLDER_0__. The manuscript leaves out the names of the speakers completely.

3. Holy stone: just what this refers to is uncertain; it may be identical with the “ice-cold stone of Uth” mentioned in an oath in Helgakvitha Hundingsbana II, 29. Thjothmar’s son: the manuscript has simply “Thjothmar.” Some editions change it as [467]here, some assume that Thjothmar is another name or an error for Thjothrek, and Finnur Jonsson not only retains Thjothmar here but changes Thjothrek to Thjothmar in stanza 5 to conform to it.

__A_TAG_PLACEHOLDER_0__. Holy stone: it's unclear exactly what this means; it could be the same as the “ice-cold stone of Uth” mentioned in an oath in Helgakvitha Hundingsbana II, 29. Thjothmar’s son: the manuscript simply has “Thjothmar.” Some editions change it as [__A_TAG_PLACEHOLDER_0__] here, while some think that Thjothmar is either another name or a mistake for Thjothrek. Finnur Jonsson not only keeps Thjothmar here but also changes Thjothrek to Thjothmar in stanza 5 to make it consistent.

5. Regarding the death of Thjothrek’s men cf. Guthrunarkvitha II, introductory prose, note. It was on these stanzas of Guthrunarkvitha III that the annotator based his introduction to Guthrunarkvitha II. The manuscript repeats the “thirty” in line 2, in defiance of metrical requirements.

__A_TAG_PLACEHOLDER_0__. In relation to the death of Thjothrek’s men, see Guthrunarkvitha II, introductory prose, note. The annotator used these stanzas from Guthrunarkvitha III as the basis for his introduction to Guthrunarkvitha II. The manuscript repeats the “thirty” in line 2, ignoring metrical requirements.

6. In the manuscript this stanza follows stanza 7; many editions have made the transposition.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 7; many editions have switched their order.

7. Who Saxi may be is not clear, but the stanza clearly points to the time when the ordeal by boiling water was still regarded as a foreign institution, and when a southern king (i.e., a Christian from some earlier-converted region) was necessary [468]to consecrate the kettle used in the test. The ordeal by boiling water followed closely the introduction of Christianity, which took place around the year 1000. Some editions make two stanzas out of stanza 7, and Müllenhoff contends that lines 1–2 do not constitute part of Guthrun’s speech.

__A_TAG_PLACEHOLDER_0__. It's unclear who Saxi might be, but the stanza clearly refers to a time when the boiling water ordeal was still seen as a foreign practice, and when a southern king (meaning a Christian from an earlier-converted area) was needed [__A_TAG_PLACEHOLDER_0__]to bless the kettle used in the trial. The boiling water ordeal closely followed the introduction of Christianity, which happened around the year 1000. Some versions split stanza 7 into two stanzas, and Müllenhoff argues that lines 1–2 don't belong to Guthrun’s speech.

10. The word “requited” in line 4 is omitted in the manuscript, but it is clear that some such word was intended. The punishment of casting a culprit into a bog to be drowned was particularly reserved for women, and is not infrequently mentioned in the sagas. [469]

__A_TAG_PLACEHOLDER_0__. The word “requited” in line 4 is missing from the manuscript, but it’s obvious that some similar word was meant. The punishment of throwing a culprit into a bog to drown was especially meant for women, and is mentioned fairly often in the sagas. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

ODDRUNARGRATR

The Lament of Oddrun

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Oddrunargratr follows Guthrunarkvitha III in the Codex Regius; it is not quoted or mentioned elsewhere, except that the composer of the “short” Sigurth lay seems to have been familiar with it. The Volsungasaga says nothing of the story on which it is based, and mentions Oddrun only once, in the course of its paraphrase of Brynhild’s prophecy from the “short” Sigurth lay. That the poem comes from the eleventh century is generally agreed; prior to the year 1000 there is no trace of the figure of Oddrun, Atli’s sister, and yet the Oddrunargratr is almost certainly older than the “short” Sigurth lay, so that the last half of the eleventh century seems to be a fairly safe guess.

The Oddrunargratr comes after Guthrunarkvitha III in the Codex Regius; it isn’t quoted or mentioned anywhere else, except that the writer of the “short” Sigurth lay seems to have known it. The Volsungasaga doesn’t mention the story it’s based on and only references Oddrun once while paraphrasing Brynhild’s prophecy from the “short” Sigurth lay. It’s widely accepted that the poem dates back to the eleventh century; before the year 1000, there’s no evidence of Oddrun, Atli’s sister, and yet the Oddrunargratr is likely older than the “short” Sigurth lay, so the latter half of the eleventh century seems like a pretty safe estimate.

Where or how the figure of Oddrun entered the Sigurth-Atli cycle is uncertain. She does not appear in any of the extant German versions, and it is generally assumed that she was a creation of the North, though the poet refers to “old tales” concerning her. She does not directly affect the course of the story at all, though the poet has used effectively the episode of Gunnar’s death, with the implication that Atli’s vengeance on Gunnar and Hogni was due, at least in part, to his discovery of Gunnar’s love affair with Oddrun. The material which forms the background of Oddrun’s story belongs wholly to the German part of the legend (cf. introductory note to Gripisspo), and is paralleled with considerable closeness in the Nibelungenlied; only Oddrun herself and the subsidiary figures of Borgny and Vilmund are Northern additions. The geography, on the other hand, is so utterly chaotic as to indicate that the original localization of the Atli story had lost all trace of significance by the time this poem was composed.

Where or how the character of Oddrun became part of the Sigurth-Atli story is unclear. She doesn’t appear in any of the existing German versions, and it’s generally believed that she was a creation from the North, although the poet mentions “old tales” about her. She doesn’t affect the plot directly, but the poet uses the incident of Gunnar’s death effectively, suggesting that Atli’s revenge on Gunnar and Hogni was partly due to his discovery of Gunnar’s relationship with Oddrun. The background material for Oddrun’s story is entirely from the German side of the legend (see introductory note to Gripisspo) and closely parallels the Nibelungenlied; only Oddrun herself and the minor characters of Borgny and Vilmund are additions from the North. The geography, however, is so disorganized that it seems the original setting of the Atli story had lost all meaningful context by the time this poem was written.

In the manuscript the poem, or rather the brief introductory prose note, bears the heading “Of Borgny and Oddrun,” but nearly all editions, following late paper manuscripts, have given the poem the title it bears here. Outside of a few apparently defective stanzas, and some confusing transpositions, the poem has clearly been preserved in good condition, and the beginning and end are definitely marked.

In the manuscript, the poem, or more accurately, the short introductory prose note, is titled “Of Borgny and Oddrun,” but almost all editions, based on later paper manuscripts, have given the poem the title it has here. Aside from a few obviously damaged stanzas and some confusing rearrangements, the poem has been well-preserved, with clear marks at the beginning and end.

[__A_TAG_PLACEHOLDER_0__]

[470]

[__A_TAG_PLACEHOLDER_0__]

Heithrek was the name of a king, whose daughter was called Borgny. Vilmund was the name of the man who was her lover. She could not give birth to a child until Oddrun, Atli’s sister, had come to her; Oddrun had been beloved of Gunnar, son of Gjuki. About this story is the following poem.

Heithrek was the name of a king, and his daughter was named Borgny. Vilmund was the man who was her lover. She couldn't have a child until Oddrun, Atli’s sister, came to her; Oddrun had been loved by Gunnar, son of Gjuki. This story is followed by the poem.

1. I have heard it told   |   in olden tales

__A_TAG_PLACEHOLDER_0__. I’ve heard it said   |   in ancient stories

How a maiden came   |   to Morningland;

How a girl arrived   |   in Morningland;

No one of all   |   on earth above

No one above on Earth

To Heithrek’s daughter   |   help could give.

To Heithrek’s daughter, help could be given.

2. This Oddrun learned,   |   the sister of Atli,

2. This Oddrun learned,   |   the sister of Atli,

That sore the maiden’s   |   sickness was;

That was the maiden's struggle;

The bit-bearer forth   |   from his stall she brought,

The bit-bearer out | from his stall she brought,

And the saddle laid   |   on the steed so black.

And the saddle was placed on the black horse.

3. She let the horse go   |   o’er the level ground,

__A_TAG_PLACEHOLDER_0__. She released the horse to run across the flat terrain,

Till she reached the hall   |   that loftily rose, [471]

Till she reached the hall that towered above, [__A_TAG_PLACEHOLDER_0__]

(And in she went   |   from the end of the hall;)

(And in she went   |   from the end of the hall;)

From the weary steed   |   the saddle she took;

From the tired horse   |   she removed the saddle;

Hear now the speech   |   that first she spake:

Hear now the speech that she first spoke:

4. “What news on earth,   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. “What’s happening on Earth,   |   .  .  .  .  .  .  .  .

Or what has happened   |   in Hunland now?”

Or what has happened in Hunland now?

A serving-maid spake:

A maid spoke

“Here Borgny lies   |   in bitter pain,

“Here Borgny lies   |   in bitter pain,

Thy friend, and, Oddrun,   |   thy help would find.”

Your friend, and, Oddrun,   |   your help would find.”

Oddrun spake:

Oddrun said:

5. “Who worked this woe   |   for the woman thus,

__A_TAG_PLACEHOLDER_0__. “Who caused this suffering   |   for the woman like this,

Or why so sudden   |   is Borgny sick?”

Or why so suddenly | is Borgny sick?”

The serving-maid spake:

The maid said:

“Vilmund is he,   |   the heroes’ friend,

“Vilmund is he,   |   the heroes’ friend,

Who wrapped the woman   |   in bedclothes warm,

Who wrapped the woman in warm bedclothes,

(For winters five,   |   yet her father knew not).”

(For five winters,   |   yet her father knew not).”

6. Then no more   |   they spake, methinks;

__A_TAG_PLACEHOLDER_0__. Then they stopped talking, I think;

She went at the knees   |   of the woman to sit; [472]

She knelt down in front of the woman to sit; [__A_TAG_PLACEHOLDER_0__]

With magic Oddrun   |   and mightily Oddrun

With magic Oddrun   |   and powerful Oddrun

Chanted for Borgny   |   potent charms.

Chanted for Borgny   |   powerful charms.

7. At last were born   |   a boy and girl,

__A_TAG_PLACEHOLDER_0__. Finally, a boy and a girl were born,

Son and daughter   |   of Hogni’s slayer;

Son and daughter of Hogni’s killer;

Then speech the woman   |   so weak began,

Then the woman spoke, so weakly,

Nor said she aught   |   ere this she spake:

Nor did she say anything before this she spoke:

8. “So may the holy   |   ones thee help,

__A_TAG_PLACEHOLDER_0__. “So may the holy ones help you,

Frigg and Freyja   |   and favoring gods,

Frigg and Freyja   |   and favored gods,

As thou hast saved me   |   from sorrow now.”

As you have saved me from sorrow now.

Oddrun spake:

Oddrun said:

9. “I came not hither   |   to help thee thus

__A_TAG_PLACEHOLDER_0__. “I didn't come here to help you like this.

Because thou ever   |   my aid didst earn;

Because you always earned my help;

I fulfilled the oath   |   that of old I swore,

I kept the promise that I swore long ago,

That aid to all   |   I should ever bring,

That help to everyone I should ever provide,

(When they shared the wealth   |   the warriors had).”

(When they shared the wealth   |   the warriors had).”

[473]

[__A_TAG_PLACEHOLDER_0__]

Borgny spake:

Borgny said:

10. “Wild art thou, Oddrun,   |   and witless now,

__A_TAG_PLACEHOLDER_0__. “You’re fierce, Oddrun,   |   and foolish now,

That so in hatred   |   to me thou speakest;

That you speak to me in such hatred;

I followed thee   |   where thou didst fare,

I followed you wherever you went,

As we had been born   |   of brothers twain.”

As we were born of two brothers.

Oddrun spake:

Oddrun said:

11. “I remember the evil   |   one eve thou spakest,

__A_TAG_PLACEHOLDER_0__. “I remember the terrible thing you said one evening,

When a draught I gave   |   to Gunnar then;

When I gave a draft to Gunnar then;

Thou didst say that never   |   such a deed

Thou didst say that never   |   such a deed

By maid was done   |   save by me alone.”

By maid was done   |   save by me alone.”

12. Then the sorrowing woman   |   sat her down

__A_TAG_PLACEHOLDER_0__. Then the grieving woman   |   sat down

To tell the grief   |   of her troubles great.

To express the sadness of her significant troubles.

[474]

[__A_TAG_PLACEHOLDER_0__]

13. “Happy I grew   |   in the hero’s hall

__A_TAG_PLACEHOLDER_0__. “I'm glad I grew up | in the hero’s hall

As the warriors wished,   |   and they loved me well;

As the warriors desired,   |   and they cared for me deeply;

Glad I was   |   of my father’s gifts,

Glad I was of my father’s gifts,

For winters five,   |   while my father lived.

For five winters, | while my dad was alive.

14. “These were the words   |   the weary king,

__A_TAG_PLACEHOLDER_0__. “These were the words   |   the tired king,

Ere he died,   |   spake last of all:

Ere he died, | spoke last of all:

He bade me with red gold   |   dowered to be,

He told me with red gold | destined to be,

And to Grimhild’s son   |   in the South be wedded.

And to Grimhild’s son  |   in the South be married.

15. “But Brynhild the helm   |   he bade to wear,

__A_TAG_PLACEHOLDER_0__. “But Brynhild was asked to wear the helmet,

A wish-maid bright   |   he said she should be;

A wish-maid bright | he said she should be;

For a nobler maid   |   would never be born

For a better girl would never be born

On earth, he said,   |   if death should spare her.

On earth, he said,   |   if death should let her live.

16. “At her weaving Brynhild   |   sat in her bower,

__A_TAG_PLACEHOLDER_0__. “Brynhild was sitting in her room, working at her weaving,

Lands and folk   |   alike she had; [475]

Lands and people   |   she had both; [__A_TAG_PLACEHOLDER_0__]

The earth and heaven   |   high resounded

The earth and sky echoed loudly

When Fafnir’s slayer   |   the city saw.

When Fafnir's killer showed up, the city took notice.

17. “Then battle was fought   |   with the foreign swords,

__A_TAG_PLACEHOLDER_0__. “Then a battle was fought   |   with the foreign swords,

And the city was broken   |   that Brynhild had;

And the city was ruined that Brynhild had;

Not long thereafter,   |   but all too soon,

Not long after that, | but all too soon,

Their evil wiles   |   full well she knew.

Their wicked tricks | she knew all too well.

18. “Woeful for this   |   her vengeance was,

__A_TAG_PLACEHOLDER_0__. “She was filled with terrible grief because of this, | her anger was fierce,

As so we learned   |   to our sorrow all;

As we learned to our regret, all;

In every land   |   shall all men hear

In every land, all people will hear.

How herself at Sigurth’s   |   side she slew.

How she killed at Sigurth’s side.

19. “Love to Gunnar   |   then I gave,

__A_TAG_PLACEHOLDER_0__. “I was devoted to Gunnar   |   so I gave,

To the breaker of rings,   |   as Brynhild might;

To the breaker of rings,   |   as Brynhild might;

To Atli rings   |   so red they offered,

To Atli rings   |   so red they offered,

And mighty gifts   |   to my brother would give.

And I would give great gifts to my brother.

[476]

[__A_TAG_PLACEHOLDER_0__]

20. “Fifteen dwellings   |   fain would he give

__A_TAG_PLACEHOLDER_0__. “He would gladly give fifteen houses”

For me, and the burden   |   that Grani bore;

For me and the weight that Grani carried;

But Atli said   |   he would never receive

But Atli said   |   he would never receive

Marriage gold   |   from Gjuki’s son.

Marriage gold   |   from Gjuki’s son.

21. “Yet could we not   |   our love o’ercome,

21. “But we couldn't overcome our love,

And my head I laid   |   on the hero’s shoulder;

And I rested my head on the hero's shoulder;

Many there were   |   of kinsmen mine

Several of my relatives

Who said that together   |   us they had seen.

Who said that they had seen us together?

22. “Atli said   |   that never I

22. “Atli said that I would never”

Would evil plan,   |   or ill deed do;

Would evil plan,   |   or ill deed do;

But none may this   |   of another think,

But no one should think this of another,

Or surely speak,   |   when love is shared.

Or certainly speak,   |   when love is shared.

23. “Soon his men   |   did Atli send,

__A_TAG_PLACEHOLDER_0__. “Soon his men sent Atli,

In the murky wood   |   on me to spy;

In the dark woods | it's up to me to watch;

Thither they came   |   where they should not come,

Thither they came   |   where they shouldn't have come,

Where beneath one cover   |   close we lay.

Where under one cover   |   we lay close together.

24. “To the warriors ruddy   |   rings we offered,

__A_TAG_PLACEHOLDER_0__. “To the warriors with red faces   |   we offered rings,

That nought to Atli   |   e’er they should say; [477]

That nothing to Atli   |   ever they should say; [__A_TAG_PLACEHOLDER_0__]

But swiftly home   |   they hastened thence,

But quickly, they rushed home,

And eager all   |   to Atli told.

And everyone was eager to hear what Atli had to say.

25. “But close from Guthrun   |   kept they hid

__A_TAG_PLACEHOLDER_0__. “But nearby, Guthrun   |   stayed hidden.

What first of all   |   she ought to have known.

What she should have known first of all.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

. . . . . . . .   |   . . . . . . . .

26. “Great was the clatter   |   of gilded hoofs

__A_TAG_PLACEHOLDER_0__. “The noise was loud   |   from the shiny hooves

When Gjuki’s sons   |   through the gateway rode;

When Gjuki's sons rode through the gateway;

The heart they hewed   |   from Hogni then,

The heart they carved out from Hogni then,

And the other they cast   |   in the serpents’ cave.

And the other they threw into the snake pit.

27. “The hero wise   |   on his harp then smote,

__A_TAG_PLACEHOLDER_0__. “The wise hero then struck his harp,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

For help from me   |   in his heart yet hoped

For help from me   |   in his heart still hoped

The high-born king,   |   might come to him.

The noble king might come to him.

[478]

[__A_TAG_PLACEHOLDER_0__]

28. “Alone was I gone   |   to Geirmund then,

__A_TAG_PLACEHOLDER_0__. “I was alone when I went to Geirmund,

The draught to mix   |   and ready to make;

The drink to mix  | and ready to make;

Sudden I heard   |   from Hlesey clear

Suddenly, I heard from Hlesey loud and clear.

How in sorrow the strings   |   of the harp resounded.

How sorrowfully the strings of the harp rang out.

29. “I bade the serving-maids   |   ready to be,

__A_TAG_PLACEHOLDER_0__. “I told the maids to be ready,

For I longed the hero’s   |   life to save;

For I yearned to save the hero's life;

Across the sound   |   the boats we sailed,

Across the sound   |   the boats we sailed,

Till we saw the whole   |   of Atli’s home.

Till we saw the whole of Atli’s home.

30. “Then crawling the evil   |   woman came,

__A_TAG_PLACEHOLDER_0__. “Then the evil woman came crawling,

Atli’s mother—   |   may she ever rot! [479]

Atli’s mother—   |   may she always rot! [__A_TAG_PLACEHOLDER_0__]

And hard she bit   |   to Gunnar’s heart,

And she bit hard into Gunnar’s heart,

So I could not help   |   the hero brave.

So I couldn’t help the brave hero.

31. “Oft have I wondered   |   how after this,

__A_TAG_PLACEHOLDER_0__. “I’ve often wondered   |   what comes next,

Serpents’-bed goddess!   |   I still might live,

Serpents’-bed goddess!   |   I might still survive,

For well I loved   |   the warrior brave,

For I really loved the brave warrior,

The giver of swords,   |   as my very self.

The one who gives swords,   |   just like me.

32. “Thou didst see and listen,   |   the while I said

__A_TAG_PLACEHOLDER_0__. “You saw and listened while I spoke

The mighty grief   |   that was mine and theirs;

The deep sorrow that belonged to me and to them;

Each man lives   |   as his longing wills,—

Each man lives as his desires dictate,—

Oddrun’s lament   |   is ended now.”

Oddrun's sorrow is over now.

[469]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[470]

[__A_TAG_PLACEHOLDER_0__]

Prose. Nothing further is known of Heithrek, Borgny or Vilmund. The annotator has added the name of Borgny’s father, but otherwise his material comes from the poem itself. Oddrun, sister of Atli and Brynhild, here appears as proficient in birth-runes (cf. Sigrdrifumol, 8). Regarding her love for Gunnar, Guthrun’s brother, and husband of her sister, Brynhild, cf. Sigurtharkvitha en skamma, 57 and note.

Prose. Nothing more is known about Heithrek, Borgny, or Vilmund. The annotator has added the name of Borgny’s father, but otherwise, his information comes directly from the poem. Oddrun, the sister of Atli and Brynhild, is shown to be skilled in birth-runes (see Sigrdrifumol, 8). Concerning her feelings for Gunnar, who is Guthrun’s brother and Brynhild’s husband, see Sigurtharkvitha en skamma, 57 and note.

1. Olden tales: this may be merely a stock phrase, or it may really mean that the poet found his story in oral prose tradition. Morningland: the poem’s geography is utterly obscure. “Morningland” is apparently identical with “Hunland” (stanza 4), and yet Oddrun is herself sister of the king of the Huns. Vigfusson tries to make “Mornaland” into “Morva land” and explain it as Moravia. Probably it means little more than a country lying vaguely in the East. With stanza 28 the confusion grows worse. [471]

__A_TAG_PLACEHOLDER_0__. Olden tales: this might just be a common phrase, or it could actually mean that the poet got his story from oral storytelling traditions. Morningland: the location in the poem is completely unclear. “Morningland” seems to be the same as “Hunland” (stanza 4), and yet Oddrun is the sister of the king of the Huns. Vigfusson tries to turn “Mornaland” into “Morva land” and suggests it refers to Moravia. It likely just represents a country that’s vaguely in the East. With stanza 28, the confusion only increases. [__A_TAG_PLACEHOLDER_0__]

3. Line 3 (cf. Völundarkvitha, 17) or line 5 (cf. Thrymskvitha, 2), both quoted from older poems, is probably spurious; the manuscript marks line 3 as the beginning of a new stanza.

__A_TAG_PLACEHOLDER_0__. Line 3 (see Völundarkvitha, 17) or line 5 (see Thrymskvitha, 2), both taken from older poems, is likely not authentic; the manuscript indicates that line 3 is the start of a new stanza.

4. Line 1 in the original appears to have lost its second half. In line 2 the word rendered “has happened” is doubtful. The manuscript does not indicate the speaker of lines 3–4, and a few editors assign them to Borgny herself.

__A_TAG_PLACEHOLDER_0__. The first line in the original seems to be missing its second half. In the second line, the phrase “has happened” is questionable. The manuscript doesn't specify who is speaking in lines 3-4, and some editors attribute them to Borgny herself.

5. The manuscript does not indicate the speakers. For the woman: conjectural; the manuscript has instead: “What warrior now   |   hath worked this woe?” The manuscript indicates line 3 as beginning a new stanza. Line 5, apparently modeled on line 4 of stanza 13, is probably spurious. [472]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who is speaking. For the woman: speculative; the manuscript instead says: “What warrior now   |   has caused this grief?” The manuscript marks line 3 as starting a new stanza. Line 5, seemingly based on line 4 of stanza 13, is likely inauthentic. [__A_TAG_PLACEHOLDER_0__]

6. Charms: cf. Sigrdrifumol, 8.

__A_TAG_PLACEHOLDER_0__. Charms: see Sigrdrifumol, 8.

7. Hogni’s slayer: obviously Vilmund, but unless he was the one of Atli’s followers who actually cut out Hogni’s heart (cf. Drap Niflunga), there is nothing else to connect him with Hogni’s death. Sijmons emends the line to read “Born of the sister   |   of Hogni’s slayer.”

__A_TAG_PLACEHOLDER_0__. Hogni’s killer: clearly Vilmund, but unless he was one of Atli’s followers who actually took Hogni’s heart (see Drap Niflunga), there’s nothing else linking him to Hogni’s death. Sijmons suggests changing the line to read “Born of the sister   |   of Hogni’s killer.”

8. Regarding Frigg as a goddess of healing cf. Svipdagsmol, 52, note. Regarding Freyja as the friend of lovers cf. Grimnismol, 14, note. A line is very possibly missing from this stanza.

__A_TAG_PLACEHOLDER_0__. For information about Frigg as a healing goddess, see Svipdagsmol, 52, note. For details about Freyja as the friend of lovers, refer to Grimnismol, 14, note. It's very likely that a line is missing from this stanza.

9. The manuscript does not name the speaker. In line 2 the word rendered “earn” is omitted in the manuscript, but nearly all editions have supplied it. Line 5 is clearly either interpolated or out of place. It may be all that is left of a stanza which stood between stanzas 15 and 16, or it may belong in stanza 12. [473]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who the speaker is. In line 2, the word translated as “earn” is missing from the manuscript, but almost all editions have added it. Line 5 seems to be either inserted later or not in the right spot. It might be what's left of a stanza that was between stanzas 15 and 16, or it could belong in stanza 12. [__A_TAG_PLACEHOLDER_0__]

10–20. In the manuscript the order is as follows: 12; 13; 14; 15, 3–4; 10; 11; 16; 17; 18; 19, 1–2; 15, 1–2; 19, 3–4; 20. The changes made here, following several of the editions, are: (a) the transposition of stanzas 10–11, which are clearly dialogue, out of the body of the lament to a position just before it; (b) the transposition of lines 1–2 of stanza 15 to their present position from the middle of stanza 19.

__A_TAG_PLACEHOLDER_0__. In the manuscript, the order is as follows: 12; 13; 14; 15, 3–4; 10; 11; 16; 17; 18; 19, 1–2; 15, 1–2; 19, 3–4; 20. The changes made here, based on several editions, are: (a) moving stanzas 10–11, which are clearly dialogue, out of the body of the lament to just before it; (b) relocating lines 1–2 of stanza 15 to their current position from the middle of stanza 19.

10. The manuscript does not name the speaker; cf. note on stanzas 10–20.

__A_TAG_PLACEHOLDER_0__. The manuscript does not identify the speaker; see the note on stanzas 10–20.

11. The manuscript does not name the speaker; cf. note on stanzas 10–20. The word rendered “evil” in line 1 is a conjectural addition. Apparently Borgny was present at Atli’s court while the love affair between Oddrun and Gunnar was in progress, and criticised Oddrun for her part in it. A draught, etc.: apparently in reference to a secret meeting of the lovers.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify the speaker; see the note on stanzas 10–20. The word translated as “evil” in line 1 is an educated guess. It seems that Borgny was at Atli's court while Oddrun and Gunnar were having their affair, and she criticized Oddrun for her involvement. A draught, etc.: likely referring to a secret encounter between the lovers.

12. In the manuscript this stanza follows stanza 9; cf. note on stanzas 10–20. No gap is indicated, but something has presumably been lost. Grundtvig supplies as a first line: “The maid her evil   |   days remembered,” and inserts as a second line line 5 of stanza 9. [474]

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 9; see the note on stanzas 10–20. No gap is shown, but it seems something might be missing. Grundtvig proposes the first line as: “The girl remembered her evil days,” and uses line 5 of stanza 9 as the second line. [__A_TAG_PLACEHOLDER_0__]

13. The manuscript indicates line 3 as the beginning of a new stanza; many editions combine lines 1–2 with stanza 12 and lines 3–4 with lines 1–2 of stanza 14. The hero: Buthli, father of Oddrun, Atli, and Brynhild.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a new stanza; many editions group lines 1–2 with stanza 12 and lines 3–4 with lines 1–2 of stanza 14. The hero: Buthli, father of Oddrun, Atli, and Brynhild.

14. The manuscript indicates line 3, but not line 1, as the beginning of a new stanza; some editions combine lines 3–4 with lines 3–4 of stanza 15. Making Buthli plan the marriage of Oddrun and Gunnar may be a sheer invention of the poet, or may point to an otherwise lost version of the legend.

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a new stanza, but it doesn't indicate line 1; some editions merge lines 3–4 with lines 3–4 of stanza 15. Having Buthli arrange the marriage of Oddrun and Gunnar might just be something the poet made up, or it could refer to a version of the legend that’s no longer available.

15. Lines 1–2 have here been transposed from the middle of stanza 19; cf. note on stanzas 10–20. Wish-maid: a Valkyrie, so called because the Valkyries fullfilled Othin’s wish in choosing the slain heroes for Valhall. The reference to Brynhild as a Valkyrie by no means fits with the version of the story used in stanzas 16–17, and the poet seems to have attempted to combine the two contradictory traditions; cf. Fafnismol, note on stanza 44. In the manuscript stanzas 10–11 follow line 4 of stanza 15. [475]

__A_TAG_PLACEHOLDER_0__. Lines 1–2 have been moved from the middle of stanza 19; see the note on stanzas 10–20. Wish-maid: a Valkyrie, named this way because Valkyries fulfilled Othin’s wishes by choosing the slain heroes for Valhall. Referring to Brynhild as a Valkyrie doesn’t align with the version of the story used in stanzas 16–17, and it seems the poet tried to merge the two conflicting traditions; see Fafnismol, note on stanza 44. In the manuscript, stanzas 10–11 come after line 4 of stanza 15. [__A_TAG_PLACEHOLDER_0__]

16. In stanzas 16–17 the underlying story seems to be the one used in Sigurtharkvitha en skamma (particularly stanzas 32–39), and referred to in Guthrunarkvitha I, 24, wherein Gunnar and Sigurth lay siege to Atli’s city (it here appears as Brynhild’s) and are bought off only by Atli’s giving Brynhild to Gunnar as wife, winning her consent thereto by falsely representing to her that Gunnar is Sigurth. This version is, of course, utterly at variance with the one in which Sigurth wins Brynhild for Gunnar by riding through the ring of flames, and is probably more closely akin to the early German traditions. In the Nibelungenlied Brynhild appears as a queen ruling over lands and peoples. Fafnir’s slayer: Sigurth.

__A_TAG_PLACEHOLDER_0__. In stanzas 16–17, the underlying story seems to be the one used in Sigurtharkvitha en skamma (especially stanzas 32–39), and referenced in Guthrunarkvitha I, 24, where Gunnar and Sigurth lay siege to Atli’s city (which here seems to represent Brynhild’s) and are only persuaded to withdraw when Atli offers Brynhild to Gunnar as his wife, winning her agreement by misleading her into believing that Gunnar is Sigurth. This version clashes completely with the one where Sigurth wins Brynhild for Gunnar by riding through a ring of flames, and it’s likely more similar to early German traditions. In the Nibelungenlied, Brynhild is portrayed as a queen ruling over lands and peoples. Fafnir’s slayer: Sigurth.

17. Cf. note on preceding stanza.

__A_TAG_PLACEHOLDER_0__. See note on previous stanza.

18. Cf. Sigurtharkvitha en skamma, stanzas 64–70.

__A_TAG_PLACEHOLDER_0__. See Sigurtharkvitha en skamma, stanzas 64–70.

19. In the manuscript lines 1–2 of stanza 15 follow line 2, resulting in various conjectural combinations. The manuscript marks line 3 as beginning a new stanza. Rings, etc.: possibly, as [476]Gering maintains, payment offered by Gunnar and Hogni for Brynhild’s death, but more probably, as in stanza 20, Gunnar’s proffered “marriage gold” for the hand of Oddrun.

__A_TAG_PLACEHOLDER_0__. In the manuscript, lines 1–2 of stanza 15 come after line 2, leading to various speculative combinations. The manuscript indicates that line 3 starts a new stanza. Rings, etc.: this could refer to, as [__A_TAG_PLACEHOLDER_0__] Gering suggests, payment offered by Gunnar and Hogni for Brynhild’s death, but more likely, as in stanza 20, it refers to Gunnar’s offered “marriage gold” for Oddrun's hand.

20. Grani’s burden: the treasure won by Sigurth from Fafnir; cf. Fafnismol, concluding prose. The manuscript marks line 3 as beginning a new stanza, as also in stanzas 21 and 22.

__A_TAG_PLACEHOLDER_0__. Grani’s burden: the treasure that Sigurth won from Fafnir; see Fafnismol, final prose. The manuscript indicates that line 3 starts a new stanza, similar to stanzas 21 and 22.

23. Murky wood: the forest which divided Atli’s realm from that of the Gjukungs is in Atlakvitha, 3, called Myrkwood. This hardly accords with the extraordinary geography of stanzas 28–29, or with the journey described in Guthrunarkvitha II, 36. [477]

__A_TAG_PLACEHOLDER_0__. Murky wood: the forest that separated Atli’s territory from that of the Gjukungs is in Atlakvitha, 3, known as Myrkwood. This doesn't really match the unusual geography of stanzas 28–29 or the journey described in Guthrunarkvitha II, 36. [__A_TAG_PLACEHOLDER_0__]

24. In the manuscript lines 3 and 4 stand in reversed order.

__A_TAG_PLACEHOLDER_0__. In the manuscript, lines 3 and 4 are in the wrong order.

25. No gap is indicated in the manuscript; some editors assume the loss not only of two lines, but of an additional stanza. Evidently Guthrun has already become Atli’s wife.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t show any gaps; some editors think that not only two lines are missing, but also an extra stanza. Clearly, Guthrun has already become Atli’s wife.

26. If a stanza has been lost after stanza 25, it may well have told of Atli’s treacherous invitation to the Gjukungs to visit him; cf. Drap Niflunga, which likewise tells of the slaying of Hogni and Gunnar (the other).

__A_TAG_PLACEHOLDER_0__. If a stanza is missing after stanza 25, it probably described Atli's deceitful invitation to the Gjukungs to come see him; see Drap Niflunga, which also tells the story of the deaths of Hogni and Gunnar (the other).

27. In the manuscript these three lines follow line 2 of stanza 28. No gap is indicated in the manuscript. In the Volsungasaga Guthrun gives her brother the harp, with which he puts the serpents to sleep. The episode is undoubtedly related to the famous thirtieth Aventiure of the Nibelungenlied, in which Volker plays the followers of Gunther to sleep before the final battle. [478]

__A_TAG_PLACEHOLDER_0__. In the manuscript, these three lines come right after line 2 of stanza 28. There's no gap shown in the manuscript. In the Volsungasaga, Guthrun gives her brother the harp, which he uses to put the snakes to sleep. This scene is definitely tied to the well-known thirtieth Aventiure of the Nibelungenlied, where Volker plays music to make Gunther's followers fall asleep before the final battle. [__A_TAG_PLACEHOLDER_0__]

28. In the manuscript the three lines of stanza 27 follow line 2, and line 3 is marked as beginning a new stanza. Geirmund: nothing further is known of him, but he seems to be an ally or retainer of Atli, or possibly his brother. Hlesey: the poet’s geography is here in very bad shape. Hlesey is (or may be) the Danish island of Läsö, in the Kattegat (cf. Harbarthsljoth, 37 and note), and thither he has suddenly transported not only Gunnar’s death-place but Atli’s whole dwelling (cf. stanza 29), despite his previous references to the ride to Hunland (stanzas 3–4) and the “murky wood” (stanza 23). Geirmund’s home, where Oddrun has gone, is separated from Hlesey and Atli’s dwelling by a sound (stanza 29). However, geographical accuracy is seldom to be looked for in heroic epic poetry.

__A_TAG_PLACEHOLDER_0__. In the manuscript, the three lines of stanza 27 come after line 2, and line 3 is noted as the start of a new stanza. Geirmund: we don't know much about him, but he appears to be an ally or follower of Atli, or possibly his brother. Hlesey: the poet's geography is pretty confusing here. Hlesey is (or might be) the Danish island of Läsö, located in the Kattegat (see Harbarthsljoth, 37 and note), and suddenly he has moved not only Gunnar’s death place but also Atli’s entire home (see stanza 29), even though he previously mentioned the journey to Hunland (stanzas 3–4) and the “dark forest” (stanza 23). Geirmund’s home, where Oddrun has gone, is separated from Hlesey and Atli’s house by a sound (stanza 29). Nevertheless, you can’t usually expect geographical accuracy in heroic epic poetry.

29. Many editions combine this stanza with lines 3–4 of stanza 28. The sound: cf. note on stanza 28.

__A_TAG_PLACEHOLDER_0__. Many editions merge this stanza with lines 3–4 of stanza 28. The sound: see the note on stanza 28.

30. The manuscript marks line 3 as beginning a new stanza. Atli’s mother: the Volsungasaga does not follow this version; Gunnar puts all the serpents but one to sleep with his harp playing, “but a mighty and evil adder crawled to him and drove his fangs into him till they reached his heart, and so he died.” It is possible that “Atli” is a scribal error for a word meaning “of serpents.” [479]

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza. Atli’s mother: the Volsungasaga doesn’t tell the story this way; Gunnar puts all the snakes to sleep except for one with his harp playing, “but a huge and wicked snake crawled up to him and bit him until its fangs reached his heart, and that’s how he died.” It’s possible that “Atli” is a mistake for a word that means “of snakes.” [__A_TAG_PLACEHOLDER_0__]

31. Serpents’-bed goddess: woman (i.e., Borgny); “goddess of gold” was a frequent term for a woman, and gold was often called the “serpents’ bed” (cf. Guthrunarkvitha I, 24 and note).

__A_TAG_PLACEHOLDER_0__. Serpents’-bed goddess: woman (i.e., Borgny); “goddess of gold” was a common term for a woman, and gold was often referred to as the “serpents’ bed” (see Guthrunarkvitha I, 24 and note).

32. Some editions make line 4 a statement of the poet’s, and not part of Oddrun’s speech. [480]

__A_TAG_PLACEHOLDER_0__. Some editions treat line 4 as a statement from the poet, rather than part of Oddrun’s speech. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

ATLAKVITHA EN GRÖNLENZKA

The Greenland Lay of Atli

[__A_TAG_PLACEHOLDER_0__]

Intro Note

There are two Atli poems in the Codex Regius, the Atlakvitha (Lay of Atli) and the Atlamol (Ballad of Atli). The poems are not preserved or quoted in any other old manuscript, but they were extensively used by the compilers of the Volsungasaga. In the manuscript superscription to each of these poems appears the word “Greenland,” which has given rise to a large amount of argument. The scribe was by no means infallible, and in this case his statement proves no more than that in the period round 1300 there was a tradition that these two poems originated in the Greenland settlement.

There are two Atli poems in the Codex Regius, the Atlakvitha (Lay of Atli) and the Atlamol (Ballad of Atli). The poems aren't found or referenced in any other ancient manuscripts, but they were heavily used by the authors of the Volsungasaga. In the manuscript title for each of these poems, the word “Greenland” appears, which has sparked a lot of debate. The scribe wasn’t infallible, and in this case, his claim suggests no more than that around the year 1300, there was a belief that these two poems came from the Greenland settlement.

The two Atli poems deal with substantially the same material: the visit of the sons of Gjuki to Atli’s court, their deaths, and the subsequent revenge of their sister, Guthrun, Atli’s wife, on her husband. The shorter of the two, the Atlakvitha, tells the story with little elaboration; the Atlamol, with about the same narrative basis, adds many details, some of them apparently of the poet’s invention, and with a romantic, not to say sentimental, quality quite lacking in the Atlakvitha. Both poems are sharply distinguished from the rest of the collection by their metrical form, which is the Malahattr (used irregularly also in the Harbarthsljoth), employed consistently and smoothly in the Atlamol, and with a considerable mixture of what appear to be Fornyrthislag lines (cf. Introduction) in the Atlakvitha.

The two Atli poems cover almost the same story: the visit of Gjuki's sons to Atli’s court, their deaths, and their sister Guthrun’s revenge on her husband Atli. The shorter one, the Atlakvitha, tells the story straightforwardly; the Atlamol, while based on the same narrative, includes many details, some likely added by the poet, and has a romantic, even sentimental, touch that the Atlakvitha lacks. Both poems stand out from the rest of the collection due to their unique metrical form, which is the Malahattr (also used irregularly in the Harbarthsljoth), used consistently and fluidly in the Atlamol, and mixed with what seem to be Fornyrthislag lines (see Introduction) in the Atlakvitha.

It is altogether probable that both poems belong to the eleventh century, the shorter Atlakvitha being generally dated from the first quarter thereof, and the longer Atlamol some fifty years or more later. In each case the poet was apparently a Christian; in the Atlamol (stanza 82) Guthrun expresses her readiness to die and “go into another light,” and in the Atlakvitha there is frequent use of mythological names (e.g., Valhall, Hlithskjolf) with an evident lack of understanding of their relation to the older gods. These facts fit the theory of a Greenland origin exceedingly well, for the Greenland settlement grew rapidly after the first explorations of Eirik the Red, which were in 982–985, and its most flourishing period was in the eleventh century. The internal evidence, particularly in the case of the Atlamol, points [481]likewise to an origin remote from Iceland, Norway, and the “Western Isles”; and the two poems are sufficiently alike so that, despite the efforts of Finnur Jonsson and others to separate them, assigning one to Greenland and the other to Norway or elsewhere, it seems probable that the manuscript statement is correct in both instances, and that the two Atli poems did actually originate in Greenland. An interesting account of this Greenland settlement is given in William Hovgaard’s Voyages of the Norsemen to America, published by the American-Scandinavian Foundation in 1914, and an extraordinarily vivid picture of the sufferings of the early settlers appears in Maurice Hewlett’s Thorgils, taken from the Floamannasaga.

It’s very likely that both poems are from the eleventh century, with the shorter Atlakvitha usually dated to the first quarter of that century and the longer Atlamol coming about fifty years later. In both cases, the poet was apparently a Christian; in the Atlamol (stanza 82), Guthrun shows her willingness to die and “go into another light,” while in the Atlakvitha, there’s frequent mention of mythological names (like Valhall and Hlithskjolf) that suggest a lack of understanding of their connection to the older gods. These details support the theory of a Greenland origin quite well, since the Greenland settlement expanded rapidly after Eirik the Red's initial explorations in 982–985, with its peak occurring in the eleventh century. The internal evidence, especially in Atlamol, also indicates an origin far from Iceland, Norway, and the “Western Isles.” The two poems are similar enough that even though Finnur Jonsson and others tried to distinguish them—suggesting one is from Greenland and the other from Norway or elsewhere—it seems likely that the manuscript claims are correct in both cases, and that both Atli poems indeed originated in Greenland. An interesting account of this Greenland settlement can be found in William Hovgaard’s Voyages of the Norsemen to America, published by the American-Scandinavian Foundation in 1914, and an incredibly vivid portrayal of the early settlers’ hardships appears in Maurice Hewlett’s Thorgils, which is based on the Floamannasaga.

From the standpoint of narrative material there is little that is distinctively Norse in either the Atlakvitha or the Atlamol. The story is the one outlined in the prose Drap Niflunga (largely based on these two poems), representing almost exclusively the southern blending of the Attila and Burgundian legends (cf. introductory note to Gripisspo). In the Atlakvitha, indeed, the word “Burgundians” is actually used. Brynhild is not mentioned in either poem; Sigurth’s name appears but once, in the Atlamol. Thus the material goes directly back to its South-Germanic origins, with little of the Northern making-over which resulted in such extensive changes in most parts of the Sigurth story. The general atmosphere, on the other hand, particularly in the Atlamol, is essentially Norse.

From a storytelling perspective, there’s not much that’s uniquely Norse in either the Atlakvitha or the Atlamol. The tale is primarily drawn from the prose Drap Niflunga (which is mostly based on these two poems), reflecting mostly the southern blend of the Attila and Burgundian legends (see the introductory note to Gripisspo). In the Atlakvitha, the term “Burgundians” is actually used. Brynhild isn’t mentioned in either poem; Sigurth’s name only appears once in the Atlamol. Therefore, the material goes straight back to its South-Germanic roots, with little of the Northern transformation that led to significant changes in most versions of the Sigurth story. The overall vibe, however, especially in the Atlamol, is distinctly Norse.

As has been said, the Atlakvitha is metrically in a chaotic state, the normal Malahattr lines being frequently interspersed with lines and even stanzas which apparently are of the older Fornyrthislag type. How much of this confusion is due to faulty transmission is uncertain, but it has been suggested that the composer of the Atlakvitha made over in Malahattr an older Atli poem in Fornyrthislag, and this suggestion has much to recommend it. That he worked on the basis of an older poem is, indeed, almost certain, for in oral prose tradition a far larger number of distinctively Norse traits would unquestionably have crept in than are found in the material of the Atlakvitha. As for the Atlamol, here again the poet seems to have used an older poem as his basis, possibly the Atlakvitha itself, although in that case he must have had other material as well, for there are frequent divergences in such matters as proper names.

As mentioned, the Atlakvitha has a chaotic meter, with the usual Malahattr lines often mixed in with lines and even stanzas that seem to belong to the older Fornyrthislag style. It’s unclear how much of this disorder is due to mistakes in transmission, but it’s been suggested that the composer of the Atlakvitha adapted an older Atli poem in Fornyrthislag into Malahattr, and this idea has a lot of merit. It’s almost certain that he based his work on an older poem, because if it had been passed down orally, many more distinctively Norse elements would likely have been included than what is actually found in the Atlakvitha. As for the Atlamol, the poet seems to have also used an older poem as a foundation, possibly even the Atlakvitha itself, though in that case, he must have had additional material, as there are frequent discrepancies in issues like proper names.

The translation of the Atlakvitha is rendered peculiarly difficult [482]by the irregularity of the metre, by the evident faultiness of the transmission, and above all by the exceptionally large number of words found nowhere else in Old Norse, involving much guesswork as to their meanings. The notes do not attempt to indicate all the varying suggestions made by editors and commentators as to the reconstruction of defective stanzas and the probable meanings of obscure passages; in cases which are purely or largely guesswork the notes merely point out the uncertainty without cataloguing the proposed solutions.

The translation of the Atlakvitha is particularly challenging [__A_TAG_PLACEHOLDER_0__] due to the irregular meter, clear errors in the transcription, and especially the large number of words that are unique to Old Norse, which requires a lot of guesswork about their meanings. The notes don’t try to cover all the different suggestions from editors and commentators regarding the reconstruction of incomplete stanzas and the likely meanings of unclear passages; in cases that involve mostly guesswork, the notes simply highlight the uncertainty without listing all the proposed solutions.

[__A_TAG_PLACEHOLDER_0__]

Guthrun, Gjuki’s daughter, avenged her brothers, as has become well known. She slew first Atli’s sons, and thereafter she slew Atli, and burned the hall with his whole company. Concerning this was the following poem made:

Guthrun, Gjuki’s daughter, avenged her brothers, as is widely known. She first killed Atli’s sons, and then she killed Atli, setting the hall ablaze with all his followers inside. This inspired the following poem:

1. Atli sent   |   of old to Gunnar

__A_TAG_PLACEHOLDER_0__. Atli sent   |   in the past to Gunnar

A keen-witted rider,   |   Knefröth did men call him;

A sharp-minded rider, | Knefröth they called him;

To Gjuki’s home came he   |   and to Gunnar’s dwelling,

To Gjuki's home he came, and to Gunnar's house,

With benches round the hearth,   |   and to the beer so sweet.

With benches around the fireplace,   |   and to the beer that's so sweet.

[483]

[__A_TAG_PLACEHOLDER_0__]

2. Then the followers, hiding   |   their falseness, all drank

__A_TAG_PLACEHOLDER_0__. Then the followers, concealing their deceit, all drank

Their wine in the war-hall,   |   of the Huns’ wrath wary;

Their wine in the war hall, | of the Huns' anger cautious;

And Knefröth spake loudly,   |   his words were crafty,

And Knefröth spoke loudly,   |   his words were clever,

The hero from the south,   |   on the high bench sitting:

The hero from the south,   |   sitting on the high bench:

3. “Now Atli has sent me   |   his errand to ride,

__A_TAG_PLACEHOLDER_0__. “Now Atli has sent me   |   on a mission to ride,

On my bit-champing steed   |   through Myrkwood the secret,

On my bit-champing horse   |   through Myrkwood the hidden,

To bid you, Gunnar,   |   to his benches to come,

To invite you, Gunnar,   |   to come to his benches,

With helms round the hearth,   |   and Atli’s home seek.

With shields around the fireplace,   |   and Atli’s house in sight.

4. “Shields shall ye choose there,   |   and shafts made of ash-wood,

__A_TAG_PLACEHOLDER_0__. “Pick your shields there, | and arrows made of ash wood,

Gold-adorned helmets,   |   and slaves out of Hunland, [484]

Gold-adorned helmets,   |   and slaves from Hunland, [__A_TAG_PLACEHOLDER_0__]

Silver-gilt saddle-cloths,   |   shirts of bright scarlet,

Silver-gilt saddle blankets,   |   shirts in bright red,

With lances and spears too,   |   and bit-champing steeds.

With lances and spears as well, and horses that bite the bit.

5. “The field shall be given you   |   of wide Gnitaheith,

__A_TAG_PLACEHOLDER_0__. “You will be given the field of vast Gnitaheith,

With loud-ringing lances,   |   and stems gold-o’erlaid,

With loud-sounding lances, | and stems covered in gold,

Treasures full huge,   |   and the home of Danp,

Treasures full of abundance, | and the home of Danp,

And the mighty forest   |   that Myrkwood is called.”

And the great forest that’s called Mirkwood.

6. His head turned Gunnar,   |   and to Hogni he said:

6. He turned his head to Gunnar,   |   and said to Hogni:

“What thy counsel, young hero,   |   when such things we hear?

“What’s your advice, young hero,   |   when we hear such things?

No gold do I know   |   on Gnitaheith lying

No gold do I know   |   on Gnitaheith lying

So fair that other   |   its equal we have not.

So beautiful that there is no equal.

7. “We have seven halls,   |   each of swords is full, [485]

__A_TAG_PLACEHOLDER_0__. “We have seven rooms,   |   each filled with swords, [__A_TAG_PLACEHOLDER_0__]

(And all of gold   |   is the hilt of each;)

(And all of gold   |   is the handle of each;)

My steed is the swiftest,   |   my sword is sharpest,

My horse is the fastest,   |   my sword is the sharpest,

My bows adorn benches,   |   my byrnies are golden,

My bows decorate benches,   |   my armor is golden,

My helm is the brightest   |   that came from Kjar’s hall,

My helmet is the brightest  |   that came from Kjar’s hall,

(Mine own is better   |   than all the Huns’ treasure.)”

(Mine is better   |   than all the Huns’ treasure.)”

Hogni spake:

Hogni said:

8. “What seeks she to say,   |   that she sends us a ring,

__A_TAG_PLACEHOLDER_0__. “What does she want to say,   |   that she sends us a ring,

Woven with a wolf’s hair?   |   methinks it gives warning;

Woven with a wolf’s hair? | I think it gives a warning;

In the red ring a hair   |   of the heath-dweller found I,

In the red ring, I found a hair of the heath-dweller.

Wolf-like shall our road be   |   if we ride on this journey.”

Wolf-like shall our road be   |   if we ride on this journey.”

9. Not eager were his comrades,   |   nor the men of his kin, [486]

__A_TAG_PLACEHOLDER_0__. His friends weren't eager,   |   nor were the men from his family, [__A_TAG_PLACEHOLDER_0__]

The wise nor the wary,   |   nor the warriors bold.

The wise, the cautious,   |   and the brave warriors.

But Gunnar spake forth   |   as befitted a king,

But Gunnar spoke up   |   as a king should,

Noble in the beer-hall,   |   and bitter his scorn:

Noble in the beer hall,   |   and bitter his disdain:

10. “Stand forth now, Fjornir!   |   and hither on the floor

__A_TAG_PLACEHOLDER_0__. “Step forward now, Fjornir! | and come here to the floor

The beakers all golden   |   shalt thou bring to the warriors.

The beakers, all golden, you shall bring to the warriors.

.  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .

11. “The wolves then shall rule   |   the wealth of the Niflungs,

__A_TAG_PLACEHOLDER_0__. “The wolves will then take over the wealth of the Niflungs,

Wolves aged and grey-hued,   |   if Gunnar is lost,

Wolves aged and gray, | if Gunnar is lost,

And black-coated bears   |   with rending teeth bite,

And bears with black coats bite with sharp teeth,

And make glad the dogs,   |   if Gunnar returns not.”

And cheer up the dogs,   |   if Gunnar doesn’t come back.”

[487]

[__A_TAG_PLACEHOLDER_0__]

12. A following gallant   |   fared forth with the ruler,

__A_TAG_PLACEHOLDER_0__. A brave companion set out with the leader,

Yet they wept as their home   |   with the hero they left;

Yet they cried as they left their home with the hero;

And the little heir   |   of Hogni called loudly:

And the little heir of Hogni shouted loudly:

“Go safe now, ye wise ones,   |   wherever ye will!”

“Stay safe now, you wise ones,   |   wherever you go!”

13. Then let the bold heroes   |   their bit-champing horses

__A_TAG_PLACEHOLDER_0__. Then let the brave heroes   |   their horse-biting steeds

On the mountains gallop,   |   and through Myrkwood the secret;

On the mountains, they ride fast, and through Myrkwood lies the secret;

All Hunland was shaken   |   where the hard-souled ones rode,

All of Hunland was shaken | where the tough-hearted ones rode,

On the whip-fearers fared they   |   through fields that were green.

On the whip-fearers they went   |   through fields that were green.

14. Then they saw Atli’s halls,   |   and his watch-towers high, [488]

__A_TAG_PLACEHOLDER_0__. Then they saw Atli’s halls,   |   and his tall watchtowers, [__A_TAG_PLACEHOLDER_0__]

On the walls so lofty   |   stood the warriors of Buthli;

On the high walls stood the warriors of Buthli;

The hall of the southrons   |   with seats was surrounded,

The hall of the southerners   |   with seats was surrounded,

With targets bound   |   and shields full bright.

With goals set tight | and shields shining bright.

15. Mid weapons and lances   |   did Atli his wine

__A_TAG_PLACEHOLDER_0__. Among weapons and lances   |   Atli drank his wine

In the war-hall drink,   |   without were his watchmen,

In the war room, drinks flowed freely, without his guards present.

For Gunnar they waited,   |   if forth he should go,

For Gunnar they waited, | if he should go out,

With their ringing spears   |   they would fight with the ruler.

With their ringing spears, they would battle the ruler.

16. This their sister saw,   |   as soon as her brothers

16. Their sister saw this as soon as her brothers

Had entered the hall,—   |   little ale had she drunk:

Had entered the hall,—   |   she had drunk very little ale:

“Betrayed art thou, Gunnar!   |   what guard hast thou, hero,

“Betrayed are you, Gunnar! | what protection do you have, hero,

’Gainst the plots of the Huns?   |   from the hall flee swiftly!

'Against the plots of the Huns?   |   Quickly flee from the hall!

17. “Brother, ’twere far better   |   to have come in byrnie,

__A_TAG_PLACEHOLDER_0__. “Brother, it would have been much better to show up in armor,

With thy household helmed,   |   to see Atli’s home, [489]

With your household in charge,   |   to see Atli’s home, [__A_TAG_PLACEHOLDER_0__]

And to sit in the saddle   |   all day ’neath the sun,

And to stay in the saddle   |   all day under the sun,

(That the sword-norns might weep   |   for the death-pale warriors,

(That the sword-norns might weep   |   for the death-pale warriors,

And the Hunnish shield-maids   |   might shun not the sword,)

And the Hunnish shield-maids might not avoid the sword,

And send Atli himself   |   to the den of the snakes;

And send Atli himself to the snake pit;

(Now the den of the snakes   |   for thee is destined.)”

(Now the den of the snakes   |   is meant for you.)”

Gunnar spake:

Gunnar said:

18. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“Too late is it, sister,   |   to summon the Niflungs,

“It's too late, sister,   |   to call the Niflungs,

Long is it to come   |   to the throng of our comrades,

Long is it to come   |   to the crowd of our friends,

The heroes gallant,   |   from the hills of the Rhine.”

The brave heroes, from the hills of the Rhine.

*    *    *    *    *    *

*    *    *    *    *    *

19. Then Gunnar they seized,   |   and they set him in chains, [490]

__A_TAG_PLACEHOLDER_0__. Then they captured Gunnar,   |   and they put him in chains, [__A_TAG_PLACEHOLDER_0__]

The Burgundians’ king,   |   and fast they bound him.

The Burgundians' king, | and quickly they tied him up.

20. Hogni slew seven   |   with sword so keen,

__A_TAG_PLACEHOLDER_0__. Hogni killed seven   |   with a sword so sharp,

And an eighth he flung   |   in the fire hot;

And he threw an eighth into the hot fire;

A hero should fight   |   with his foemen thus,

A hero should battle his enemies like this,

As Hogni strove   |   in Gunnar’s behalf.

As Hogni worked hard for Gunnar.

21. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The leader they asked   |   if his life he fain

The leader they asked if he would gladly give up his life.

With gold would buy,   |   the king of the Goths.

With gold, the king of the Goths would buy.

Gunnar spake:

Gunnar said:

22. “First the heart of Hogni   |   shall ye lay in my hands, [491]

__A_TAG_PLACEHOLDER_0__. “First, give me Hogni’s heart,   |   and put it in my hands, [__A_TAG_PLACEHOLDER_0__]

All bloody from the breast   |   of the bold one cut

All bloody from the chest | of the brave one cut

With keen-biting sword,   |   from the son of the king.”

With a sharp sword, | from the king's son.”

23. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. .  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

They cut out the heart   |   from the breast of Hjalli,

They removed the heart   |   from the chest of Hjalli,

On a platter they bore it,   |   and brought it to Gunnar.

On a platter, they carried it and brought it to Gunnar.

24. Then Gunnar spake forth,   |   the lord of the folk:

24. Then Gunnar spoke,   |   the leader of the people:

“Here have I the heart   |   of Hjalli the craven,

“Here I have the heart   |   of Hjalli the coward,

Unlike to the heart   |   of Hogni the valiant,

Unlike the heart of Hogni the brave,

For it trembles still   |   as it stands on the platter;

For it still shakes as it sits on the plate;

Twice more did it tremble   |   in the breast of the man.”

Twice more did it shake in the man's chest.

25. Then Hogni laughed   |   when they cut out the heart

__A_TAG_PLACEHOLDER_0__. Then Hogni laughed   |   when they removed the heart

Of the living helm-hammerer;   |   tears he had not.

Of the living helm-hammerer;   |   he did not have tears.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

On a platter they bore it,   |   and brought it to Gunnar.

On a platter they carried it, and brought it to Gunnar.

[492]

[__A_TAG_PLACEHOLDER_0__]

26. Then Gunnar spake forth,   |   the spear of the Niflungs:

__A_TAG_PLACEHOLDER_0__. Then Gunnar spoke up,   |   the spear of the Niflungs:

“Here have I the heart   |   of Hogni the valiant,

“Here I have the heart of Hogni the brave,

Unlike to the heart   |   of Hjalli the craven,

Unlike to the heart   |   of Hjalli the coward,

Little it trembles   |   as it lies on the platter,

Little it trembles   |   as it lies on the platter,

Still less did it tremble   |   when it lay in his breast.

Still less did it tremble when it lay in his chest.

27. “So distant, Atli,   |   from all men’s eyes,

__A_TAG_PLACEHOLDER_0__. “So far away, Atli,   |   from everyone’s sight,

Shalt thou be as thou   |   .  .  .  .  . from the gold.

Shall you be as you   |   .  .  .  .  . from the gold.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

28. “To no one save me   |   is the secret known

__A_TAG_PLACEHOLDER_0__. “Nobody but me knows the secret."

Of the Niflungs’ hoard,   |   now Hogni is dead;

Of the Niflungs’ treasure,   |   now Hogni is gone;

Of old there were two,   |   while we twain were alive,

Of old there were two,   |   while we both were alive,

Now is none but I,   |   for I only am living.

Now there’s no one but me, | for I’m the only one still alive.

29. “The swift Rhine shall hold   |   the strife-gold of heroes,

__A_TAG_PLACEHOLDER_0__. “The fast-flowing Rhine will keep   |   the battle wealth of heroes,

That once was the gods’,   |   the wealth of the Niflungs, [493]

That once belonged to the gods,   |   the wealth of the Niflungs, [__A_TAG_PLACEHOLDER_0__]

In the depths of the waters   |   the death-rings shall glitter,

In the depths of the waters   |   the death-rings will shine,

And not shine on the hands   |   of the Hunnish men.”

And not shine on the hands of the Hunnish men.”

Atli spake:

Atli said:

30. “Ye shall bring the wagon,   |   for now is he bound.”

__A_TAG_PLACEHOLDER_0__. “You will bring the wagon,   |   for he is now captured.”

*    *    *    *    *    *

*    *    *    *    *    *

31. On the long-maned Glaum   |   rode Atli the great,

__A_TAG_PLACEHOLDER_0__. On the horse with the long mane   |   rode Atli the great,

About him were warriors   |   .  .  .  .  .  .  .  .

About him were warriors   |   .  .  .  .  .  .  .  .

But Guthrun, akin   |   to the gods of slaughter,

But Guthrun, like the gods of slaughter,

Yielded not to her tears   |   in the hall of tumult.

Yielded not to her tears   |   in the chaotic hall.

[494]

[__A_TAG_PLACEHOLDER_0__]

Guthrun spake:

Guthrun said:

32. “It shall go with thee, Atli,   |   as with Gunnar thou heldest

__A_TAG_PLACEHOLDER_0__. “It will go with you, Atli,   |   just like it did with Gunnar when you held”

The oaths ofttimes sworn,   |   and of old made firm,

The oaths often sworn,   |   and long ago made firm,

By the sun in the south,   |   by Sigtyr’s mountain,

By the sun in the south,   |   by Sigtyr’s mountain,

By the horse of the rest-bed,   |   and the ring of Ull.”

By the horse of the resting place,   |   and the ring of Ull.”

33. Then the champer of bits   |   drew the chieftain great,

__A_TAG_PLACEHOLDER_0__. Then the bit chamber   |   called the great leader,

The gold-guarder, down   |   to the place of death.

The gold-guarder, down to the place of death.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

34. By the warriors’ host   |   was the living hero

__A_TAG_PLACEHOLDER_0__. By the army of warriors   |   stood the living hero

Cast in the den   |   where crawling about

Cast in the den   |   where crawling around

Within were serpents,   |   but soon did Gunnar

Within were serpents,   |   but soon did Gunnar

With his hand in wrath on   |   the harp-strings smite; [495]

With his hand in anger on the harp strings strike; [__A_TAG_PLACEHOLDER_0__]

The strings resounded,—   |   so shall a hero,

The strings echoed, — so will a hero,

A ring-breaker, gold   |   from his enemies guard.

A ring-breaker, gold   |   from his enemies' guard.

35. Then Atli rode   |   on his earth-treading steed,

__A_TAG_PLACEHOLDER_0__. Then Atli rode on his earth-treading horse,

Seeking his home,   |   from the slaughter-place;

Seeking his home, | from the slaughterhouse;

There was clatter of hoofs   |   of the steeds in the court,

There was a clatter of hooves of the horses in the courtyard,

And the clashing of arms   |   as they came from the field.

And the sound of weapons clashing as they returned from the battlefield.

36. Out then came Guthrun   |   to meeting with Atli,

__A_TAG_PLACEHOLDER_0__. Then Guthrun came out to meet Atli,

With a golden beaker   |   as gift to the monarch:

With a golden cup as a gift to the king:

“Thou mayst eat now, chieftain,   |   within thy dwelling,

“Now you may eat, chieftain,  |   inside your home,

Blithely with Guthrun   |   young beasts fresh slaughtered.”

Blithely with Guthrun   |   young animals just killed.”

37. The wine-heavy ale-cups   |   of Atli resounded,

__A_TAG_PLACEHOLDER_0__. The ale-filled wine cups   |   of Atli echoed,

When there in the hall   |   the Hunnish youths clamored,

When they were in the hall   |   the Hunnish youths shouted,

And the warriors bearded,   |   the brave ones, entered.

And the bearded warriors, the brave ones, entered.

[496]

[__A_TAG_PLACEHOLDER_0__]

38. Then in came the shining one,   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. Then the bright one arrived,   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   and drink she bore them;

.  .  .  .  .  .  .  .   |   and she served them drinks;

Unwilling and bitter   |   brought she food to the warrior,

Unhappy and resentful | she brought food to the warrior,

Till in scorn to the white-faced   |   Atli did she speak:

Till in scorn to the white-faced   |   Atli did she speak:

39. “Thou giver of swords,   |   of thy sons the hearts

__A_TAG_PLACEHOLDER_0__. “You who give swords,   |   the hearts of your sons

All heavy with blood   |   in honey thou hast eaten;

All heavy with blood   |   in honey you have eaten;

Thou shalt stomach, thou hero,   |   the flesh of the slain,

Thou shalt stomach, thou hero,   |   the flesh of the slain,

To eat at thy feast,   |   and to send to thy followers.

To eat at your feast,   |   and to send to your followers.

40. “Thou shalt never call   |   to thy knees again

__A_TAG_PLACEHOLDER_0__. “You will never call   |   to your knees again

Erp or Eitil,   |   when merry with ale;

Erp or Eitil,   |   when happy with beer;

Thou shalt never see   |   in their seats again

You will never see them in their seats again.

The sharers of gold   |   their lances shaping,

The ones with the gold | their lances forming,

(Clipping the manes   |   or minding their steeds.)”

(Clipping the manes   |   or taking care of their horses.)”

41. There was clamor on the benches,   |   and the cry of men, [497]

__A_TAG_PLACEHOLDER_0__. There was noise in the crowd,   |   and the shouts of men, [__A_TAG_PLACEHOLDER_0__]

The clashing of weapons,   |   and weeping of the Huns,

The sound of weapons clashing and the cries of the Huns,

Save for Guthrun only,   |   she wept not ever

Save for Guthrun only, she never wept.

For her bear-fierce brothers,   |   or the boys so dear,

For her fiercely protective brothers,   |   or the boys she holds dear,

So young and so unhappy,   |   whom with Atli she had.

So young and so unhappy,   |   with whom she was with Atli.

42. Gold did she scatter,   |   the swan-white one,

__A_TAG_PLACEHOLDER_0__. She scattered gold,   |   the one as white as a swan,

And rings of red gold   |   to the followers gave she;

And she gave rings of red gold to her followers;

The fate she let grow,   |   and the shining wealth go,

The destiny she allowed to unfold,   |   and the gleaming riches to slip away,

Nor spared she the treasure   |   of the temple itself.

Nor did she spare the treasure   |   of the temple itself.

43. Unwise then was Atli,   |   he had drunk to wildness,

__A_TAG_PLACEHOLDER_0__. Atli was foolish then,  |   he had drunk to excess,

No weapon did he have,   |   and of Guthrun bewared not;

No weapon did he have,   |   and he did not fear Guthrun;

Oft their play was better   |   when both in gladness

Oftentimes their play was better when they were both happy.

Each other embraced   |   among princes all.

Each other embraced among all the princes.

44. With her sword she gave blood   |   for the bed to drink, [498]

__A_TAG_PLACEHOLDER_0__. With her sword she spilled blood   |   for the bed to soak up, [__A_TAG_PLACEHOLDER_0__]

With her death-dealing hand,   |   and the hounds she loosed,

With her deadly hand,   |   and the hounds she unleashed,

The thralls she awakened,   |   and a firebrand threw

The followers she inspired,   |   and a firebrand tossed

In the door of the hall;   |   so vengeance she had.

In the doorway of the hall;   |   so she sought revenge.

45. To the flames she gave all   |   who yet were within,

__A_TAG_PLACEHOLDER_0__. To the flames she surrendered everything   |   for those still inside,

And from Myrkheim had come   |   from the murder of Gunnar;

And from Myrkheim had come | from the murder of Gunnar;

The timbers old fell,   |   the temple was in flames,

The old timbers fell,   |   the temple was on fire,

The dwelling of the Buthlungs,   |   and the shield-maids burned,

The home of the Buthlungs,   |   and the shield-maids burned,

They were slain in the house,   |   in the hot flames they sank.

They were killed in the house,   |   in the intense flames they fell.

46. Now the tale is all told,   |   nor in later time

__A_TAG_PLACEHOLDER_0__. Now the story is completely told,   |   and in the future

Will a woman in byrnie   |   avenge so her brothers;

Will a woman in a chainmail shirt avenge her brothers?

The fair one to three   |   of the kings of the folk

The fair one to three   |   of the kings of the people

Brought the doom of death   |   ere herself she died.

Brought the doom of death before she herself died.

Still more is told in the Greenland ballad of Atli. [480]

Still more is shared in the Greenland ballad of Atli. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[482]

[__A_TAG_PLACEHOLDER_0__]

Prose. On the marriage of Guthrun to Atli at the instigation of her brothers, Gunnar and Hogni, and on the slaying of Atli and his two sons, Erp and Eitil, cf. Drap Niflunga and note.

Prose. Regarding the marriage of Guthrun to Atli, pushed by her brothers, Gunnar and Hogni, and the killing of Atli and his two sons, Erp and Eitil, see Drap Niflunga and the note.

1. Line 1 apparently is in Fornyrthislag. Knefröth (the name is spelt in various ways, and its meaning is uncertain): in the Atlamol (stanza 4) there are two messengers, one named Vingi and the other unnamed; the annotator combines the two versions in the Drap Niflunga. Benches, etc.: the adjective rendered “round the hearth,” which etymologically it ought to mean, is made obscure by its application to “helmets” in stanzas 3 and 17. [483]

__A_TAG_PLACEHOLDER_0__. Line 1 seems to be written in Fornyrthislag. Knefröth (the name is spelled in different ways, and its meaning is unclear): in the Atlamol (stanza 4), there are two messengers, one named Vingi and the other unnamed; the annotator merges the two versions in the Drap Niflunga. Benches, etc.: the adjective translated as “around the hearth,” which it should logically mean, becomes unclear due to its use in reference to “helmets” in stanzas 3 and 17. [__A_TAG_PLACEHOLDER_0__]

2. Falseness: i.e., Gunnar’s followers concealed their fear and hatred of the Huns at the feast; but the word may mean “fear of treachery.” War-hall: the word used is “Valhall,” the name of Othin’s hall of slain warriors.

__A_TAG_PLACEHOLDER_0__. Falseness: This refers to the way Gunnar's followers hid their fear and hatred of the Huns during the feast; however, it could also imply "fear of betrayal." War-hall: The term used is “Valhall,” which is the name of Othin's hall for fallen warriors.

3. Myrkwood the secret (the adjective is literally “unknown”): the forest which divided Atli’s realm from that of the Gjukungs; cf. Oddrunargratr, 23 and note. Around the hearth: the adjective is the same one which is applied to “benches” in stanza 1 (cf. note); it may be an error here, or it may possibly have the force of “of your followers,” i.e., Gunnar is to arm the men of his household (those who are round his hearth) for the journey.

__A_TAG_PLACEHOLDER_0__. Myrkwood the secret (the adjective means “unknown”): the forest that separated Atli’s territory from that of the Gjukungs; see Oddrunargratr, 23 and note. Around the hearth: the adjective used here is the same one applied to “benches” in stanza 1 (see note); this might be a mistake, or it could mean “of your followers,” implying that Gunnar is to arm the men of his household (those who gather around his hearth) for the journey.

4. Slaves, etc.: some editions have “swords in plenty.” Scarlet: the word apparently means “slaughter-red,” “blood-red,” but it may mean something entirely different. [484]

__A_TAG_PLACEHOLDER_0__. Slaves, etc.: some editions say “plenty of swords.” Scarlet: the word seems to mean “slaughter-red” or “blood-red,” but it could mean something completely different. [__A_TAG_PLACEHOLDER_0__]

5. Gnitaheith: here the dragon Fafnir had his lair (cf. Gripisspo, 11). Sigurth doubtless owned it after Fafnir’s death, and the Gjukungs after they had killed Sigurth. Possibly they had given it to Atli in recompense for the death of his sister, Brynhild, and he now offered to restore it to them, or—as seems more likely—the poet was not very clear about its ownership himself. Stems: i.e., the gilded stems of ships, carved like dragons,—an evident northern touch, if the word is correct, which is by no means certain. Danp: this name was early applied to a mythical Danish king (cf. Rigsthula, 49 and note), but it may have been fabricated by error out of the word “Danparstaþir” (the phrase here used is “staþi Danpar”), used in the Hervararsaga of a field of battle between the Goths and the Huns, and quite possibly referring to the region of the Dnieper. The name seems to have clung to the Atli tradition long after it had lost all definite significance. Myrkwood: cf. note on stanza 3. [485]

__A_TAG_PLACEHOLDER_0__. Gnitaheith: this is where the dragon Fafnir had his lair (see Gripisspo, 11). Sigurth likely took possession of it after Fafnir’s death, and then the Gjukungs after they killed Sigurth. It's possible they gave it to Atli as compensation for the death of his sister, Brynhild, and he now offered to return it to them, or—as seems more likely—the poet was unclear about who actually owned it himself. Stems: that is, the gilded stems of ships, carved like dragons—an evident northern detail, if the term is correct, which is far from certain. Danp: this name was early associated with a mythical Danish king (see Rigsthula, 49 and note), but it might have been mistakenly created from the word “Danparstaþir” (the phrase used here is “Danpar station”), mentioned in the Hervararsaga regarding a battlefield between the Goths and the Huns, and quite possibly referring to the region of the Dnieper. The name seems to have lingered in the Atli tradition long after it lost any clear meaning. Myrkwood: see note on stanza 3. [__A_TAG_PLACEHOLDER_0__]

7. The stanza is clearly in bad shape; the manuscript indicates line 5 as beginning a new stanza. In line 5 the manuscript has “and shield” after “helm.” Kjar: Gering ingeniously identifies this Kjar with Kjar the father of Olrun, mentioned in the Völundarkvitha, introductory prose and stanza 2, on the basis of a genealogy in the Flateyjarbok, in which Authi, the grandfather of Kjar (by no means certainly the same man) and Buthli, father of Atli, are mentioned as making a raiding voyage together. This identification, however, rests on slight evidence.

__A_TAG_PLACEHOLDER_0__. The stanza is definitely in poor condition; the manuscript shows that line 5 starts a new stanza. In line 5, the manuscript includes “and shield” after “helm.” Kjar: Gering cleverly connects this Kjar with Kjar, the father of Olrun, mentioned in the Völundarkvitha, introductory prose and stanza 2, based on a genealogy in the Flateyjarbok, where Authi, Kjar's grandfather (who may not be the same person), and Buthli, Atli's father, are noted as going on a raiding trip together. However, this identification relies on weak evidence.

8. The manuscript does not name the speaker. One editor gives the first sentence to Gunnar. She, etc.: Guthrun, seeking to warn her brothers of Atli’s treachery, sends them a ring with a wolf’s hair as a sign of danger; in the Atlamol (stanza 4) she sends a message written in runes; cf. Drap Niflunga. Heath-dweller: wolf. [486]

__A_TAG_PLACEHOLDER_0__. The manuscript does not identify the speaker. One editor attributes the first sentence to Gunnar. She, etc.: Guthrun, trying to warn her brothers about Atli’s betrayal, sends them a ring with a wolf’s hair as a sign of danger; in the Atlamol (stanza 4) she sends a message written in runes; see Drap Niflunga. Heath-dweller: wolf. [__A_TAG_PLACEHOLDER_0__]

9. In line 1 the manuscript has “His comrades did not urge Gunnar,” but the name, involving a metrical error, seems to have been inserted through a scribal blunder.

__A_TAG_PLACEHOLDER_0__. In line 1, the manuscript states “His comrades did not urge Gunnar,” but the name, which seems to create a metrical mistake, appears to have been added due to a copying error.

10. The manuscript indicates no lacuna, but probably two lines have dropped out, for the Volsungasaga paraphrase runs: “Give us to drink in great cups, for it may well be that this shall be our last feast.” Fjornir: Gunnar’s cup-bearer.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no gaps, but likely two lines are missing, because the Volsungasaga version says: “Pour us drinks in big cups, for this might be our last feast.” Fjornir: Gunnar’s cup-bearer.

11. Bugge thinks this stanza is spoken by Gunnar’s terrified followers; Grundtvig assigns it to Hogni. Apparently, however, Gunnar means that if he and his men are not valiant enough to make the journey and return safely, it matters little what may happen to them. Niflungs: regarding the application of this name to Gunnar’s Burgundians cf. Brot, 17 and note. Bears: these “black” bears have been used as arguments against the Greenland origin of the poem. And make glad the dogs: i.e., by giving them corpses to eat, but the phrase in the original is more than doubtful. [487]

__A_TAG_PLACEHOLDER_0__. Bugge believes this stanza is spoken by Gunnar’s frightened followers, while Grundtvig attributes it to Hogni. However, it seems Gunnar is saying that if he and his men aren't brave enough to make the journey and come back safely, it doesn't really matter what happens to them. Niflungs: regarding the use of this name for Gunnar’s Burgundians, see Brot, 17 and note. Bears: these “black” bears have been used as evidence against the idea that the poem originated in Greenland. And make glad the dogs: meaning, by giving them corpses to eat, though the phrase in the original is quite questionable. [__A_TAG_PLACEHOLDER_0__]

12. Some editions in line 2 read “home of the Niflungs” instead of “their home,” and others “home of the Huns,” the manuscript reading being “home of the men.” Heir: the Atlamol (stanza 28) names two sons of Hogni, Snævar and Solar, both of whom make the journey with their father and are killed. The Volsungasaga, combining the two versions, says that Snævar and Solar went with their father, and implies that it was a third and still younger son who said: “Farewell, and have a good time” (thus literally).

__A_TAG_PLACEHOLDER_0__. Some editions in line 2 say “home of the Niflungs” instead of “their home,” and others say “home of the Huns,” while the manuscript reads “home of the men.” Heir: the Atlamol (stanza 28) names two sons of Hogni, Snævar and Solar, who both travel with their father and are killed. The Volsungasaga, merging the two versions, states that Snævar and Solar went with their father and suggests that it was a third, younger son who said: “Farewell, and have a good time” (literally).

13. Myrkwood: cf. stanza 3 and note; the journey is here made by land, whereas in the Atlamol it is made partly by boat; cf. Atlamol, 34 and note. Whip-fearers: horses, but there is some uncertainty as to the word.

__A_TAG_PLACEHOLDER_0__. Myrkwood: see stanza 3 and note; the journey is taken by land here, while in the Atlamol it’s partly by boat; see Atlamol, 34 and note. Whip-fearers: refers to horses, but there’s some uncertainty about the term.

14. In line 1 the manuscript has “land” instead of “halls,” which involves a metrical error. Watch-towers: the word used is identical with the name of Othin’s watch-tower, Hlithskjolf (cf. Grimnismol, introductory prose). Buthli: the manuscript has “Bikki,” which has led some editors to transfer this stanza to [488]the Hamthesmol, placing it between stanzas 16 and 17; it seems more likely, however, that “Bikki” was a scribal error for “Buthli.” Regarding Bikki cf. Sigurtharkvitha en skamma, 63 and note. Line 4 is apparently in Fornyrthislag.

__A_TAG_PLACEHOLDER_0__. In line 1, the manuscript uses “land” instead of “halls,” which creates a metrical error. Watch-towers: the term is the same as the name of Othin’s watchtower, Hlithskjolf (see Grimnismol, introductory prose). Buthli: the manuscript states “Bikki,” which has caused some editors to move this stanza to [__A_TAG_PLACEHOLDER_0__]the Hamthesmol, positioning it between stanzas 16 and 17; however, it seems more plausible that “Bikki” was just a scribal mistake for “Buthli.” For Bikki, see Sigurtharkvitha en skamma, 63 and note. Line 4 is likely in Fornyrthislag.

15. Line 1 in the manuscript is apparently incorrectly copied, and some editions omit “Mid weapons and lances” and assume a gap in either line 1 or line 3.

__A_TAG_PLACEHOLDER_0__. Line 1 in the manuscript seems to be copied incorrectly, and some editions leave out "Mid weapons and lances" and suggest there's a missing part in either line 1 or line 3.

17. This may be the remains of two stanzas; the manuscript marks line 5 as beginning a new stanza. Editorial conjectures are [489]numerous and varied. Household: the phrase is the same “helms round the hearth” commented on in stanza 3. Some editions insert a conjectural line after line 3. Sword-norns, etc.: the line is exceedingly obscure, and the phrase rendered “sword-norns” may mean “corpse-norns.” Apparently it refers to the warrior-women of the Huns, the “shield-maids” of line 5 and of stanza 45. Roman writers refer to the warrior-women among the early Germanic tribes, and the tradition, closely allied to that of the Valkyries, attached itself readily to the ferocious Huns. Den of snakes: concerning the manner of Gunnar’s death cf. Drap Niflunga.

__A_TAG_PLACEHOLDER_0__. This might be the remnants of two stanzas; the manuscript indicates that line 5 starts a new stanza. There are many different editorial guesses [__A_TAG_PLACEHOLDER_0__]. Household: the phrase “helms round the hearth” is the same as mentioned in stanza 3. Some versions add a suggested line after line 3. Sword-norns, etc.: this line is really unclear, and the term “sword-norns” might actually mean “corpse-norns.” It seems to refer to the warrior-women of the Huns, the “shield-maids” from line 5 and stanza 45. Roman writers talked about the warrior-women among early Germanic tribes, and the tradition, which is closely linked to that of the Valkyries, easily connected with the fierce Huns. Den of snakes: for details on how Gunnar died, see Drap Niflunga.

18. The manuscript indicates no lacuna and does not name the speaker; perhaps a line similar to line 1 of stanza 24 (or 26) should be inserted here. Rhine: Gunnar’s Burgundian home is here clearly localized. After this stanza it is probable that a passage describing the battle has been lost.

__A_TAG_PLACEHOLDER_0__. The manuscript has no gaps and doesn’t mention who is speaking; maybe a line like the one in line 1 of stanza 24 (or 26) should be added here. Rhine: Gunnar’s Burgundian home is clearly identified here. After this stanza, it’s likely that a section detailing the battle has been lost.

19. These two lines, apparently the remains of a full stanza, [490]may belong after stanza 20. Burgundians’ king: the phrase may mean “Burgundians’ men,” i.e., they bound all the Burgundians who were left alive after the battle. This is the only place in the poems in which the name “Burgundian” appears; that the poet had no very clear conception of its meaning is indicated by the fact that in stanza 21 he calls Gunnar “king of the Goths.”

__A_TAG_PLACEHOLDER_0__. These two lines, which seem to be leftovers from a full stanza, [__A_TAG_PLACEHOLDER_0__]might fit after stanza 20. Burgundians’ king: this phrase could mean “Burgundians’ men,” referring to those Burgundians who survived the battle. This is the only instance in the poems where the term “Burgundian” shows up; the poet’s vague understanding of its meaning is highlighted by him referring to Gunnar as “king of the Goths” in stanza 21.

20. Apparently a Fornyrthislag stanza, though most editions have attempted to expand the lines into Malahattr. The exploits of Hogni (Hagene), with the names of many of his victims, are told in the Nibelungenlied. The fire: in the Nibelungenlied Kriemhild has the hall set on fire, and the Burgundians fight amid the flames. Line 4 is clearly defective, and some editors regard the name “Gunnar” as all that is left of the first two lines of stanza 21.

__A_TAG_PLACEHOLDER_0__. It seems to be a Fornyrthislag stanza, although most editions have tried to rewrite the lines into Malahattr. The adventures of Hogni (Hagene), along with the names of many of his victims, are narrated in the Nibelungenlied. The fire: in the Nibelungenlied, Kriemhild sets the hall on fire, and the Burgundians fight amidst the flames. Line 4 has obvious issues, and some editors consider the name “Gunnar” to be all that remains of the first two lines of stanza 21.

21. Again apparently the remains of a Fornyrthislag stanza. Editors have attempted various combinations of the lines. Gold: presumably Sigurth’s treasure.

__A_TAG_PLACEHOLDER_0__. Once more, this seems to be what's left of a Fornyrthislag stanza. Editors have tried different combinations of the lines. Gold: likely Sigurth’s treasure.

22. The manuscript does not indicate the speaker; perhaps a first line similar to line 1 of stanza 24 should appear here. Some editors, however, assume that a line is missing after line 3. [491]Gunnar demands proof that Hogni is dead because, as stanza 28 shows, he is unwilling to die himself until he is assured that the secret of the treasure will perish with him. He did not, of course, intend that the heart should be cut from the living Hogni.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who’s speaking; maybe a first line like the one from line 1 of stanza 24 should be included here. Some editors, though, believe a line is missing after line 3. [__A_TAG_PLACEHOLDER_0__] Gunnar asks for proof that Hogni is dead because, as stanza 28 indicates, he refuses to die himself until he knows that the secret of the treasure will die with him. He certainly didn’t mean for the heart to be taken from the living Hogni.

23. Most editions assume a gap (lines 1–2, 2–3 or 3–4). Hjalli: Atli’s cook, killed to deceive Gunnar, as Atli hoped to wring the secret of the hoard from Hogni if Gunnar remained silent. In the Atlamol (stanzas 59–60) Atli’s men prepare to kill Hjalli, but he is spared at Hogni’s intercession.

__A_TAG_PLACEHOLDER_0__. Most editions believe there's a gap (lines 1–2, 2–3, or 3–4). Hjalli: Atli’s cook, killed to trick Gunnar, since Atli wanted to extract the secret of the treasure from Hogni if Gunnar stayed quiet. In the Atlamol (stanzas 59–60), Atli’s men get ready to kill Hjalli, but he is saved thanks to Hogni's intervention.

25. Helm-hammerer (literally “helmet-smith”): warrior, i.e., Hogni. No gap indicated in the manuscript. [492]

__A_TAG_PLACEHOLDER_0__. Helm-hammerer (literally “helmet-maker”): warrior, meaning Hogni. No gap indicated in the manuscript. [__A_TAG_PLACEHOLDER_0__]

26. Line 1 may belong elsewhere (stanzas 18 or 22).

__A_TAG_PLACEHOLDER_0__. Line 1 might fit better in stanzas 18 or 22.

27. Apparently the remains of two Fornyrthislag lines; the manuscript combines them with lines 1–2 of stanza 28. Gunnar foretells Atli’s speedy death.

__A_TAG_PLACEHOLDER_0__. It seems to be the remnants of two Fornyrthislag lines; the manuscript merges them with lines 1–2 of stanza 28. Gunnar predicts Atli’s quick death.

28. Apparently in Fornyrthislag. The manuscript indicates line 3 as the beginning of a stanza, and many editions combine lines 3–4 with stanza 29. This stanza explains Gunnar’s demand for Hogni’s heart in stanza 22.

__A_TAG_PLACEHOLDER_0__. Apparently in Fornyrthislag. The manuscript marks line 3 as the start of a stanza, and many editions merge lines 3–4 with stanza 29. This stanza clarifies Gunnar’s request for Hogni’s heart in stanza 22.

29. The manuscript marks line 3, and not line 1, as the beginning of a stanza. Rhine, etc.: the stanza shows the blending of [493]three different traditions with regard to the treasure: the German tradition of the gold of the Rhine (cf. Völundarkvitha, 16, and Sigurtharkvitha en skamma, 16), the tradition, likewise German, of the hoard of the Nibelungen (Niflungs), early blended with the first one, and finally the northern tradition of the theft of Andvari’s treasure by Othin, Hönir, and Loki (cf. Reginsmol, 1–9).

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3, not line 1, as the start of a stanza. Rhine, etc.: the stanza shows the combination of [__A_TAG_PLACEHOLDER_0__]three different traditions regarding the treasure: the German tradition of the gold of the Rhine (see Völundarkvitha, 16, and Sigurtharkvitha en skamma, 16), the German tradition of the Nibelungen (Niflungs) hoard, which was blended early with the first one, and finally the northern tradition of Othin, Hönir, and Loki stealing Andvari’s treasure (see Reginsmol, 1–9).

30. Apparently all that is left of a full stanza. The manuscript does not name Atli as the speaker, and Grundtvig inserts: “Then Atli called,   |   the king of the Huns,” as a first line. Some editors combine this line with the two lines of stanza 33. Wagon: in Brot, 16, Gunnar is led to his death in the serpents’ den on horseback, not in a wagon.

__A_TAG_PLACEHOLDER_0__. It seems like all that's left is part of a full stanza. The manuscript doesn't identify Atli as the speaker, and Grundtvig adds: “Then Atli called,   |   the king of the Huns,” as the opening line. Some editors merge this line with the two lines from stanza 33. Wagon: in Brot, 16, Gunnar is taken to his death in the serpents’ den on horseback, not in a wagon.

31. The stanza in the original is hopelessly confused. Glaum: this horse of Atli’s is mentioned by name elsewhere. Long-maned: uncertain. The manuscript indicates no gap, but something has evidently been lost. Gods of slaughter: perhaps the phrase, usually applied to Othin and the other gods, is here used simply to mean “heroes,” i.e., Atli, Gunnar, and Hogni. Line 4 suggests Guthrun’s tearlessness after Sigurth’s death (cf. Guthrunarkvitha II, 11). [494]

__A_TAG_PLACEHOLDER_0__. The stanza in the original is really unclear. Glaum: this horse of Atli’s is named in other places. Long-maned: it’s uncertain. The manuscript shows no break, but something has clearly been lost. Gods of slaughter: maybe this term, usually referring to Othin and the other gods, is being used here simply to mean “heroes,” specifically Atli, Gunnar, and Hogni. Line 4 hints at Guthrun’s lack of tears after Sigurth’s death (see Guthrunarkvitha II, 11). [__A_TAG_PLACEHOLDER_0__]

32. The manuscript does not indicate the speaker. Sigtyr (“Victory-God”): Othin; what particular mountain (if any) is meant is unknown. Horse of the rest-bed: probably this means “bedpost,” i.e., the support of the marriage-bed. Ull: the archer-god, cf. Grimnismol, 5 and note. Nothing is known of his ring.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify who is speaking. Sigtyr (“Victory-God”): Othin; it's unclear which specific mountain (if any) is referred to. Horse of the rest-bed: likely refers to “bedpost,” meaning the support of the marriage bed. Ull: the god of archery, see Grimnismol, 5 and note. Nothing is known about his ring.

33. Apparently the remains of a Fornyrthislag stanza. Some editors combine the two lines with the line here indicated as stanza 30. Champer of bits: horse. The manuscript indicates no gap.

__A_TAG_PLACEHOLDER_0__. Apparently, this is part of a Fornyrthislag stanza. Some editors merge these two lines with the line noted here as stanza 30. Champer of bits: refers to a horse. The manuscript shows no gap.

34. Six Fornyrthislag lines which editors have tried to reconstruct in all sorts of ways. The manuscript marks line 5 as the beginning of a new stanza. Regarding the serpents’ den, Gunnar’s harp-playing, and the manner of his death, cf. Drap Niflunga and Oddrunargratr, 27–30, and notes. In Atlamol, 62, Gunnar plays the harp with his feet, his hands being bound, and some editors change hand in line 4 to “foot.” Lines 5–6 may be interpolated, or, as Bugge maintains, lines 1–4 may have been expanded out of two lines. [495]

__A_TAG_PLACEHOLDER_0__. Six Fornyrthislag lines that editors have attempted to reconstruct in various ways. The manuscript indicates that line 5 is the start of a new stanza. For details on the serpents’ den, Gunnar’s harp-playing, and the way he died, see Drap Niflunga and Oddrunargratr, 27–30, and the accompanying notes. In Atlamol, 62, Gunnar plays the harp with his feet since his hands are tied, and some editors change hand in line 4 to “foot.” Lines 5–6 might be inserted later, or, as Bugge suggests, lines 1–4 could have been expanded from two lines. [__A_TAG_PLACEHOLDER_0__]

35. The manuscript marks line 3 as beginning a new stanza. Two (possibly three) of the lines appear to be in Fornyrthislag. Field: so the manuscript, involving a metrical error; many editions have “wood.”

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza. Two (maybe three) of the lines seem to be in Fornyrthislag. Field: that's what the manuscript says, despite a metrical mistake; many editions have “wood.”

36. Young beasts: Guthrun means Atli’s sons, Erp and Eitil, but of course he thinks she refers to newly slaughtered beasts; cf. Guthrunarkvitha II, 41–45.

__A_TAG_PLACEHOLDER_0__. Young beasts: Guthrun is referring to Atli’s sons, Erp and Eitil, but he naturally assumes she is talking about freshly killed animals; see Guthrunarkvitha II, 41–45.

37. Youths: a conjectural addition. The brave ones is also conjectural, the manuscript having “each.” No gap indicated in the manuscript; some editions insert as line 3 or line 4 a slightly altered version of line 2 of stanza 45. [496]

__A_TAG_PLACEHOLDER_0__. Young people: a speculative addition. The courageous ones is also speculative, as the manuscript states “each.” No gap is noted in the manuscript; some editions include a slightly modified version of line 2 from stanza 45 as line 3 or line 4. [__A_TAG_PLACEHOLDER_0__]

38. No gap indicated in the manuscript, but the two fragments cannot be fitted together as one line. The shining one: Guthrun.

__A_TAG_PLACEHOLDER_0__. There’s no gap shown in the manuscript, but the two pieces cannot be combined into a single line. The shining one: Guthrun.

39. Giver of swords: generous prince, i.e., Atli. Honey: cf. Guthrunarkvitha II, 42. To send to thy followers: literally, “to send from thy high seat.”

__A_TAG_PLACEHOLDER_0__. Giver of swords: generous prince, meaning Atli. Honey: see Guthrunarkvitha II, 42. To send to thy followers: literally, “to send from your high seat.”

40. Apparently a Fornyrthislag stanza. Merry with ale: presumably this refers to Atli, but the manuscript reading makes it apply to the two boys. Sharers of gold: princes. Line 5 is either interpolated or all that is left of a separate stanza.

__A_TAG_PLACEHOLDER_0__. Looks like a Fornyrthislag stanza. Merry with ale: this probably refers to Atli, but the manuscript suggests it's about the two boys. Sharers of gold: princes. Line 5 is either an addition or what's left of a separate stanza.

41. The text of the whole stanza has required a considerable amount of emendation. Lines 3–5 may have been expanded out of two lines, or line 5 may be an interpolation, possibly from stanza [497]12 of the Guthrunarhvot. Weapons: the word literally means “good-weaving,” and may refer to silken garments, but this hardly fits the noun here rendered “clashing.” Wept not: cf. stanza 31 and note.

__A_TAG_PLACEHOLDER_0__. The entire stanza has needed a lot of editing. Lines 3–5 might have been expanded from two lines, or line 5 might be an addition, possibly from stanza [__A_TAG_PLACEHOLDER_0__]12 of the Guthrunarhvot. Weapons: the term literally means “good-weaving,” which could refer to silk clothing, but that doesn’t really match the noun translated as “clashing” here. Wept not: see stanza 31 and note.

42. Line 1 appears to be in Fornyrthislag. Guthrun distributes Atli’s treasures among his followers apparently to prevent their wrath at the slaying of Erp and Eitil from turning against her; Atli, as stanza 43 shows, is too drunk to realize or prevent what she is doing.

__A_TAG_PLACEHOLDER_0__. Line 1 seems to be in Fornyrthislag. Guthrun shares Atli’s treasures with his followers, apparently to stop their anger over the killing of Erp and Eitil from turning against her; Atli, as stanza 43 shows, is too drunk to notice or stop what she’s doing.

43. The second half of line 4 is apparently an error, but none of the editorial suggestions have improved it.

__A_TAG_PLACEHOLDER_0__. The second half of line 4 seems to be a mistake, but none of the editing suggestions have made it better.

44. Guthrun allows the dogs and the house-thralls, who had no part in Gunnar’s death, to escape before she burns the dwelling [498]with all who are left therein. In Atlamol, stanzas 83–84, Atli is slain by a son of Hogni (Hniflung?) with Guthrun’s help.

__A_TAG_PLACEHOLDER_0__. Guthrun lets the dogs and the household servants, who weren’t involved in Gunnar’s death, get away before she sets the place on fire [__A_TAG_PLACEHOLDER_0__] with everyone left inside. In Atlamol, stanzas 83–84, Atli is killed by a son of Hogni (Hniflung?) with Guthrun’s assistance.

45. Some editions transfer line 2 to stanza 37; others reject line 3 as interpolated. Myrkheim (“Dark-Home”): probably identical with Myrkwood; cf. stanza 3. Temple: probably both here and in stanza 42 the word means little more than the place where Atli’s treasures were kept; the poet was by no means literal in his use of terms connected with the heathen religion. Buthlungs: sons of Buthli, i.e., Atli and his family. Shield-maids: cf. stanza 17 and note.

__A_TAG_PLACEHOLDER_0__. Some editions move line 2 to stanza 37; others consider line 3 as added later. Myrkheim (“Dark-Home”): likely the same as Myrkwood; see stanza 3. Temple: probably in this section and in stanza 42, it refers to the place where Atli’s treasures were stored; the poet wasn't being literal with terms related to pagan beliefs. Buthlungs: sons of Buthli, meaning Atli and his family. Shield-maids: see stanza 17 and note.

46. The entire stanza is very likely a later addition. Three kings: Atli and his two sons, Erp and Eitil. [499]

__A_TAG_PLACEHOLDER_0__. The whole stanza was probably added later. Three kings: Atli and his two sons, Erp and Eitil. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

ATLAMOL EN GRÖNLENZKU

The Greenland Ballad of Atli

[__A_TAG_PLACEHOLDER_0__]

Intro Note

Many of the chief facts regarding the Atlamol, which follows the Atlakvitha in the Codex Regius, are outlined in the introductory note to the earlier Atli lay. That the superscription in the manuscript is correct, and that the poem was actually composed in Greenland, is generally accepted; the specific reference to polar bears (stanza 17), and the general color of the entire poem make this origin exceedingly likely. Most critics, again, agree in dating the poem nearer 1100 than 1050. As to its state of preservation there is some dispute, but, barring one or two possible gaps of some importance, and the usual number of passages in which the interpolation or omission of one or two lines may be suspected, the Atlamol has clearly come down to us in fairly good shape.

Many of the main facts about the Atlamol, which comes after the Atlakvitha in the Codex Regius, are summarized in the introduction to the earlier Atli lay. It is widely accepted that the title in the manuscript is correct and that the poem was actually created in Greenland; the specific mention of polar bears (stanza 17) and the overall color of the poem strongly support this origin. Most critics also agree that the poem was written closer to 1100 than 1050. There is some debate about its condition, but aside from one or two likely significant gaps and the usual instances where one or two lines might be suspected of being added or omitted, the Atlamol has generally been preserved fairly well.

Throughout the poem the epic quality of the story itself is overshadowed by the romantically sentimental tendencies of the poet, and by his desire to adapt the narrative to the understanding of his fellow-Greenlanders. The substance of the poem is the same as that of the Atlakvitha; it tells of Atli’s message to the sons of Gjuki, their journey to Atli’s home, the slaying of Hogni and Gunnar, Guthrun’s bitterness over the death of her brothers, and her bloody revenge on Atli. Thus in its bare outline the Atlamol represents simply the Frankish blending of the legends of the slaughter of the Burgundians and the death of Attila (cf. Gripisspo, introductory note). But here the resemblance ends. The poet has added characters, apparently of his own creation, for the sake of episodes which would appeal to both the men and the women of the Greenland settlement. Sea voyages take the place of journeys by land; Atli is reproached, not for cowardice in battle, but for weakness at the Thing or great council. The additions made by the poet are responsible for the Atlamol’s being the longest of all the heroic poems in the Eddic collection, and they give it a kind of emotional vividness, but it has little of the compressed intensity of the older poems. Its greatest interest lies in its demonstration of the manner in which a story brought to the North from the South Germanic lands could be adapted to the understanding and tastes of its [500]eleventh century hearers without any material change of the basic narrative.

Throughout the poem, the epic nature of the story is overshadowed by the poet's romantic and sentimental tendencies, as well as his desire to make the narrative relatable to his fellow Greenlanders. The content of the poem mirrors that of the Atlakvitha; it recounts Atli’s message to the sons of Gjuki, their journey to Atli’s home, the deaths of Hogni and Gunnar, Guthrun’s sorrow over her brothers' deaths, and her bloody revenge on Atli. Essentially, the Atlamol represents a blend of the legends surrounding the slaughter of the Burgundians and the death of Attila (see Gripisspo, introductory note). However, that's where the similarity ends. The poet introduces characters that seem to be his own creations to include episodes that would resonate with both the men and women of the Greenland settlement. Sea voyages replace land journeys; Atli is criticized not for cowardice in battle but for weakness during the Thing or great council. These additions by the poet make the Atlamol the longest of all the heroic poems in the Eddic collection, giving it an emotional depth, but it lacks the tight intensity of the older poems. Its main interest lies in showing how a story brought north from the South Germanic regions could be adapted for the understanding and preferences of its [__A_TAG_PLACEHOLDER_0__]eleventh-century audience without significantly altering the fundamental narrative.

In what form or forms the story of the Gjukungs and Atli reached the Greenland poet cannot be determined, but it seems likely that he was familiar with older poems on the subject, and possibly with the Atlakvitha itself. That the details which are peculiar to the Atlamol, such as the figures of Kostbera and Glaumvor, existed in earlier tradition seems doubtful, but the son of Hogni, who aids Guthrun in the slaying of Atli, appears, though under another name, in other late versions of the story, and it is impossible to say just how much the poet relied on his own imagination and how far he found suggestions and hints in the prose or verse stories of Atli with which he was familiar.

In what ways the story of the Gjukungs and Atli reached the Greenland poet isn’t clear, but it’s likely he was aware of older poems about it, and possibly even the Atlakvitha itself. The details that are unique to the Atlamol, like the characters Kostbera and Glaumvor, probably didn’t exist in earlier traditions, but the son of Hogni, who helps Guthrun kill Atli, does appear—though under a different name—in other later versions of the story. It’s impossible to determine how much the poet depended on his own creativity versus how much he drew from the prose or verse stories of Atli that he knew.

The poem is in Malahattr (cf. Introduction) throughout, the verse being far more regular than in the Atlakvitha. The compilers of the Volsungasaga evidently knew it in very much the form in which we now have it, for in the main it is paraphrased with great fidelity.

The poem is in Malahattr (see Introduction) throughout, and the verse is much more regular than in the Atlakvitha. The authors of the Volsungasaga clearly knew it in almost the same form as we have it now, because overall it is paraphrased with great accuracy.

[__A_TAG_PLACEHOLDER_0__]

1. There are many who know   |   how of old did men

__A_TAG_PLACEHOLDER_0__. There are many who know   |   how in the past people

In counsel gather;   |   little good did they get;

In meetings, they came together; | little good came from it;

In secret they plotted,   |   it was sore for them later,

In secret, they made plans; it was tough for them later.

And for Gjuki’s sons,   |   whose trust they deceived.

And for Gjuki’s sons,   |   whose trust they betrayed.

2. Fate grew for the princes,   |   to death they were given;

__A_TAG_PLACEHOLDER_0__. Destiny closed in on the princes,   |   they were faced with death;

Ill counsel was Atli’s,   |   though keenness he had; [501]

Ill advice was Atli’s, | though he was sharp; [__A_TAG_PLACEHOLDER_0__]

He felled his staunch bulwark,   |   his own sorrow fashioned,

He brought down his strong defense, | his own sadness created,

Soon a message he sent   |   that his kinsmen should seek him.

Soon he sent a message for his relatives to come find him.

3. Wise was the woman,   |   she fain would use wisdom,

__A_TAG_PLACEHOLDER_0__. The woman was wise,   |   she eagerly wanted to use her wisdom,

She saw well what meant   |   all they said in secret;

She clearly understood what all their secret conversations meant;

From her heart it was hid   |   how help she might render,

From her heart it was hidden   |   how she might help,

The sea they should sail,   |   while herself she should go not.

The sea they should sail,   |   while she should not go herself.

4. Runes did she fashion,   |   but false Vingi made them,

__A_TAG_PLACEHOLDER_0__. She crafted runes,   |   but deceitful Vingi created them,

The speeder of hatred,   |   ere to give them he sought;

The speed of hatred, | before he sought to give them;

Then soon fared the warriors   |   whom Atli had sent,

Then soon went the warriors whom Atli had sent,

And to Limafjord came,   |   to the home of the kings.

And to Limafjord came,   |   to the kings' home.

5. They were kindly with ale,   |   and fires they kindled, [502]

__A_TAG_PLACEHOLDER_0__. They were generous with beer,   |   and they lit fires, [__A_TAG_PLACEHOLDER_0__]

They thought not of craft   |   from the guests who had come;

They didn't think about skill from the arriving guests;

The gifts did they take   |   that the noble one gave them,

The gifts they received from the noble one,

On the pillars they hung them,   |   no fear did they harbor.

On the pillars, they hung them,   |   they had no fear.

6. Forth did Kostbera, wife   |   of Hogni, then come,

__A_TAG_PLACEHOLDER_0__. Then Kostbera, Hogni's wife, came forward,

Full kindly she was,   |   and she welcomed them both;

Full of kindness, she was, and she welcomed them both;

And glad too was Glaumvor,   |   the wife of Gunnar,

And Glaumvor, Gunnar's wife, was happy too,

She knew well to care   |   for the needs of the guests.

She knew how important it was to take care of the guests' needs.

7. Then Hogni they asked   |   if more eager he were,

__A_TAG_PLACEHOLDER_0__. Then they asked Hogni if he was more eager.

Full clear was the guile,   |   if on guard they had been;

Full clear was the trick,   |   if they had been on guard;

Then Gunnar made promise,   |   if Hogni would go,

Then Gunnar made a promise,   |   if Hogni would go,

And Hogni made answer   |   as the other counseled.

And Hogni replied just as the other suggested.

8. Then the famed ones brought mead,   |   and fair was the feast, [503]

__A_TAG_PLACEHOLDER_0__. Then the famous ones brought mead,   |   and the feast was beautiful, [__A_TAG_PLACEHOLDER_0__]

Full many were the horns,   |   till the men had drunk deep;

Full many were the horns, | till the men had drunk deeply;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

Then the mates made ready   |   their beds for resting.

Then the friends got their beds ready for sleeping.

9. Wise was Kostbera,   |   and cunning in rune-craft,

__A_TAG_PLACEHOLDER_0__. Kostbera was wise,  |  and skilled in the art of runes,

The letters would she read   |   by the light of the fire;

The letters she would read by the light of the fire;

But full quickly her tongue   |   to her palate clave,

But quickly her tongue stuck to her palate,

So strange did they seem   |   that their meaning she saw not.

They seemed so strange that she couldn't understand their meaning.

10. Full soon then his bed   |   came Hogni to seek,

__A_TAG_PLACEHOLDER_0__. Very soon, Hogni came to look for his bed,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The clear-souled one dreamed,   |   and her dream she kept not,

The clear-souled person dreamed, | and she didn't keep her dream,

To the warrior the wise one   |   spake when she wakened:

To the warrior, the wise one spoke when she awoke:

11. “Thou wouldst go hence, Hogni,   |   but heed my counsel,— [504]

__A_TAG_PLACEHOLDER_0__. “You would leave, Hogni,   |   but listen to my advice,— [__A_TAG_PLACEHOLDER_0__]

Known to few are the runes,—   |   and put off thy faring;

Known to few are the runes,—   |   and delay your journey;

I have read now the runes   |   that thy sister wrote,

I have now read the runes   |   that your sister wrote,

And this time the bright one   |   did not bid thee to come.

And this time the bright one did not ask you to come.

12. “Full much do I wonder,   |   nor well can I see,

__A_TAG_PLACEHOLDER_0__. “I wonder a lot,   |   and I can’t really see,

Why the woman wise   |   so wildly hath written;

Why has the wise woman written so wildly?

But to me it seems   |   that the meaning beneath

But to me, it seems that the meaning beneath

Is that both shall be slain   |   if soon ye shall go.

Is that both will be killed if you leave soon.

But one rune she missed,   |   or else others have marred it.”

But she missed one rune, or maybe others have damaged it.

Hogni spake:

Hogni said

13. “All women are fearful;   |   not so do I feel,

__A_TAG_PLACEHOLDER_0__. “All women are afraid; | that's not how I feel,

Ill I seek not to find   |   till I soon must avenge it;

Ill I seek not to find   |   till I soon must avenge it;

The king now will give us   |   the glow-ruddy gold;

The king will now give us the shiny red gold;

I never shall fear,   |   though of dangers I know.”

I will never be afraid, even though I know there are dangers.

Kostbera spake:

Kostbera said:

14. “In danger ye fare,   |   if forth ye go thither, [505]

__A_TAG_PLACEHOLDER_0__. "You're in danger if you go there, [__A_TAG_PLACEHOLDER_0__]

No welcoming friendly   |   this time shall ye find;

No friendly welcome this time shall you find;

For I dreamed now, Hogni,   |   and nought will I hide,

For I dreamed now, Hogni,   |   and I won’t hide anything,

Full evil thy faring,   |   if rightly I fear.

Full evil your journey, if I’m right to be worried.

15. “Thy bed-covering saw I   |   in the flames burning,

__A_TAG_PLACEHOLDER_0__. “I saw your bedding in the flames burning,

And the fire burst high   |   through the walls of my home.”

And the fire erupted high through the walls of my house.”

Hogni spake:

Hogni said:

“Yon garment of linen   |   lies little of worth,

“Those linen clothes   |   aren't worth much,

It will soon be burned,   |   so thou sawest the bed-cover.”

It will soon be burned,   |   so you saw the bedcover.

Kostbera spake:

Kostbera said:

16. “A bear saw I enter,   |   the pillars he broke,

__A_TAG_PLACEHOLDER_0__. “I saw a bear as I entered,   |   it broke the pillars,

And he brandished his claws   |   so that craven we were;

And he waved his claws, making us feel so cowardly;

With his mouth seized he many,   |   and nought was our might,

With his mouth shut tight, we had no power at all,

And loud was the tumult,   |   not little it was.”

And it was a loud commotion, not small at all.

[506]

[__A_TAG_PLACEHOLDER_0__]

Hogni spake:

Hogni said

17. “Now a storm is brewing,   |   and wild it grows swiftly,

__A_TAG_PLACEHOLDER_0__. “Now a storm is coming,   |   and it's building up quickly,

A dream of an ice-bear   |   means a gale from the east.”

A dream of a polar bear   |   means a strong wind from the east.”

Kostbera spake:

Kostbera said

18. “An eagle I saw flying   |   from the end through the house,

__A_TAG_PLACEHOLDER_0__. “I saw an eagle flying   |   from one end to the other through the house,

Our fate must be bad,   |   for with blood he sprinkled us;

Our fate has to be terrible, for he sprinkled us with blood;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

From the evil I fear   |   that ’twas Atli’s spirit.”

From the evil I fear   |   that it was Atli’s spirit.”

Hogni spake:

Hogni said:

19. “They will slaughter soon,   |   and so blood do we see,

__A_TAG_PLACEHOLDER_0__. “They will kill soon,   |   and so we see blood,

Oft oxen it means   |   when of eagles one dreams; [507]

Oftentimes, dreaming of oxen means | when one dreams of eagles; [__A_TAG_PLACEHOLDER_0__]

True is Atli’s heart,   |   whatever thou dreamest.”

True is Atli’s heart,   |   whatever you dream.

Then silent they were,   |   and nought further they said.

Then they fell silent, and said nothing more.

20. The high-born ones wakened,   |   and like speech they had,

__A_TAG_PLACEHOLDER_0__. The nobility woke up,   |   and they spoke like it was natural,

Then did Glaumvor tell   |   how in terror she dreamed,

Then Glaumvor shared how she dreamed in fear,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  . Gunnar   |   two roads they should go.

.  .  .  .  . Gunnar   |   they should take two different paths.

Glaumvor spake:

Glaumvor said:

21. “A gallows saw I ready,   |   thou didst go to thy hanging,

__A_TAG_PLACEHOLDER_0__. “I saw a gallows waiting,   |   you were headed for your hanging,

Thy flesh serpents ate,   |   and yet living I found thee;

Your flesh was eaten by serpents, yet I found you alive.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The gods’ doom descended;   |   now say what it boded.”

The gods' doom fell upon us; now tell me what it meant.

*    *    *    *    *    *

*    *    *    *    *    *

22. “A sword drawn bloody   |   from thy garments I saw,— [508]

22. “I saw a bloody sword drawn from your clothes,— [__A_TAG_PLACEHOLDER_0__]

Such a dream is hard   |   to a husband to tell,—

Such a dream is tough for a husband to share,—

A spear stood, methought,   |   through thy body thrust,

A spear appeared, it seemed to me, through your body pierced,

And at head and feet   |   the wolves were howling.”

And at the head and feet   |   the wolves were howling.”

Gunnar spake:

Gunnar said:

23. “The hounds are running,   |   loud their barking is heard,

__A_TAG_PLACEHOLDER_0__. “The dogs are running,   |   their barking is loud and clear,

Oft hounds’ clamor follows   |   the flying of spears.”

Oftentimes, the hounds' noise follows the flight of spears.

Glaumvor spake:

Glaumvor said:

24. “A river the length   |   of the hall saw I run,

__A_TAG_PLACEHOLDER_0__. “I saw a river the length of the hall flowing,”

Full swiftly it roared,   |   o’er the benches it swept;

Full swiftly it roared,   |   over the benches it swept;

O’er the feet did it break   |   of ye brothers twain,

O’er the feet did it break   |   of the two brothers,

The water would yield not;   |   some meaning there was.”

The water wouldn’t give way;   |   there was some meaning in that.

*    *    *    *    *    *

*    *    *    *    *    *

25. “I dreamed that by night   |   came dead women hither, [509]

__A_TAG_PLACEHOLDER_0__. “I dreamed that at night   |   dead women came here, [__A_TAG_PLACEHOLDER_0__]

Sad were their garments,   |   and thee were they seeking;

Sad were their garments,   |   and they were seeking you;

They bade thee come swiftly   |   forth to their benches,

They asked you to come quickly to their benches,

And nothing, methinks,   |   could the Norns avail thee.”

And nothing, I think,   |   the Norns could do for you.

Gunnar spake:

Gunnar said:

26. “Too late is thy speaking,   |   for so is it settled;

__A_TAG_PLACEHOLDER_0__. “Your words come too late,   |   for it's already decided;

From the faring I turn not,   |   the going is fixed,

From the journey I do not turn back,   |   the path is set,

Though likely it is   |   that our lives shall be short.”

Though it seems likely that our lives will be short.

27. Then bright shone the morning,   |   the men all were ready,

__A_TAG_PLACEHOLDER_0__. Then the morning brightened,   |   and the men were all set,

They said, and yet each   |   would the other hold back;

They said, but still each would hold back from the other;

Five were the warriors,   |   and their followers all

Five were the warriors,   |   and all their followers

But twice as many,—   |   their minds knew not wisdom.

But twice as many, — their minds lacked wisdom.

28. Snævar and Solar,   |   they were sons of Hogni,

__A_TAG_PLACEHOLDER_0__. Snævar and Solar,   |   they were the sons of Hogni,

Orkning was he called   |   who came with the others, [510]

Orkning was what they called him   |   who came with the others, [__A_TAG_PLACEHOLDER_0__]

Blithe was the shield-tree,   |   the brother of Kostbera;

Blithe was the shield-tree,   |   the brother of Kostbera;

The fair-decked ones followed,   |   till the fjord divided them,

The beautifully adorned ones followed,   |   until the fjord separated them,

Full hard did they plead,   |   but the others would hear not.

They pleaded passionately, but the others refused to listen.

29. Then did Glaumvor speak forth,   |   the wife of Gunnar,

29. Then Glaumvor, Gunnar's wife, spoke up,

To Vingi she said   |   that which wise to her seemed:

To Vingi she said | what she thought was wise:

“I know not if well   |   thou requitest our welcome,

“I don’t know if you appreciate our welcome,

Full ill was thy coming   |   if evil shall follow.”

Full ill was your coming   |   if evil shall follow.

30. Then did Vingi swear,   |   and full glib was his speech,

__A_TAG_PLACEHOLDER_0__. Then Vingi swore,   |   and his words flowed smoothly,

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“May giants now take me   |   if lies I have told ye,

“May giants now take me if I have told you lies,

And the gallows if hostile   |   thought did I have.”

And the gallows if I had hostile thoughts.

31. Then did Bera speak forth,   |   and fair was her thought, [511]

__A_TAG_PLACEHOLDER_0__. Then Bera spoke up,   |   and her thoughts were beautiful, [__A_TAG_PLACEHOLDER_0__]

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“May ye sail now happy,   |   and victory have,

“May you sail now happy,   |   and have victory,

To fare as I bid ye,   |   may nought your way bar.”

To do as I ask you, | may nothing block your path.

32. Then Hogni made answer,—   |   dear held he his kin,—

__A_TAG_PLACEHOLDER_0__. Then Hogni replied,—   |   he cared dearly for his family,—

courage, ye wise ones,   |   whatsoever may come;

courage, you wise ones,   |   whatever may come;

Though many may speak,   |   yet is evil oft mighty,

Though many may talk,   |   evil is often powerful,

And words avail little   |   to lead one homeward.

And words don't help much   |   to guide someone home.

33. They tenderly looked   |   till each turned on his way,

__A_TAG_PLACEHOLDER_0__. They gazed at each other affectionately until they each went their separate ways,

Then with changing fate   |   were their farings divided.

Then as fate changed, their paths were separated.

34. Full stoutly they rowed,   |   and the keel clove asunder,

__A_TAG_PLACEHOLDER_0__. They rowed with all their strength,   |   and the keel split apart,

Their backs strained at the oars,   |   and their strength was fierce; [512]

Their backs hurt from rowing, and their strength was intense; [__A_TAG_PLACEHOLDER_0__]

The oar-loops were burst,   |   the thole-pins were broken,

The oar-loops were broken,   |   the thole-pins were damaged,

Nor the ship made they fast   |   ere from her they fared.

Nor did they secure the ship before they left it.

35. Not long was it after—   |   the end must I tell—

__A_TAG_PLACEHOLDER_0__. It wasn’t long after that— | I must reveal the end—

That the home they beheld   |   that Buthli once had;

That the home they saw   |   that Buthli once had;

Loud the gates resounded   |   when Hogni smote them;

Loudly the gates echoed when Hogni struck them;

Vingi spake then a word   |   that were better unsaid:

Vingi then said something   |   that would have been better left unsaid:

36. “Go ye far from the house,   |   for false is its entrance,

__A_TAG_PLACEHOLDER_0__. “Stay away from the house,   |   because its entrance is deceptive,

Soon shall I burn you,   |   ye are swiftly smitten;

Soon I will burn you,   |   you are quickly struck down;

I bade ye come fairly,   |   but falseness was under,

I invited you to join me honestly,   |   but there was deceit beneath.

Now bide ye afar   |   while your gallows I fashion.”

Now stay back while I build your gallows.

37. Then Hogni made answer,   |   his heart yielded little, [513]

__A_TAG_PLACEHOLDER_0__. Then Hogni responded,   |   his heart gave in very little, [__A_TAG_PLACEHOLDER_0__]

And nought did he fear   |   that his fate held in store:

And he didn’t fear at all what fate had in store for him:

“Seek not to affright us,   |   thou shalt seldom succeed;

“Don’t try to scare us, | you’ll rarely succeed;

If thy words are more,   |   then the worse grows thy fate.”

If your words are more,   |   then your fate gets worse.

38. Then Vingi did they smite,   |   and they sent him to hell,

__A_TAG_PLACEHOLDER_0__. Then they attacked Vingi,   |   and they condemned him to hell,

With their axes they clove him   |   while the death-rattle came.

With their axes they split him   |   while the death rattle sounded.

39. Atli summoned his men,   |   in mail-coats they hastened,

__A_TAG_PLACEHOLDER_0__. Atli called his men,   |   and they hurried in their chainmail,

All ready they came,   |   and between was the courtyard.

All set, they arrived,   |   and in between was the courtyard.

*    *    *    *    *    *

*    *    *    *    *    *

40. Then came they to words,   |   and full wrathful they were: [514]

__A_TAG_PLACEHOLDER_0__. Then they started to argue, and they were very angry: [__A_TAG_PLACEHOLDER_0__]

“Long since did we plan   |   how soon we might slay you.”

“Long ago we planned how soon we could kill you.”

Hogni spake:

Hogni said:

41. “Little it matters   |   if long ye have planned it;

__A_TAG_PLACEHOLDER_0__. “It doesn’t really matter if you’ve been planning it for a long time;

For unarmed do ye wait,   |   and one have we felled,

For the unarmed, do you wait, | and one have we taken down,

We smote him to hell,   |   of your host was he once.”

We sent him to hell, | he was once one of your people.

42. Then wild was their anger   |   when all heard his words;

__A_TAG_PLACEHOLDER_0__. Then their anger was fierce   |   when everyone heard his words;

Their fingers were swift   |   on their bowstrings to seize,

Their fingers moved quickly on their bowstrings to seize,

Full sharply they shot,   |   by their shields were they guarded.

Full sharply they shot,   |   by their shields were they protected.

43. In the house came the word   |   how the heroes without [515]

__A_TAG_PLACEHOLDER_0__. News arrived at the house   |   about the heroes without [__A_TAG_PLACEHOLDER_0__]

Fought in front of the hall;   |   they heard a thrall tell it;

Fought in front of the hall;   |   they heard a servant talk about it;

Grim then was Guthrun,   |   the grief when she heard,

Grim then was Guthrun,   |   the sorrow when she heard,

With necklaces fair,   |   and she flung them all from her,

With beautiful necklaces, and she threw them all away,

(The silver she hurled   |   so the rings burst asunder.)

(The silver she threw   |   caused the rings to burst apart.)

44. Then out did she go,   |   she flung open the doors,

__A_TAG_PLACEHOLDER_0__. Then she stepped outside, | she threw the doors open,

All fearless she went,   |   and the guests did she welcome;

All confidently she went,   |   and she welcomed the guests;

To the Niflungs she went—   |   her last greeting it was,—

To the Niflungs she went—   |   her final goodbye it was,—

In her speech truth was clear,   |   and much would she speak.

In her speech, the truth was clear, and she had a lot to say.

45. “For your safety I sought   |   that at home ye should stay;

45. “For your safety, I wanted you to stay at home;

None escapes his fate,   |   so ye hither must fare.”

None escape their fate, so you all must come here.

Full wisely she spake,   |   if yet peace they might win, [516]

Full wisely she spoke,   |   if they could still achieve peace, [__A_TAG_PLACEHOLDER_0__]

But to nought would they hearken,   |   and “No” said they all.

But they wouldn't listen at all, and they all said "No."

46. Then the high-born one saw   |   that hard was their battle,

__A_TAG_PLACEHOLDER_0__. Then the noble one noticed that their struggle was difficult,

In fierceness of heart   |   she flung off her mantle;

In the intensity of her emotions, she threw off her cloak;

Her naked sword grasped she   |   her kin’s lives to guard,

Her bare sword held tight, ready to protect her family's lives,

Not gentle her hands   |   in the hewing of battle.

Not gentle her hands in the thick of battle.

47. Then the daughter of Gjuki   |   two warriors smote down,

__A_TAG_PLACEHOLDER_0__. Then Gjuki's daughter | struck down two warriors,

Atli’s brother she slew,   |   and forth then they bore him;

Atli’s brother she killed,   |   and then they took him away;

(So fiercely she fought   |   that his feet she clove off;)

(So fiercely she fought   |   that she chopped off his feet;)

Another she smote   |   so that never he stood,

Another she struck, so that he never stood again,

To hell did she send him,—   |   her hands trembled never.

To hell did she send him,—   |   her hands never trembled.

[517]

[__A_TAG_PLACEHOLDER_0__]

48. Full wide was the fame   |   of the battle they fought,

__A_TAG_PLACEHOLDER_0__. The reputation of the battle they fought was incredibly vast,

’Twas the greatest of deeds   |   of the sons of Gjuki;

’Twas the greatest of deeds of the sons of Gjuki;

Men say that the Niflungs,   |   while themselves they were living,

Men say that the Niflungs,   |   while they were still alive,

With their swords fought mightily,   |   mail-coats they sundered,

With their swords, they fought fiercely, | mail coats they tore apart,

And helms did they hew,   |   as their hearts were fearless.

And they shaped helmets,   |   as their hearts were brave.

49. All the morning they fought   |   until midday shone,

__A_TAG_PLACEHOLDER_0__. They fought all morning until noon.

(All the dusk as well   |   and the dawning of day,)

(All the dusk as well | and the dawning of day,)

When the battle was ended,   |   the field flowed with blood;

When the battle was over,   |   the field was drenched in blood;

Ere they fell, eighteen   |   of their foemen were slain,

Eighteen of their enemies were killed before they fell,

By the two sons of Bera   |   and her brother as well.

By Bera's two sons and her brother too.

50. Then the warrior spake,   |   and wild was his anger:

__A_TAG_PLACEHOLDER_0__. Then the warrior spoke,   |   and his anger was fierce:

“This is evil to see,   |   and thy doing is all; [518]

“This is terrible to witness,   |   and everything you do is to blame; [__A_TAG_PLACEHOLDER_0__]

Once we were thirty,   |   we thanes keen for battle,

Once we reached thirty,   |   we were thanes eager for battle,

Now eleven are left,   |   and great is our lack.

Now eleven are left,   |   and we feel the loss deeply.

51. “There were five of us brothers   |   when Buthli we lost,

__A_TAG_PLACEHOLDER_0__. “There were five of us brothers | when we lost Buthli,

Now Hel has the half,   |   and two smitten lie here;

Now Hel has the half,   |   and two people are affected lying here;

A great kinship had I,—   |   the truth may I hide not,—

A strong connection I had, — I cannot hide the truth —

From a wife bringing slaughter   |   small joy could I win.

From a wife bringing slaughter, I could win no small joy.

52. We lay seldom together   |   since to me thou wast given,

__A_TAG_PLACEHOLDER_0__. We hardly lay together | since you were given to me,

Now my kin all are gone,   |   of my gold am I robbed;

Now my family is all gone, | I'm robbed of my gold;

Nay, and worst, thou didst send   |   my sister to hell.”

"Nah, and even worse, you sent my sister to hell."

[519]

[__A_TAG_PLACEHOLDER_0__]

Guthrun spake:

Guthrun said:

53. “Hear me now, Atli!   |   the first evil was thine;

__A_TAG_PLACEHOLDER_0__. “Listen to me now, Atli!   |   the first wrongdoing was yours;

My mother didst thou take,   |   and for gold didst murder her,

My mother you took, and for gold you murdered her,

My sister’s daughter   |   thou didst starve in a prison.

My sister's daughter | you starved in a prison.

A jest does it seem   |   that thy sorrow thou tellest,

A joke it seems   |   that you share your sadness,

And good do I find it   |   that grief to thee comes.”

And I think it's good that grief comes to you.

Atli spake:

Atli said:

54. “Go now, ye warriors,   |   and make greater the grief

__A_TAG_PLACEHOLDER_0__. “Go now, you warriors,   |   and increase the sorrow

Of the woman so fair,   |   for fain would I see it;

Of the woman so beautiful,   |   I really want to see her;

So fierce be thy warring   |   that Guthrun shall weep,

So fierce will your fighting be that Guthrun will weep,

I would gladly behold   |   her happiness lost.

I would willingly see her happiness gone.

55. “Seize ye now Hogni,   |   and with knives shall ye hew him,

55. “Grab Hogni now, and with knives, you will carve him up,

His heart shall ye cut out,   |   this haste ye to do;

His heart you shall cut out, this you must do quickly;

And grim-hearted Gunnar   |   shall ye bind on the gallows, [520]

And cold-hearted Gunnar   |   you shall tie to the gallows, [__A_TAG_PLACEHOLDER_0__]

Swift shall ye do it,   |   to serpents now cast him.”

Swiftly do it, to serpents now cast him.

Hogni spake:

Hogni said:

56. “Do now as thou wilt,   |   for glad I await it,

__A_TAG_PLACEHOLDER_0__. “Do whatever you want,   |   I'm looking forward to it,

Brave shalt thou find me,   |   I have faced worse before;

Brave you will find me,   |   I have faced worse before;

We held thee at bay   |   while whole we were fighting,

We kept you at a distance while we were fighting together,

Now with wounds are we spent,   |   so thy will canst thou work.”

Now we are exhausted from our wounds, so you can do your will.

57. Then did Beiti speak,   |   he was Atli’s steward:

__A_TAG_PLACEHOLDER_0__. Then Beiti spoke,   |   he was Atli’s steward:

“Let us seize now Hjalli,   |   and Hogni spare we!

“Let’s take Hjalli now,   |   and let’s spare Hogni!”

Let us fell the sluggard,   |   he is fit for death,

Let us bring down the lazy person,   |   they deserve to die,

He has lived too long,   |   and lazy men call him.”

He has lived too long,   |   and lazy people call him.

58. Afraid was the pot-watcher,   |   he fled here and yon,

__A_TAG_PLACEHOLDER_0__. The pot-watcher was scared,   |   he ran around everywhere,

And crazed with his terror   |   he climbed in the corners: [521]

And driven mad by his fear   |   he climbed into the corners: [__A_TAG_PLACEHOLDER_0__]

“Ill for me is this fighting,   |   if I pay for your fierceness,

“I'm feeling bad about this fighting, | if I have to pay for your anger,

And sad is the day   |   to die leaving my swine

And it's a sad day to die leaving my pigs.

And all the fair victuals   |   that of old did I have.”

And all the good food that I used to have.

59. They seized Buthli’s cook,   |   and they came with the knife,

__A_TAG_PLACEHOLDER_0__. They grabbed Buthli’s cook,   |   and they approached with the knife,

The frightened thrall howled   |   ere the edge did he feel;

The scared servant howled before he felt the edge;

He was willing, he cried,   |   to dung well the courtyard,

He was ready, he shouted,   |   to properly clean the courtyard,

Do the basest of work,   |   if spare him they would;

Do the most basic work,   |   if they could avoid it;

Full happy were Hjalli   |   if his life he might have.

Full happy was Hjalli if he could have his life.

60. Then fain was Hogni—   |   there are few would do thus—

60. Then Hogni was eager— | few would do this—

To beg for the slave   |   that safe hence he should go;

To plead for the slave | that he should be safe as he leaves;

“I would find it far better   |   this knife-play to feel,

“I would find it much better | this knife-play to feel,

Why must we all hark   |   to this howling longer?”

Why do we all have to listen to this howling any longer?

61. Then the brave one they seized;   |   to the warriors bold

__A_TAG_PLACEHOLDER_0__. Then they captured the brave one;   |   to the bold warriors

No chance was there left   |   to delay his fate longer;

No chance was left to delay his fate any longer;

Loud did Hogni laugh,   |   all the sons of day heard him, [522]

Loudly Hogni laughed, | all the sons of day heard him, [__A_TAG_PLACEHOLDER_0__]

So valiant he was   |   that well he could suffer.

So brave he was   |   that he could endure well.

*    *    *    *    *    *

*    *    *    *    *    *

62. A harp Gunnar seized,   |   with his toes he smote it;

__A_TAG_PLACEHOLDER_0__. Gunnar grabbed a harp,   |   and played it with his toes;

So well did he strike   |   that the women all wept,

So well did he hit that the women all cried,

And the men, when clear   |   they heard it, lamented;

And the men, when they clearly heard it, mourned;

Full noble was his song,   |   the rafters burst asunder.

Full noble was his song,   |   the rafters broke apart.

63. Then the heroes died   |   ere the day was yet come;

__A_TAG_PLACEHOLDER_0__. Then the heroes died | before the day had even arrived;

Their fame did they leave   |   ever lofty to live.

Their fame did they leave | always high to live.

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

64. Full mighty seemed Atli   |   as o’er them he stood,

__A_TAG_PLACEHOLDER_0__. Atli looked incredibly powerful as he stood over them,

The wise one he blamed,   |   and his words reproached her:

The wise one, he blamed,   |   and his words criticized her:

“It is morning, Guthrun;   |   now thy dear ones dost miss,

“It’s morning, Guthrun; | now you miss your loved ones,

But the blame is part thine   |   that thus it has chanced.”

But you share some of the blame for how this has happened.

[523]

[__A_TAG_PLACEHOLDER_0__]

Guthrun spake:

Guthrun said:

65. “Thou art joyous, Atli,   |   for of evil thou tellest,

__A_TAG_PLACEHOLDER_0__. “You are joyful, Atli,   |   because you speak of evil,

But sorrow is thine   |   if thou mightest all see;

But sorrow is yours   |   if you could see everything;

Thy heritage heavy   |   here can I tell thee,

Thy heritage heavy   |   here can I tell you,

Sorrow never thou losest   |   unless I shall die.”

Sorrow, you never lose it   |   unless I die.”

Atli spake:

Atli said:

66. “Not free of guilt am I;   |   a way shall I find

__A_TAG_PLACEHOLDER_0__. “I’m not without guilt; | I will find a way”

That is better by far,—   |   oft the fairest we shunned;—

That is much better,—   |   often we avoided the fairest;—

With slaves I console thee,   |   with gems fair to see,

With slaves, I comfort you, | with beautiful gems to see,

And with silver snow-white,   |   as thyself thou shalt choose.”

And with silver snow-white, | as you yourself will choose.”

Guthrun spake:

Guthrun said:

67. “No hope shall this give thee,   |   thy gifts I shall take not,

__A_TAG_PLACEHOLDER_0__. “This won't give you any hope, | I won't take your gifts,

Requital I spurned   |   when my sorrows were smaller;

Requital I rejected   |   when my troubles were lighter;

Once grim did I seem,   |   but now greater my grimness,

Once I seemed grim, | but now my grimness is greater,

There was nought seemed too hard   |   while Hogni was living.

There was nothing that seemed too hard while Hogni was alive.

[524]

[__A_TAG_PLACEHOLDER_0__]

68. “Our childhood did we have   |   in a single house,

__A_TAG_PLACEHOLDER_0__. “We spent our childhood in one house,

We played many a game,   |   in the grove did we grow;

We played a lot of games,   |   in the grove we grew;

Then did Grimhild give us   |   gold and necklaces;

Then Grimhild gave us gold and necklaces;

Thou shalt ne’er make amends   |   for my brother’s murder,

You will never make up for my brother's murder,

Nor ever shalt win me   |   to think it was well.

Nor will you ever convince me to think it was okay.

69. “But the fierceness of men   |   rules the fate of women,

__A_TAG_PLACEHOLDER_0__. “But the harshness of men   |   determines the destiny of women,

The tree-top bows low   |   if bereft of its leaves,

The tree branches sag low | when it's lost all its leaves,

The tree bends over   |   if the roots are cleft under it;

The tree leans if its roots are split beneath it;

Now mayest thou, Atli,   |   o’er all things here rule.”

Now you can, Atli,   |   rule over everything here.

70. Full heedless the warrior   |   was that he trusted her,

__A_TAG_PLACEHOLDER_0__. Completely careless was the warrior | that he trusted her,

So clear was her guile   |   if on guard he had been;

So obvious was her trickery   |   if he had been paying attention;

But crafty was Guthrun,   |   with cunning she spake,

But Guthrun was clever, with skillful words she spoke,

Her glance she made pleasant,   |   with two shields she played.

Her look was friendly, | she played with two shields.

[525]

[__A_TAG_PLACEHOLDER_0__]

71. The beer then she brought   |   for her brothers’ death-feast,

__A_TAG_PLACEHOLDER_0__. The beer then she brought  |   for her brothers' death feast,

And a feast Atli made   |   for his followers dead;

And Atli held a feast for his fallen followers;

No more did they speak,   |   the mead was made ready,

No more did they speak,   |   the mead was prepared,

Soon the men were gathered   |   with mighty uproar.

Soon the men gathered with a loud commotion.

72. Thus bitterly planned she,   |   and Buthli’s race threatened,

__A_TAG_PLACEHOLDER_0__. So she plotted with resentment,   |   and Buthli’s people were in danger,

And terrible vengeance   |   on her husband would take;

And she'd take terrible revenge on her husband;

The little ones called she,   |   on a block she laid them;

The kids called her,  |   she laid them on a block;

Afraid were the proud ones,   |   but their tears did not fall;

Afraid were the proud ones,   |   but their tears did not fall;

To their mother’s arms went they,   |   and asked what she would.

To their mother's arms they ran, and asked her what she wanted.

Guthrun spake:

Guthrun said:

73. “Nay, ask me no more!   |   You both shall I murder, [526]

__A_TAG_PLACEHOLDER_0__. “No more questions!  |  I will kill you both, [__A_TAG_PLACEHOLDER_0__]

For long have I wished   |   your lives to steal from you.”

For a long time, I’ve wanted to take your lives from you.

The boys spake:

The boys said:

“Slay thy boys as thou wilt,   |   for no one may bar it,

“Kill your boys as you wish, | for no one can stop it,

Short the angry one’s peace   |   if all thou shalt do.”

Shorten the angry one's peace if that's all you're going to do.

74. Then the grim one slew both   |   of the brothers young,

__A_TAG_PLACEHOLDER_0__. Then the dark one killed both   |   of the young brothers,

Full hard was her deed   |   when their heads she smote off;

Full hard was her deed   |   when she chopped off their heads;

Fain was Atli to know   |   whither now they were gone,

Fain was Atli to know   |   where they had gone now,

The boys from their sport,   |   for nowhere he spied them.

The boys from their sport,   |   for he couldn't see them anywhere.

Guthrun spake:

Guthrun said:

75. “My fate shall I seek,   |   all to Atli saying,

__A_TAG_PLACEHOLDER_0__. “I will search for my destiny,   |   telling everything to Atli,

The daughter of Grimhild   |   the deed from thee hides not;

The daughter of Grimhild   |   the action from you hides not;

No joy thou hast, Atli,   |   if all thou shalt hear,

No joy you have, Atli, | if all you will hear,

Great sorrow didst wake   |   when my brothers thou slewest.

Great sorrow woke up when you killed my brothers.

[527]

[__A_TAG_PLACEHOLDER_0__]

76. “I have seldom slept   |   since the hour they were slain,

__A_TAG_PLACEHOLDER_0__. “I can hardly remember a time I've slept since the moment they were killed,

Baleful were my threats,   |   now I bid thee recall them;

Baleful were my threats,   |   now I ask you to remember them;

Thou didst say it was morning,—   |   too well I remember,—

You said it was morning,—   |   I remember it all too well,—

Now is evening come,   |   and this question thou askest.

Now evening has come,   |   and you're asking this question.

77. “Now both of thy sons   |   thou hast lost .  .  .

__A_TAG_PLACEHOLDER_0__. “Now you have lost both of your sons . . .

.  .  .  .  .  .  .  .   |   as thou never shouldst do;

. . . . . . . .   |   as you never should do;

The skulls of thy boys   |   thou as beer-cups didst have,

The skulls of your boys | you used as beer cups,

And the draught that I made thee   |   was mixed with their blood.

And the drink I made for you was mixed with their blood.

78. “I cut out their hearts,   |   on a spit I cooked them,

__A_TAG_PLACEHOLDER_0__. “I removed their hearts,   |   and I roasted them on a spit,

I came to thee with them,   |   and calf’s flesh I called them;

I came to you with them,   |   and I called them calf’s meat;

Alone didst thou eat them,   |   nor any didst leave, [528]

Alone did you eat them,   |   nor did you leave any, [__A_TAG_PLACEHOLDER_0__]

Thou didst greedily bite,   |   and thy teeth were busy.

You bit greedily, and your teeth were busy.

79. “Of thy sons now thou knowest;   |   few suffer more sorrow;

__A_TAG_PLACEHOLDER_0__. “You know now about your sons; | few experience more pain;

My guilt have I told,   |   fame it never shall give me.”

My guilt I have shared, | fame it will never bring me.

Atli spake:

Atli said:

80. “Grim wast thou, Guthrun,   |   in so grievous a deed,

__A_TAG_PLACEHOLDER_0__. “You were harsh, Guthrun,   |   in such a terrible act,

My draught with the blood   |   of thy boys to mingle;

My drink with the blood of your boys to mix;

Thou hast slain thine own kin,   |   most ill it beseemed thee,

You have killed your own family, | it was very wrong of you.

And little for me   |   twixt my sorrows thou leavest.”

And leave me with little between my sorrows.

Guthrun spake:

Guthrun said:

81. “Still more would I seek   |   to slay thee thyself,

__A_TAG_PLACEHOLDER_0__. “I would still aim to destroy you yourself,

Enough ill comes seldom   |   to such as thou art;

Enough bad things rarely happen to someone like you;

Thou didst folly of old,   |   such that no one shall find [529]

Thou didst foolishly in the past,   |   so that no one will discover [__A_TAG_PLACEHOLDER_0__]

In the whole world of men   |   a match for such madness.

In the entire world of men   |   no one can match such madness.

Now this that of late   |   we learned hast thou added,

Now this that we've recently learned, have you added it?

Great evil hast grasped,   |   and thine own death-feast made.”

Great evil has taken hold,   |   and your own death feast has been prepared.”

Atli spake:

Atli said:

82. “With fire shall they burn thee,   |   and first shall they stone thee,

__A_TAG_PLACEHOLDER_0__. “They will burn you with fire,   |   and first, they will stone you,

So then hast thou earned   |   what thou ever hast sought for.”

So now you have earned what you have always sought.

Guthrun spake:

Guthrun said:

“Such woes for thyself   |   shalt thou say in the morning,

“Such troubles for yourself | shall you say in the morning,

From a finer death I   |   to another light fare.”

From a better end I   |   to another light meal.”

83. Together they sat   |   and full grim were their thoughts,

__A_TAG_PLACEHOLDER_0__. Together they sat   |   and their thoughts were very serious,

Unfriendly their words,   |   and no joy either found;

Unfriendly were their words, and no joy was found either;

In Hniflung grew hatred,   |   great plans did he have,

In Hniflung, hatred grew, | he had grand plans,

To Guthrun his anger   |   against Atli was told.

To Guthrun, his anger against Atli was revealed.

[530]

[__A_TAG_PLACEHOLDER_0__]

84. To her heart came ever   |   the fate of Hogni,

__A_TAG_PLACEHOLDER_0__. She could never escape the fate of Hogni,

She told him ’twere well   |   if he vengeance should win;

She told him it would be good if he could carry out his revenge;

So was Atli slain,—   |   ’twas not slow to await,—

So Atli was killed, — | — it didn't take long to happen, —

Hogni’s son slew him,   |   and Guthrun herself.

Hogni's son killed him, and Guthrun herself.

85. Then the warrior spake,   |   as from slumber he wakened,

__A_TAG_PLACEHOLDER_0__. Then the warrior spoke,   |   as he woke from sleep,

Soon he knew for his wounds   |   would the bandage do nought:

Soon he realized that the bandage would do nothing for his wounds:

“Now the truth shalt thou say:   |   who has slain Buthli’s son?

“Now tell the truth:   |   who killed Buthli’s son?

Full sore am I smitten,   |   nor hope can I see.”

Full sore am I hit,   |   nor can I see any hope.”

Guthrun spake:

Guthrun said:

86. “Ne’er her deed from thee hides   |   the daughter of Grimhild, [531]

__A_TAG_PLACEHOLDER_0__. “Never will the daughter of Grimhild hide her actions from you, [__A_TAG_PLACEHOLDER_0__]

I own to the guilt   |   that is ending thy life,

I admit the guilt that is ending your life,

And the son of Hogni;   |   ’tis so thy wounds bleed.”

And the son of Hogni;   |   it’s true your wounds bleed.

Atli spake:

Atli said:

“To murder hast thou fared,   |   though foul it must seem;

“To kill you've come,   |   though it must seem terrible;

Ill thy friend to betray   |   who trusted thee well.

Ill your friend to betray   |   who trusted you well.

87. “Not glad went I hence   |   thy hand to seek, Guthrun,

__A_TAG_PLACEHOLDER_0__. “I didn’t leave feeling happy to look for your hand, Guthrun,

In thy widowhood famed,   |   but haughty men found thee;

In your fame as a widow, but proud men discovered you;

My belief did not lie,   |   as now we have learned;

My belief was not wrong,   |   as we've learned now;

I brought thee home hither,   |   and a host of men with us.

I brought you home here, and a lot of men with us.

88. “Most noble was all   |   when of old we journeyed,

__A_TAG_PLACEHOLDER_0__. “The most honorable was everything  |   when we traveled in the past,

Great honor did we have   |   of heroes full worthy;

Great honor was ours | of truly worthy heroes;

Of cattle had we plenty, |and greatly we prospered,

Of cattle, we had plenty, and we prospered greatly,

Mighty was our wealth,   |   and many received it.

Mighty was our wealth,   |   and many received it.

89. “To the famed one as bride-gift   |   I gave jewels fair, [532]

__A_TAG_PLACEHOLDER_0__. “To the renowned one as a wedding gift   |   I presented beautiful jewels, [__A_TAG_PLACEHOLDER_0__]

I gave thirty slaves,   |   and handmaidens seven;

I gave thirty slaves and seven handmaidens;

There was honor in such gifts,   |   yet the silver was greater.

There was respect in such gifts,   |   yet the silver was worth more.

90. “But all to thee was   |   as if nought it were worth,

__A_TAG_PLACEHOLDER_0__. “But to you, it was as if it meant nothing,”

While the land lay before thee   |   that Buthli had left me;

While the land lay before you | that Buthli had left me;

Thou in secret didst work   |   so the treasure I won not;

You worked in secret, so I didn’t win the treasure;

My mother full oft   |   to sit weeping didst make,

My mother often made you sit and cry,

No wedded joy found I   |   in fullness of heart.”

No joy in marriage did I find | in a full heart.

Guthrun spake:

Guthrun said:

91. “Thou liest now, Atli,   |   though little I heed it; [533]

__A_TAG_PLACEHOLDER_0__. “You’re lying now, Atli,   |   even though I care little about it; [__A_TAG_PLACEHOLDER_0__]

If I seldom was kindly,   |   full cruel wast thou;

If I was rarely kind, | you were completely cruel;

Ye brothers fought young,   |   quarrels brought you to battle,

You brothers fought young, | arguments brought you to battle,

And half went to hell   |   of the sons of thy house,

And half went to hell   |   of the sons of your house,

And all was destroyed   |   that should e’er have done good.

And everything that could have done good was destroyed.

92. “My two brothers and I   |   were bold in our thoughts,

__A_TAG_PLACEHOLDER_0__. “My two brothers and I were fearless in our thinking,

From the land we went forth,   |   with Sigurth we fared;

From the land we set out,   |   with Sigurth we traveled;

Full swiftly we sailed,   |   each one steering his ship,

Full swiftly we sailed, | each person steering their ship,

So our fate sought we e’er   |   till we came to the East.

So we searched for our destiny until we reached the East.

93. “First the king did we slay,   |   and the land we seized, [534]

__A_TAG_PLACEHOLDER_0__. “First, we killed the king,   |   and took over the land, [__A_TAG_PLACEHOLDER_0__]

The princes did us service,   |   for such was their fear;

The princes helped us out, | because they were so afraid;

From the forest we called   |   them we fain would have guiltless,

From the forest, we wanted them to be innocent.

And rich made we many   |   who of all were bereft.

And we made many rich, while those who had nothing were left empty-handed.

94. “Slain was the Hun-king,   |   soon happiness vanished,

__A_TAG_PLACEHOLDER_0__. “The Hun-king was killed,   |   and happiness quickly disappeared,

In her grief the widow   |   so young sat weeping;

In her grief, the young widow sat crying.

Yet worse seemed the sorrow   |   to seek Atli’s house,

Yet the sadness felt even worse when heading to Atli’s house,

A hero was my husband,   |   and hard was his loss.

A hero was my husband,   |   and his loss was tough.

95. “From the Thing thou camst never,   |   for thus have we heard,

__A_TAG_PLACEHOLDER_0__. “From the Thing you came never,   |   for that's what we've heard,

Having won in thy quarrels,   |   or warriors smitten;

Having won in your fights, or warriors defeated;

Full yielding thou wast,   |   never firm was thy will,

Full yielding you were,   |   your will was never strong,

In silence didst suffer,   |   .  .  .  .  .  .  .  .”

In silence, you suffered,   |   .  .  .  .  .  .  .  .”

Atli spake:

Atli said:

96. “Thou liest now, Guthrun,   |   but little of good [535]

96. “You're lying now, Guthrun,   |   but not much good comes from it. [__A_TAG_PLACEHOLDER_0__]

Will it bring to either,   |   for all have we lost;

Will it matter to either,   |    because we've lost everything;

But, Guthrun, yet once   |   be thou kindly of will,

But, Guthrun, please be kind and willing once more,

For the honor of both,   |   when forth I am borne.”

For the honor of both,   |   when I am carried forth.

Guthrun spake:

Guthrun said:

97. “A ship will I buy,   |   and a bright-hued coffin,

__A_TAG_PLACEHOLDER_0__. “I will buy a ship,   |   and a brightly colored coffin,

I will wax well the shroud   |   to wind round thy body,

I will carefully prepare the shroud to wrap around your body,

For all will I care   |   as if dear were we ever.”

For all I care   |   as if we were ever dear.

98. Then did Atli die,   |   and his heirs’ grief doubled;

__A_TAG_PLACEHOLDER_0__. Then Atli died,   |   and his heirs' sorrow was even greater;

The high-born one did   |   as to him she had promised;

The noblewoman did as she had promised him;

Then sought Guthrun the wise   |   to go to her death,

Then Guthrun the wise decided to go to her death,

But for days did she wait,   |   and ’twas long ere she died.

But she waited for days, and it was a long time before she died.

99. Full happy shall he be   |   who such offspring has,

99. He will be truly happy   |   to have children like that,

Or children so gallant,   |   as Gjuki begot;

Or children so brave, | as Gjuki fathered;

Forever shall live,   |   and in lands far and wide,

Forever shall live,   |   and in lands far and wide,

Their valor heroic   |   wherever men hear it.

Their heroic bravery | wherever people hear it.

[499]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[500]

[__A_TAG_PLACEHOLDER_0__]

1. Men: Atli and his advisers, with whom he planned the death of the sons of Gjuki, Gunnar and Hogni. The poet’s reference to the story as well known explains the abruptness of his introduction, without the mention of Atli’s name, and his reference to Guthrun in stanza 3 simply as “the woman” (“husfreyja,” goddess of the house).

__A_TAG_PLACEHOLDER_0__. Men: Atli and his advisors plotted the deaths of the sons of Gjuki, Gunnar and Hogni. The poet refers to the story as familiar, which accounts for the suddenness of his introduction without naming Atli, and he mentions Guthrun in stanza 3 simply as “the woman” (“husfreyja,” goddess of the house).

2. Princes: Atli, Gunnar, and Hogni. Bulwark: Atli’s slaying [501]of his wife’s brothers, who were ready to support and defend him in his greatness, was the cause of his own death.

__A_TAG_PLACEHOLDER_0__. Princes: Atli, Gunnar, and Hogni. Bulwark: Atli’s killing [__A_TAG_PLACEHOLDER_0__]of his wife’s brothers, who were prepared to support and defend him in his glory, led to his own downfall.

3. The woman: Guthrun, concerning whose marriage to Atli cf. Guthrunarkvitha II. The sea: a late and essentially Greenland variation of the geography of the Atli story. Even the Atlakvitha, perhaps half a century earlier, separates Atli’s land from that of the Gjukungs only by a forest.

__A_TAG_PLACEHOLDER_0__. The woman: Guthrun, regarding her marriage to Atli, see Guthrunarkvitha II. The sea: a later and mainly Greenland version of the geography of the Atli story. Even the Atlakvitha, which is probably written about fifty years earlier, only puts a forest between Atli’s land and that of the Gjukungs.

4. Runes: on the two versions of Guthrun’s warning, and also on the name of the messenger (here Vingi), cf. Drap Niflunga and note. Limafjord: probably the Limfjord of northern Jutland, an important point in the wars of the eleventh century. The name was derived from “Eylimafjǫrþ,” i.e., Eylimi’s fjord. The poet may really have thought that the kingdom of the Burgundians was in Jutland, or he may simply have taken a well-known name for the sake of vividness. [502]

__A_TAG_PLACEHOLDER_0__. Runes: regarding the two versions of Guthrun’s warning, and also the name of the messenger (here Vingi), see Drap Niflunga and the accompanying notes. Limafjord: likely refers to the Limfjord in northern Jutland, which was a significant location during the wars of the eleventh century. The name comes from “Eylimafjǫrþ,” meaning Eylimi’s fjord. The poet might have genuinely believed that the Burgundian kingdom was in Jutland, or he could have chosen a familiar name for clarity. [__A_TAG_PLACEHOLDER_0__]

5. Some editors assume a gap after this stanza.

__A_TAG_PLACEHOLDER_0__. Some editors think there’s a break after this stanza.

6. Some editions place this stanza between stanzas 7 and 8. Kostbera (“The Giver of Food”) and Glaumvor (“The Merry”): presumably creations of the poet. Both: Atli’s two emissaries, Vingi and the one here unnamed (Knefröth?).

__A_TAG_PLACEHOLDER_0__. Some editions put this stanza between stanzas 7 and 8. Kostbera (“The Giver of Food”) and Glaumvor (“The Merry”): likely inventions of the poet. Both: Atli’s two messengers, Vingi and the one here unnamed (Knefröth?).

7. It is altogether probable that a stanza has been lost between stanzas 6 and 7, in which Gunnar is first invited, and replies doubtfully. Made promise: many editions emend the text to read “promised the journey.” The text of line 4 is obscure; the manuscript reads “nitti” (“refused”), which many editors have changed to “hlitti,” which means exactly the opposite.

__A_TAG_PLACEHOLDER_0__. It’s highly likely that a stanza has been lost between stanzas 6 and 7, where Gunnar is first invited and responds with uncertainty. Made promise: many editions change the text to say “promised the journey.” The text of line 4 is unclear; the manuscript says “nitti” (“refused”), which many editors have changed to “hlitti,” meaning the exact opposite.

8. No gap is indicated in the manuscript; Bugge adds (line [503]3): “Then the warriors rose,   |   and to slumber made ready.” The manuscript indicates line 4 as beginning a new stanza, and some editions make a separate stanza out of lines 1–2. Others suggest the loss of a line after line 4.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t show a gap; Bugge adds (line [__A_TAG_PLACEHOLDER_0__]3): “Then the warriors stood up, | and got ready to sleep.” The manuscript marks line 4 as the start of a new stanza, and some editions treat lines 1–2 as a separate stanza. Others propose that a line is missing after line 4.

9. The manuscript does not indicate line 1 as the beginning of a stanza; cf. note on stanza 8.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't mark line 1 as the start of a stanza; see the note on stanza 8.

10. Some editions combine this stanza with lines 1–2 of stanza 11. The manuscript indicates no gap. Grundtvig adds (line 2): “But sleep to the woman   |   so wise came little.”

__A_TAG_PLACEHOLDER_0__. Some editions combine this stanza with lines 1–2 of stanza 11. The manuscript shows no gap. Grundtvig adds (line 2): “But sleep for the woman   |   so wise meant little.”

11. Some editions make a separate stanza out of lines 1–2, or combine them with stanza 10, and combine lines 3–4 with stanza [504]12 (either lines 1–4 or 1–2). The manuscript marks line 3 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. Some editions treat lines 1–2 as a separate stanza, while others combine them with stanza 10, and combine lines 3–4 with stanza [__A_TAG_PLACEHOLDER_0__]12 (either including lines 1–4 or just 1–2). The manuscript indicates that line 3 starts a new stanza.

12. Line 5 may be spurious, or else all that is left of a lost stanza. The manuscript marks it as the beginning of a new stanza, which, as the text stands, is clearly impossible.

__A_TAG_PLACEHOLDER_0__. Line 5 might be inaccurate, or it could just be what's left of a missing stanza. The manuscript indicates it as the start of a new stanza, which, given the current text, is obviously not possible.

13. The manuscript, followed by some editions, has “Hogni spake” in the middle of line 1. Ill: the manuscript and many editions have “this.” The king: Atli.

__A_TAG_PLACEHOLDER_0__. The manuscript, along with several editions, has “Hogni spoke” in the middle of line 1. Ill: the manuscript and many editions have “this.” The king: Atli.

14. The manuscript does not indicate the speakers in this dialogue between Kostbera and Hogni (stanzas 14–19). Two lines may possibly have been lost after line 2, filling out stanza 14 and [505]making stanza 15 (then consisting of lines 3–4 of stanza 14 and lines 1–2 of stanza 15) the account of Kostbera’s first dream. The manuscript marks line 3 as beginning a new stanza. In any case, the lost lines cannot materially have altered the meaning.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify the speakers in the dialogue between Kostbera and Hogni (stanzas 14–19). It's possible that two lines were lost after line 2, which would complete stanza 14 and [__A_TAG_PLACEHOLDER_0__] make stanza 15 (originally made up of lines 3–4 of stanza 14 and lines 1–2 of stanza 15) the account of Kostbera's first dream. The manuscript indicates that line 3 starts a new stanza. Regardless, the missing lines likely didn't change the meaning in a significant way.

15. Saw I: the manuscript here, as also in stanzas 16, 18, 21, 22, and 24, has “methought,” which involves a metrical error. Some editors regard lines 3–4 as the remains of a four-line stanza. Regarding Kostbera’s warning dreams, and Hogni’s matter-of-fact interpretations of them, cf. Guthrunarkvitha II, 39–44.

__A_TAG_PLACEHOLDER_0__. I saw: the manuscript here, as well as in stanzas 16, 18, 21, 22, and 24, has “I thought,” which creates a metrical error. Some editors believe lines 3–4 are the remnants of a four-line stanza. For Kostbera’s prophetic dreams and Hogni’s straightforward interpretations of them, see Guthrunarkvitha II, 39–44.

16. The meaning of the first half of line 3 in the original is obscure. [506]

__A_TAG_PLACEHOLDER_0__. The meaning of the first half of line 3 in the original is unclear. [__A_TAG_PLACEHOLDER_0__]

17. Two lines may have been lost after line 2, but the Volsungasaga paraphrase gives no clue. Ice-bear: polar bears, common in Greenland, are very rarely found in Iceland, and never in Norway, a fact which substantiates the manuscript’s reference to Greenland as the home of the poem.

__A_TAG_PLACEHOLDER_0__. Two lines might have been lost after line 2, but the Volsungasaga summary doesn’t provide any hints. Ice-bear: polar bears, which are common in Greenland, are very rarely seen in Iceland and never in Norway, a detail that supports the manuscript’s mention of Greenland as the poem's origin.

18. The manuscript indicates no gap, but most editors assume the loss of a line after line 1 or 2; Grundtvig adds, after line 1: “Black were his feathers,   |   with blood was he covered.” Atli’s spirit: the poet’s folk-lore seems here a bit weak. Presumably he means such a female following-spirit (“fylgja”) as appears in Helgakvitha Hjorvarthssonar, prose following stanza 34 (cf. note thereon), but the word he uses, “hamr” (masculine) means “skin,” “shape.” He may, however, imply that Atli had assumed the shape of an eagle for this occasion.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no gaps, but most editors think there’s a missing line after line 1 or 2; Grundtvig adds, after line 1: “His feathers were black,   |   he was covered in blood.” Atli’s spirit: the poet’s folklore seems a bit weak here. He probably means a female following spirit (“fylgja”) like the one that appears in Helgakvitha Hjorvarthssonar, right after stanza 34 (see the note on that), but the word he uses, “hamr” (masculine), means “skin” or “shape.” However, he might imply that Atli took on the shape of an eagle for this event.

19. The manuscript indicates line 4 as beginning a new stanza. [507]

__A_TAG_PLACEHOLDER_0__. The manuscript shows that line 4 starts a new stanza. [__A_TAG_PLACEHOLDER_0__]

20. The manuscript indicates no gap, but none of the many attempted emendations have made sense out of the words as they stand. The proper location for the missing words is sheer guesswork. Two roads: probably the meaning is that their way (i.e., their success) would be doubtful.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no breaks, but none of the numerous corrections suggested have clarified the words as they are. The right place for the missing words is purely speculative. Two roads: likely, this means that their path (i.e., their success) would be uncertain.

21. The manuscript does not indicate the speakers in this dialogue (stanzas 21–26). No gap is indicated after line 2. Most editors assume the loss of two lines or of a full stanza after [508]stanza 21 giving Gunnar’s interpretation of Glaumvor’s dream, but the Volsungasaga gives no clue, as it does not mention this first dream at all. Grundtvig suggests as Gunnar’s answer: “Banners are gleaming,   |   since of gallows didst dream, / And wealth it must mean   |   that thou serpents didst watch.” Gods’ doom: an odd, and apparently mistaken, use of the phrase “ragna rök” (cf. Voluspo, introductory note).

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking in this dialogue (stanzas 21–26). There’s no gap indicated after line 2. Most editors think that two lines or a whole stanza is missing after [__A_TAG_PLACEHOLDER_0__]stanza 21, which presents Gunnar’s take on Glaumvor’s dream, but the Volsungasaga doesn't provide any hints since it doesn’t mention this first dream at all. Grundtvig suggests Gunnar’s response: “Banners are gleaming,   |   since of gallows didst dream, / And wealth it must mean   |   that thou serpents didst watch.” Gods’ doom: an unusual, and seemingly incorrect, use of the phrase “ragna rök” (see Voluspo, introductory note).

23. Perhaps two lines have been lost after line 2. Possibly the concluding phrase of line 2 should be “bloody spears,” as in the Volsungasaga paraphrase.

__A_TAG_PLACEHOLDER_0__. Maybe two lines have been lost after line 2. The last part of line 2 might be “bloody spears,” like in the Volsungasaga paraphrase.

24. Again Gunnar’s interpretation is missing, and most editors either assume a gap or construct two Malahattr lines out of the Volsungasaga prose paraphrase, which runs: “The grain shall [509]flow, since thou hast dreamed of rivers, and when we go to the fields, often the chaff rises above our feet.”

__A_TAG_PLACEHOLDER_0__. Once again, Gunnar's interpretation is absent, and most editors either assume there’s a gap or create two lines of Malahattr based on the prose summary from the Volsungasaga, which states: “The grain shall [__A_TAG_PLACEHOLDER_0__]flow, since you’ve dreamed of rivers, and when we head out to the fields, often the chaff lifts above our feet.”

25. The meaning of line 4 is uncertain, but apparently it refers to the guardian spirits or lesser Norns (cf. Fafnismol, 12–13 and notes).

__A_TAG_PLACEHOLDER_0__. The meaning of line 4 is unclear, but it seems to reference the guardian spirits or minor Norns (see Fafnismol, 12–13 and notes).

26. Possibly a line has been lost from this stanza.

__A_TAG_PLACEHOLDER_0__. It's possible that a line has been lost from this stanza.

27. Five: Gunnar, Hogni, and the three mentioned in stanza 28.

__A_TAG_PLACEHOLDER_0__. Five: Gunnar, Hogni, and the three mentioned in stanza 28.

28. Perhaps a line has been lost before line 1; Grundtvig supplies: “Gunnar and Hogni,   |   the heirs twain of Gjuki.” Snævar (the manuscript here has “Snevar”), Solar and Orkning [510]appear only in this poem and in the prose narratives based on it. Lines 2–3 may have been expanded out of one line, or possibly line 3 is spurious. The manuscript indicates line 4 as beginning a new stanza, and many editions make a separate stanza out of lines 4–5, many of them assuming the loss of two lines. Shield-tree: warrior (Orkning), here identified as Kostbera’s brother. Fair-decked ones: women, i.e., Glaumvor and Kostbera. Fjord: perhaps specifically the Limafjord mentioned in stanza 4.

__A_TAG_PLACEHOLDER_0__. Maybe a line was lost before line 1; Grundtvig suggests: “Gunnar and Hogni, the two heirs of Gjuki.” Snævar (the manuscript has “Snevar” here), Solar, and Orkning [__A_TAG_PLACEHOLDER_0__] appear only in this poem and in the prose stories based on it. Lines 2–3 may have been extended from one line, or it’s possible that line 3 is not original. The manuscript shows line 4 as starting a new stanza, and many editions make lines 4–5 a separate stanza, assuming two lines are missing. Shield-tree: warrior (Orkning), identified here as Kostbera’s brother. Fair-decked ones: women, namely Glaumvor and Kostbera. Fjord: possibly specifically the Limafjord mentioned in stanza 4.

30. The manuscript indicates no gap. Grundtvig inserts (line 2): “The evil was clear   |   when his words he uttered.”

__A_TAG_PLACEHOLDER_0__. The manuscript shows no gaps. Grundtvig adds (line 2): “The evil was clear   |   when he spoke his words.”

31. Bera: Kostbera; the first element in compound feminine [511]proper names was not infrequently omitted; cf. Hild for Brynhild (Helreith Brynhildar, 6). The manuscript indicates no gap; Grundtvig inserts (line 2): “And clear was her cry   |   to her kinsmen dear.”

__A_TAG_PLACEHOLDER_0__. Bera: Kostbera; in compound feminine [__A_TAG_PLACEHOLDER_0__]names, the first part was often left out; see Hild for Brynhild (Helreith Brynhildar, 6). The manuscript doesn’t show any gap; Grundtvig adds (line 2): “And clear was her cry   |   to her dear relatives.”

32. Hogni’s method of cheering his wife and sister-in-law is somewhat unusual, for the meaning of lines 3–4 is that good wishes and blessings are of little use in warding off danger.

__A_TAG_PLACEHOLDER_0__. Hogni’s way of comforting his wife and sister-in-law is pretty unconventional, because lines 3–4 suggest that good wishes and blessings don’t really help in keeping danger at bay.

33. Perhaps two lines have been lost after line 2; Grundtvig supplies: “Then weeping did Glaumvor   |   go to her rest-bed, / And sadly did Bera   |   her spinning wheel seek.”

__A_TAG_PLACEHOLDER_0__. Maybe two lines are missing after line 2; Grundtvig suggests: “Then, crying, Glaumvor went to her bed, / And sadly, Bera looked for her spinning wheel.”

34. Keel, etc.: in the Nibelungenlied, and presumably in the older German tradition, Hagene breaks his oar steering the Burgundians across the Danube (stanza 1564), and, after all have landed, splinters the boat (stanza 1581) in order that there may be no retreating. The poet here seems to have confused the story, [512]connecting the breaking of the ship’s keel with the violence of the rowing, but echoing the older legend in the last line, wherein the ship is allowed to drift away after the travellers have landed. Oar-loops: the thongs by which the oars in a Norse boat were made fast to the thole-pins, the combination taking the place of the modern oarlock.

__A_TAG_PLACEHOLDER_0__. Keel, etc.: in the Nibelungenlied, and likely in the earlier German tradition, Hagene breaks his oar while steering the Burgundians across the Danube (stanza 1564), and once everyone has disembarked, he splinters the boat (stanza 1581) to prevent any chance of retreat. The poet seems to mix up the story here, [__A_TAG_PLACEHOLDER_0__] linking the breaking of the ship's keel with the rough rowing, but still reflecting the older legend in the last line, where the ship is left to drift away after the travelers have landed. Oar-loops: the straps that secured the oars in a Norse boat to the thole-pins, this setup serving as a substitute for the modern oarlock.

35. The manuscript indicates line 4 as beginning a new stanza, and many editions combine it with stanza 36, some of them assuming the loss of a line from stanza 35. In the Volsungasaga paraphrase the second half of line 4 is made a part of Vingi’s speech: “Better had ye left this undone.”

__A_TAG_PLACEHOLDER_0__. The manuscript shows that line 4 starts a new stanza, and many versions merge it with stanza 36, with some suggesting that a line from stanza 35 is missing. In the Volsungasaga paraphrase, the second half of line 4 is included as part of Vingi’s speech: “You would have been better off not doing this.”

36. Cf. note on preceding stanza; the manuscript does not indicate line 1 as beginning a stanza. Line 3 may be spurious.

__A_TAG_PLACEHOLDER_0__. See the note on the previous stanza; the manuscript doesn’t mark line 1 as the start of a stanza. Line 3 might be an addition.

37. In the Volsungasaga paraphrase the second half of line 1 and the first half of line 2 are included in Hogni’s speech. [513]

__A_TAG_PLACEHOLDER_0__. In the Volsungasaga, the second half of line 1 and the first half of line 2 are part of Hogni’s speech. [__A_TAG_PLACEHOLDER_0__]

38. Possibly two lines have been lost after line 2.

__A_TAG_PLACEHOLDER_0__. It looks like two lines might be missing after line 2.

39. It is probable that a considerable passage has been lost between stanzas 39 and 40, for the Volsungasaga paraphrase includes a dialogue at this point. The manuscript indicates no gap, and most editions combine stanzas 39 and 40 as a single stanza. The prose passage, indicating the substance of what, if anything, is lost, runs as follows: “ ‘Be welcome among us, and give me that store of gold which is ours by right, the gold that Sigurth had, and that now belongs to Guthrun.’ Gunnar said: ‘Never shalt thou get that gold, and men of might shalt thou find here, ere we give up our lives, if it is battle thou dost offer us; in truth it seems that thou hast prepared this feast in kingly fashion, [514]and with little grudging toward eagle and wolf.’ ” The demand for the treasure likewise appears in the Nibelungenlied.

__A_TAG_PLACEHOLDER_0__. It’s likely that a significant part is missing between stanzas 39 and 40, as the Volsungasaga paraphrase includes a dialogue here. The manuscript shows no gap, and most editions merge stanzas 39 and 40 into one. The prose passage, which suggests the content of what might be lost, goes like this: “ ‘Welcome to our midst, and give me the stash of gold that rightfully belongs to us, the gold that Sigurth possessed, and that now belongs to Guthrun.’ Gunnar replied: ‘You will never get that gold, and you’ll find strong warriors here before we give up our lives, if it’s battle you’re offering us; honestly, it seems you’ve organized this feast like a king, [__A_TAG_PLACEHOLDER_0__] and without much reluctance towards eagle and wolf.’ ” The request for the treasure also appears in the Nibelungenlied.

40. These two lines, which most editions combine with stanza 39, may be the first or last two of a four-line stanza. The Volsungasaga gives Atli’s speech very much as it appears here.

__A_TAG_PLACEHOLDER_0__. These two lines, which most editions group with stanza 39, might be either the first or last two lines of a four-line stanza. The Volsungasaga presents Atli’s speech nearly the same way it is seen here.

41. The manuscript does not indicate the speaker; Grundtvig adds as a first line: “Then Hogni laughed loud   |   where the slain Vingi lay.” Many editors assume the loss of a line somewhere in the stanza. Unarmed: Hogni does not see Atli’s armed followers, who are on the other side of the courtyard (stanza 39). One: Vingi.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking; Grundtvig adds a first line: “Then Hogni laughed loudly | where the dead Vingi lay.” Many editors think a line is missing somewhere in the stanza. Unarmed: Hogni doesn’t notice Atli’s armed followers, who are on the other side of the courtyard (stanza 39). One: Vingi.

42. Most editors assume the loss of one line, after either line 1 or line 3.

__A_TAG_PLACEHOLDER_0__. Most editors think that one line is missing, either after line 1 or line 3.

43. The manuscript reading of lines 1–2, involving a metrical error, is: “In the house came the word   |   of the warring without, / Loud in front of the hall   |   they heard a thrall shouting.” Some editors assume a gap of two lines after line [515]2, the missing passage giving the words of the thrall. The manuscript marks line 3 as the beginning of a stanza, and many editions make a separate stanza of lines 3–5, some of them assuming the loss of a line after line 3. With the stanza as here given, line 5 may well be spurious.

__A_TAG_PLACEHOLDER_0__. The manuscript reading of lines 1–2, which has a metrical mistake, is: “In the house came the word   |   of the warring outside, / Loud in front of the hall   |   they heard a servant shouting.” Some editors think there’s a gap of two lines after line [__A_TAG_PLACEHOLDER_0__]2, where the missing section would include the words of the servant. The manuscript indicates line 3 as the start of a stanza, and many editions treat lines 3–5 as a separate stanza, with some believing a line is lost after line 3. With the stanza presented here, line 5 might very well be an addition.

44. Niflungs: regarding the application of this term to the Burgundians cf. Atlakvitha, 11, and Brot, 17, and notes. The manuscript here spells the name with an initial N, as elsewhere, but in stanza 83 the son of Hogni appears with the name “Hniflung.” In consequence, some editors change the form in this stanza to “Hniflungs,” while others omit the initial H in both cases. I have followed the manuscript, though admittedly its spelling is illogical. [516]

__A_TAG_PLACEHOLDER_0__. Niflungs: regarding the use of this term for the Burgundians, see Atlakvitha, 11, and Brot, 17, and the notes. The manuscript here spells the name starting with an N, as it does elsewhere, but in stanza 83 the son of Hogni is called “Hniflung.” As a result, some editors change it in this stanza to “Hniflungs,” while others drop the initial H in both instances. I've kept the manuscript's spelling, although its choice is somewhat inconsistent. [__A_TAG_PLACEHOLDER_0__]

46. The warlike deeds of Guthrun represent an odd transformation of the German tradition. Kriemhild, although she did no actual fighting in the Nibelungenlied, was famed from early times for her cruelty and fierceness of heart, and this seems to have inspired the poet of the Atlamol to make his Guthrun into a warrior outdoing Brynhild herself. Kriemhild’s ferocity, of course, was directed against Gunther and especially Hagene, for whose slaying she rather than Etzel was responsible; here, on the other hand, Guthrun’s is devoted to the defense of her brothers.

__A_TAG_PLACEHOLDER_0__. The warrior actions of Guthrun show a strange shift in the German tradition. Kriemhild, while she didn’t actually fight in the Nibelungenlied, had been known from early times for her cruelty and fierce spirit, which seems to have influenced the poet of the Atlamol to turn Guthrun into a warrior surpassing even Brynhild. Kriemhild’s rage, of course, was aimed at Gunther and especially Hagene, whom she was responsible for killing instead of Etzel; in contrast, Guthrun’s focus is on defending her brothers.

47. Line 3 is very likely an interpolation. The manuscript marks line 4 as the beginning of a new stanza, and some editions make a separate stanza of lines 4–5. Atli’s brother: doubtless a reminiscence of the early tradition represented in the Nibelungenlied by the slaying of Etzel’s brother, Blœdelin (the historical Bleda), by Dancwart. [517]

__A_TAG_PLACEHOLDER_0__. Line 3 is probably an addition. The manuscript indicates that line 4 starts a new stanza, and some editions treat lines 4–5 as a separate stanza. Atli’s brother: this likely reflects the early tradition shown in the Nibelungenlied, where Dancwart kills Etzel’s brother, Blœdelin (the historical Bleda). [__A_TAG_PLACEHOLDER_0__]

48. Line 3 may well be spurious, for it implies that Gunnar and Hogni were killed in battle, whereas they were taken prisoners. Some editors, in an effort to smooth out the inconsistency, change “themselves” in this line to “sound.” Line 5 has also been questioned as possibly interpolated. Niflungs: on the spelling of this name in the manuscript and the various editions cf. note on stanza 44.

__A_TAG_PLACEHOLDER_0__. Line 3 might be incorrect because it suggests that Gunnar and Hogni died in battle, when in fact they were captured. Some editors try to fix this inconsistency by changing “themselves” in this line to “sound.” Line 5 has also been debated as potentially added later. Niflungs: for the spelling of this name in the manuscript and different editions, see the note on stanza 44.

49. Line 2 is probably an interpolation, and the original apparently lacks a word. There is some obscurity as to the exact meaning of lines 4–5. The two sons of Bera: Snævar and Solar; her brother is Orkning; cf. stanza 28.

__A_TAG_PLACEHOLDER_0__. Line 2 is likely an addition, and the original seems to be missing a word. There is some confusion about the exact meaning of lines 4–5. The two sons of Bera: Snævar and Solar; her brother is Orkning; see stanza 28.

50. The warrior: Atli. Thirty: perhaps an echo of the “thirty warriors” of Thjothrek (cf. Guthrunarkvitha III, 5). Subtracting the eighteen killed by Snævar, Solar and Orkning (stanza 49), and Vingi, killed by the whole company (stanza [518]38), we have eleven left, as Atli says, but this does not allow much for the exploits of Gunnar and Hogni, who, by this reckoning, seem to have killed nobody. The explanation probably is that lines 4–5 of stanza 49 are in bad shape.

__A_TAG_PLACEHOLDER_0__. The warrior: Atli. Thirty: maybe a reminder of the “thirty warriors” from Thjothrek (see Guthrunarkvitha III, 5). If we take away the eighteen killed by Snævar, Solar, and Orkning (stanza 49), and Vingi, who was killed by the entire group (stanza [__A_TAG_PLACEHOLDER_0__]38), we have eleven remaining, as Atli mentions, but this doesn’t leave much room for the actions of Gunnar and Hogni, who, according to this count, appear to have not killed anyone. The likely reason is that lines 4–5 of stanza 49 are in poor condition.

51. Five brothers: the Volsungasaga speaks of four (not five) sons of Buthli, but names only Atli. Regarding the death of the first two brothers cf. stanza 91 and note. The manuscript marks line 3 as beginning a stanza, and many editions combine lines 3–4 with stanza 52. Some insert lines 2–3 of stanza 52 ahead of lines 3–4 of stanza 51.

__A_TAG_PLACEHOLDER_0__. Five brothers: the Volsungasaga mentions four (not five) sons of Buthli, but only references Atli. For information on the deaths of the first two brothers, see stanza 91 and the accompanying note. The manuscript indicates that line 3 starts a stanza, and many editions merge lines 3–4 with stanza 52. Some place lines 2–3 of stanza 52 before lines 3–4 of stanza 51.

52. Possibly a line has been lost from this stanza. The manuscript marks line 3 as beginning a new stanza, which is impossible unless something has been lost. Gold: the meaning of this half line is somewhat doubtful, but apparently Atli refers to Sigurth’s treasure, which should have been his as Brynhild’s brother. Sister: Brynhild; regarding Guthrun’s indirect responsibility for Brynhild’s death cf. Gripisspo, 45 and note. [519]

__A_TAG_PLACEHOLDER_0__. It seems that a line may be missing from this stanza. The manuscript indicates that line 3 marks the beginning of a new stanza, which doesn’t make sense unless something is missing. Gold: the meaning of this half line is a bit unclear, but it appears that Atli is referring to Sigurth’s treasure, which would have rightfully belonged to him as Brynhild’s brother. Sister: Brynhild; regarding Guthrun’s indirect responsibility for Brynhild’s death, see Gripisspo, 45 and the accompanying note. [__A_TAG_PLACEHOLDER_0__]

53. The manuscript does not name the speaker. The Volsungasaga gives the speech, in somewhat altered form, to Hogni: “Why speakest thou so? Thou wast the first to break peace; thou didst take my kinswoman and starved her in a prison, and murdered her and took her wealth; that was not kinglike; and laughable does it seem to me that thou talkest of thy sorrow, and good shall I find it that all goes ill with thee.” This presumably represents the correct form of the stanza, for nowhere else is it intimated that Atli killed Guthrun’s mother, Grimhild, nor is the niece elsewhere mentioned. Some editions make a separate stanza of lines 4–5, Grundtvig adding a line after line 3 and two more after line 5. Other editors are doubtful about the authenticity of either line 3 or line 5.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t identify the speaker. The Volsungasaga gives the speech, in a slightly different form, to Hogni: “Why are you speaking like this? You were the first to break the peace; you took my relative and starved her in a prison, then killed her and took her wealth; that wasn’t fit for a king; and it’s laughable to me that you talk about your sorrow, and I hope that everything goes badly for you.” This likely represents the correct version of the stanza, since nowhere else does it suggest that Atli killed Guthrun’s mother, Grimhild, nor is the niece mentioned anywhere else. Some editions treat lines 4–5 as a separate stanza, with Grundtvig adding a line after line 3 and two more after line 5. Other editors question the authenticity of either line 3 or line 5.

54. The manuscript does not indicate the speaker. [520]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who is speaking. [__A_TAG_PLACEHOLDER_0__]

56. The text of the first half of line 3 is somewhat uncertain, but the general meaning of it is clear enough.

__A_TAG_PLACEHOLDER_0__. The wording of the first half of line 3 is a bit unclear, but the overall meaning is obvious.

57. Beiti: not elsewhere mentioned. The Atlakvitha version of this episode (stanzas 23–25) does not mention Beiti, and in the Volsungasaga the advice to cut out Hjalli’s heart instead of Hogni’s is given by an unnamed “counsellor of Atli.” In the Atlakvitha Hjalli is actually killed; the Volsungasaga combines the two versions by having Hjalli first let off at Hogni’s intercession and then seized a second time and killed, thus introducing the Atlakvitha episode of the quaking heart (stanza 24). The text of the first half of line 3 is obscure, and there are many and widely varying suggestions as to the word here rendered “sluggard.”

__A_TAG_PLACEHOLDER_0__. Beiti: not mentioned anywhere else. The Atlakvitha version of this episode (stanzas 23–25) does not include Beiti, and in the Volsungasaga, the suggestion to cut out Hjalli’s heart instead of Hogni’s comes from an unnamed “counselor of Atli.” In the Atlakvitha, Hjalli is actually killed; the Volsungasaga merges the two versions by having Hjalli initially spared at Hogni’s request and then captured again and killed, thereby introducing the Atlakvitha scene of the quaking heart (stanza 24). The text of the first half of line 3 is unclear, and there are many different interpretations regarding the word translated here as “sluggard.”

58. Some editions mark line 5 as probably interpolated. [521]

__A_TAG_PLACEHOLDER_0__. Some editions note that line 5 might have been added later. [__A_TAG_PLACEHOLDER_0__]

59. Cook: the original word is doubtful. The Volsungasaga does not paraphrase lines 3–5; the passage may be a later addition, and line 5 is almost certainly so.

__A_TAG_PLACEHOLDER_0__. Cook: the original term is uncertain. The Volsungasaga does not rephrase lines 3–5; this excerpt might be a later addition, and line 5 is almost definitely one.

61. It is probable that a stanza describing the casting of Gunnar into the serpents’ den has been lost after this stanza. Sons of day: the phrase means no more than “men.” [522]

__A_TAG_PLACEHOLDER_0__. It's likely that a stanza describing Gunnar being thrown into the serpent's den has been lost after this one. Sons of day: this phrase simply means "men." [__A_TAG_PLACEHOLDER_0__]

62. Regarding Gunnar’s harp-playing, and his death, cf. Oddrunargratr, 27–30 and notes, and Atlakvitha, 34. Toes (literally “sole-twigs”): the Volsungasaga explains that Gunnar’s hands were bound. Rafters: thus literally, and probably correctly; Gering has an ingenious but unlikely theory that the word means “harp.”

__A_TAG_PLACEHOLDER_0__. About Gunnar’s harp-playing and his death, see Oddrunargratr, 27–30 and notes, and Atlakvitha, 34. Toes (literally “sole-twigs”): the Volsungasaga explains that Gunnar’s hands were tied. Rafters: so literally, and likely correctly; Gering has a clever but unlikely theory that the word means “harp.”

63. There is some doubt as to the exact meaning of line 2. After this line two lines may have been lost; Grundtvig adds: “Few braver shall ever   |   be found on the earth, / Or loftier men   |   in the world ever live.”

__A_TAG_PLACEHOLDER_0__. There is some uncertainty about the exact meaning of line 2. It's possible that two lines were lost after this one; Grundtvig adds: “Few braver people will ever be found on earth, / Or more noble men will ever live in the world.”

64. Wise one: Guthrun. The manuscript marks line 3 as beginning a new stanza. [523]

__A_TAG_PLACEHOLDER_0__. Smart person: Guthrun. The manuscript indicates that line 3 starts a new stanza. [__A_TAG_PLACEHOLDER_0__]

65. The manuscript does not indicate the speaker.

__A_TAG_PLACEHOLDER_0__. The manuscript does not identify who is speaking.

66. The manuscript does not name the speaker. The negative in the first half of line 1 is uncertain, and most editions make the clause read “Of this guilt I can free myself.” The fairest, etc.: i.e., I have often failed to do the wise thing.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify who is speaking. The negation in the first half of line 1 is unclear, and most editions interpret the clause as “I can free myself from this guilt.” The fairest, etc.: meaning, I have often missed doing what is wise.

67. The manuscript does not indicate the speaker. Requital, etc.: it is not clear just to what Guthrun refers; perhaps she is thinking of Sigurth’s death, or possibly the poet had in mind his reference to the slaying of her mother in stanza 53. [524]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking. Requital, etc.: it’s unclear what Guthrun is referring to; she could be thinking about Sigurth’s death, or maybe the poet was referencing her mother’s murder in stanza 53. [__A_TAG_PLACEHOLDER_0__]

68. Line 5 is very probably a later addition, though some editors question line 3 instead.

__A_TAG_PLACEHOLDER_0__. Line 5 was likely added later, although some editors instead question line 3.

69. Guthrun suddenly changes her tone in order to make Atli believe that she is submissive to his will, and thus to gain time for her vengeance. Line 2 in the original is thoroughly obscure; it runs literally: “On the knee goes the fist   |   if the twigs are taken off.” Perhaps the word meaning “fist” may also have meant “tree-top,” as Gering suggests, or perhaps the line is an illogical blending of the ideas contained in lines 1 and 3.

__A_TAG_PLACEHOLDER_0__. Guthrun suddenly shifts her tone to make Atli think she’s submissive to his will, buying time for her revenge. Line 2 in the original is quite unclear; it literally says: “The fist goes on the knee | if the branches are taken off.” Maybe the word meaning “fist” could also mean “tree-top,” as Gering suggests, or possibly the line is a confusing mix of the ideas found in lines 1 and 3.

70. The manuscript indicates line 3 as the beginning of a new stanza. Two shields, etc.: i.e., Guthrun concealed her hostility (symbolized by a red shield, cf. Helgakvitha Hundingsbana I, 34) by a show of friendliness (a white shield). [525]

__A_TAG_PLACEHOLDER_0__. The manuscript marks line 3 as the start of a new stanza. Two shields, etc.: in other words, Guthrun hid her anger (represented by a red shield, see Helgakvitha Hundingsbana I, 34) behind a facade of friendliness (a white shield). [__A_TAG_PLACEHOLDER_0__]

71. Many editions make a separate stanza of lines 1–2, some of them suggesting the loss of two lines, and combine lines 3–4 with lines 1–2 of stanza 72. The manuscript marks both lines 1 and 3 as beginning stanzas.

__A_TAG_PLACEHOLDER_0__. Many editions treat lines 1–2 as a separate stanza, with some indicating that two lines might be missing, and they combine lines 3–4 with lines 1–2 of stanza 72. The manuscript indicates that both lines 1 and 3 start new stanzas.

72. The manuscript marks line 3 as beginning a new stanza; some editions make a separate stanza of lines 3–5, while others combine them with lines 1–2 of stanza 73. Line 2 in the original is clearly defective, the verb being omitted. The meaning of line 3 is uncertain; the Volsungasaga paraphrase has: “At evening she took the sons of King Atli (Erp and Eitil) where they were playing with a block of wood.” Probably the text of the line as we have it is faulty. Lines 4–5 may possibly have been expanded out of a single line, or line 5 may be spurious. [526]

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza; some versions create a separate stanza for lines 3–5, while others merge them with lines 1–2 of stanza 73. Line 2 in the original is clearly incomplete, as it’s missing a verb. The meaning of line 3 is unclear; the Volsungasaga paraphrase states: “In the evening, she took the sons of King Atli (Erp and Eitil) while they were playing with a block of wood.” It’s likely that the text of that line is incorrect. Lines 4–5 might have been expanded from a single line, or line 5 could be an addition. [__A_TAG_PLACEHOLDER_0__]

73. The manuscript does not name the speakers. It indicates line 3 as beginning a new stanza, in which it is followed by many editions. The Volsungasaga paraphrases line 4 thus: “But it is shameful for thee to do this.” Either the text of the line has been changed or the Volsungasaga compilers misunderstood it. The angry one: Atli.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't name the speakers. It marks line 3 as the start of a new stanza, followed by many editions. The Volsungasaga paraphrases line 4 like this: “But it's shameful for you to do this.” Either the text of the line has been altered or the Volsungasaga compilers misunderstood it. The angry one: Atli.

74. The manuscript indicates line 3 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript shows that line 3 starts a new stanza.

75. The manuscript does not name the speaker. [527]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't identify who is speaking. [__A_TAG_PLACEHOLDER_0__]

76. Morning: Guthrun refers to Atli’s taunt in stanza 64.

__A_TAG_PLACEHOLDER_0__. Morning: Guthrun mentions Atli’s mockery in stanza 64.

77. The manuscript indicates no gap (lines 1–2), and most editions make a single line, despite the defective meter: “Thy sons hast thou lost   |   as thou never shouldst lose them.” The second part of line 2 is in the original identical with the second half of line 3 of stanza 80, and may perhaps have been inserted here by mistake. Skulls: it is possible that line 3 was borrowed from a poem belonging to the Völund tradition (cf. Völundarkvitha, 25 and 37), and the idea doubtless came from some such source, but probably the poet inserted it in a line of his own composition to give an added touch of horror. The Volsungasaga follows the Atlamol in including this incident. [528]

__A_TAG_PLACEHOLDER_0__. The manuscript shows no gap (lines 1–2), and most editions combine them into a single line, even though the meter is off: “You’ve lost your sons as you should never lose them.” The second half of line 2 is the same as the second half of line 3 from stanza 80, and it might have been mistakenly added here. Skulls: it’s possible that line 3 was taken from a poem related to the Völund tradition (see Völundarkvitha, 25 and 37), and the idea likely originated from a similar source, but the poet probably included it in his own line for an extra touch of horror. The Volsungasaga follows the Atlamol in mentioning this incident. [__A_TAG_PLACEHOLDER_0__]

78. Some editions add lines 3–4 to stanza 79; Finnur Jonsson marks them as probably spurious.

__A_TAG_PLACEHOLDER_0__. Some editions include lines 3–4 in stanza 79; Finnur Jonsson indicates that they are likely not authentic.

79. Perhaps these two lines should form part of stanza 78, or perhaps they, rather than lines 3–4 of stanza 78, are a later addition. A gap of two lines after line 1 has also been conjectured.

__A_TAG_PLACEHOLDER_0__. Maybe these two lines should be included in stanza 78, or maybe they are a later addition instead of lines 3–4 of stanza 78. It's also been suggested that there might be a two-line gap after line 1.

80. The manuscript does not indicate the speaker.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't say who is speaking.

81. The manuscript does not indicate the speaker. Lines 1–2 may be the remains of a separate stanza; Grundtvig adds: “Thou wast foolish, Atli,   |   when wise thou didst feel, / Ever the whole   |   of thy race did I hate.” The Volsungasaga paraphrase, however, indicates no gap. Many editions make a separate stanza of lines 3–6, which, in the Volsungasaga, are paraphrased as a speech of Atli’s. Lines 5–6 may be spurious. [529]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t specify who is speaking. Lines 1–2 might be leftover from a separate stanza; Grundtvig adds: “You were foolish, Atli,   |   when you felt wise, / Always I hated the whole   |   of your race.” However, the Volsungasaga paraphrase shows no gap. Many editions treat lines 3–6 as a separate stanza, which, in the Volsungasaga, are interpreted as a speech by Atli. Lines 5–6 might not be authentic. [__A_TAG_PLACEHOLDER_0__]

82. The manuscript does not indicate the speakers. Many editions make two separate stanzas of the four lines. Another light: a fairly clear indication of the influence of Christianity; cf. Introductory Note.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who is speaking. Many versions break the four lines into two separate stanzas. Another light: a pretty clear sign of Christianity's influence; see Introductory Note.

83. The manuscript marks line 3 as the beginning of a new stanza. Hniflung: the Volsungasaga says that “Hogni had a son who was called Hniflung,” but the name appears to be nothing more than the familiar “Niflung” applied in general to the sons of Gjuki and their people. On the spelling cf. note on stanza 44. [530]This son of Hogni appears in later versions of the story. In the Thithrekssaga he is called Aldrian, and is begotten by Hogni the night before his death. Aldrian grows up and finally shuts Attila in a cave where he starves to death. The poet here has incorporated the idea, which finds no parallel in the Atlakvitha, without troubling himself to straighten out the chronology.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates line 3 as the start of a new stanza. Hniflung: the Volsungasaga states, “Hogni had a son named Hniflung,” but this name seems to just be the familiar “Niflung” generally referring to the sons of Gjuki and their people. See the note on stanza 44 for spelling. [__A_TAG_PLACEHOLDER_0__]This son of Hogni appears in later versions of the story. In the Thithrekssaga, he is called Aldrian, conceived by Hogni the night before his death. Aldrian grows up and eventually traps Attila in a cave where he starves to death. The poet has included this idea, which doesn't have a parallel in the Atlakvitha, without bothering to align the timeline.

84. Line 4 may be in Fornyrthislag, and from another poem.

__A_TAG_PLACEHOLDER_0__. Line 4 might be in Fornyrthislag and could come from a different poem.

85. The manuscript marks line 3 as beginning a new stanza. The Volsungasaga makes line 2 part of Atli’s speech.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3 starts a new stanza. The Volsungasaga includes line 2 as part of Atli’s speech.

86. The manuscript does not name the speakers. It marks line 4 as the beginning of a new stanza, and many editions follow this arrangement, in most cases making a stanza of lines 4–5 and line 1 of stanza 87. However, line 1 may well have been interpolated here from stanza 75. Grundtvig adds after line 3: “His father he avenged,   |   and his kinsmen fully.” Some editors assume the loss of one or two lines after line 5. [531]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t identify who is speaking. It indicates line 4 as the start of a new stanza, and many editions follow this structure, generally treating lines 4–5 as one stanza along with line 1 of stanza 87. However, line 1 might have been added in from stanza 75. Grundtvig includes after line 3: “His father he avenged, | and his kinsmen fully.” Some editors suggest that one or two lines may have been lost after line 5. [__A_TAG_PLACEHOLDER_0__]

87. The manuscript marks line 2 as beginning a new stanza, and some editions make a stanza out of lines 2–4 and line 1 of stanza 88.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 2 starts a new stanza, and some editions combine lines 2–4 with line 1 of stanza 88 into a single stanza.

88. The manuscript marks line 2 as the beginning of a stanza, and many editions make a stanza out of lines 2–4, or combine them with stanza 89. Some question the genuineness of line 4.

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 2 starts a stanza, and many editions create a stanza from lines 2–4 or merge them with stanza 89. Some people doubt the authenticity of line 4.

89. Many editions assume a gap of one line after line 3; [532]Grundtvig adds: “Bit-champing horses   |   and wheel-wagons bright.” Line 4 may be spurious. Greater: i.e., the silver which Atli gave Guthrun was of greater value even than the honor of receiving such royal gifts.

__A_TAG_PLACEHOLDER_0__. Many editions suggest leaving a blank line after line 3; [__A_TAG_PLACEHOLDER_0__] Grundtvig adds: “Bit-champing horses   |   and bright wheel-wagons.” Line 4 might be questionable. Greater: meaning, the silver Atli gave to Guthrun was worth more than the honor of receiving such royal gifts.

90. Some editions mark line 3 as spurious or defective. The manuscript marks line 4 as the beginning of a new stanza. The land, etc.: there is much obscurity as to the significance of this line. Some editors omit or question “me,” in which case Atli is apparently reproaching Guthrun for having incited him to fight with his brothers to win for himself the whole of Buthli’s land. In stanza 91 Guthrun denies that she was to blame for Atli’s quarrels with his brothers. The Volsungasaga reading supports this interpretation. The historical Attila did actually have his brother, Bleda, killed in order to have the sole rule. The treasure: Sigurth’s hoard, which Atli claimed as the brother of Brynhild and husband of Guthrun, Sigurth’s widow, but which Gunnar and Hogni kept for themselves, with, as Atli here charges, Guthrun’s connivance. My mother: the only other reference to Atli’s mother is in Oddrunargratr, 30, wherein she appears as the adder who stings Gunnar to death, and in the prose passages based on that stanza. [533]

__A_TAG_PLACEHOLDER_0__. Some editions label line 3 as incorrect or defective. The manuscript indicates that line 4 marks the start of a new stanza. The land, etc.: there’s a lot of confusion about the meaning of this line. Some editors leave out or question “me,” which suggests that Atli is blaming Guthrun for provoking him to fight his brothers to take control of all of Buthli’s land. In stanza 91, Guthrun denies being responsible for Atli’s conflicts with his brothers. The Volsungasaga version supports this interpretation. Historically, Attila did have his brother, Bleda, killed so he could rule alone. The treasure: Sigurth’s treasure, which Atli claimed because he was Brynhild's brother and Guthrun's husband, the widow of Sigurth, but which Gunnar and Hogni kept for themselves, with what Atli accuses here as Guthrun's secret approval. My mother: the only other mention of Atli’s mother is in Oddrunargratr, 30, where she appears as the snake that kills Gunnar, and in the prose sections based on that stanza. [__A_TAG_PLACEHOLDER_0__]

91. The manuscript does not indicate the speaker. It marks both lines 4 and 5 as beginning new stanzas, but line 5 is presumably an interpolation. The text of the second half of line 2 is obscure, and many emendations have been suggested. Ye brothers: cf. note on stanza 90. Half: i.e., two of Atli’s brothers were killed, the other two dying in the battle with Gunnar and Hogni; cf. stanza 51.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who is speaking. It indicates that both lines 4 and 5 start new stanzas, but line 5 is likely an addition. The second half of line 2 is unclear, and a lot of revisions have been proposed. You brothers: see note on stanza 90. Half: meaning, two of Atli’s brothers were killed, and the other two died in the battle with Gunnar and Hogni; see stanza 51.

92. From the land: this maritime expedition of Guthrun and her two brothers, Gunnar and Hogni (the poet seems to know nothing of her half-brother, Gotthorm), with Sigurth seems to have been a pure invention of the poet’s, inserted for the benefit of his Greenland hearers. Nothing further is reported concerning it.

__A_TAG_PLACEHOLDER_0__. From the land: this sea journey of Guthrun and her two brothers, Gunnar and Hogni (the poet doesn’t seem to know anything about her half-brother, Gotthorm), along with Sigurth, appears to be entirely made up by the poet, added for the enjoyment of his audience in Greenland. There’s no additional information provided about it.

93. The forest: i.e., men who were outlawed in the conquered land were restored to their rights—another purely Norse touch. [534]

__A_TAG_PLACEHOLDER_0__. The forest: meaning, men who were exiled in the conquered territory were given back their rights—another distinctly Norse aspect. [__A_TAG_PLACEHOLDER_0__]

94. Hun-king: Sigurth, though most illogically so called; cf. Sigurtharkvitha en skamma, 4 and note. The Volsungasaga paraphrase of line 2 is so remote as to be puzzling: “It was little to bear the name of widow.” Perhaps, however, the word “not” fell out between “was” and “little.”

__A_TAG_PLACEHOLDER_0__. Hun-king: Sigurth, although it's an oddly chosen name; see Sigurtharkvitha en skamma, 4 and note. The Volsungasaga version of line 2 is so far off that it’s confusing: “It was little to bear the name of widow.” However, perhaps the word “not” was accidentally left out between “was” and “little.”

95. Thing, etc.: here the poet makes Atli into a typical Norse land-owner, going to the “Thing,” or general law council, to settle his disputes. Even the compilers of the Volsungasaga could not accept this, and in their paraphrase changed “Thing” to “battle.” The text of the second half of line 2 is uncertain. The manuscript leaves a blank to indicate the gap in line 4; Grundtvig adds: “as beseems not a king.” [535]

__A_TAG_PLACEHOLDER_0__. Thing, etc.: here the poet depicts Atli as a typical Norse landowner who goes to the “Thing,” or general law council, to resolve his conflicts. Even the compilers of the Volsungasaga couldn't accept this and in their version changed “Thing” to “battle.” The text of the second half of line 2 is unclear. The manuscript leaves a blank to indicate the gap in line 4; Grundtvig adds: “as is not fitting for a king.” [__A_TAG_PLACEHOLDER_0__]

97. The manuscript does not indicate the speaker. Many editors assume a gap either before or after line 1. A ship: the burial of Norse chiefs in ships was of frequent occurrence, but the Greenland poet’s application of the custom to Atli is somewhat grotesque.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't specify who is speaking. Many editors think there might be a missing part either before or after line 1. A ship: it was common for Norse chiefs to be buried in ships, but the Greenland poet's use of this tradition for Atli feels a bit off.

98. Heirs, etc.: merely a stock phrase, here quite meaningless, as Atli’s heirs had all been killed. Long: cf. Guthrunarhvot, introductory prose. [536]

__A_TAG_PLACEHOLDER_0__. Heirs, etc.: just a standard phrase that doesn’t mean anything here, since Atli's heirs were all dead. Long: see Guthrunarhvot, introductory prose. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

GUTHRUNARHVOT

Guthrun’s Inciting

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The two concluding poems in the Codex Regius, the Guthrunarhvot (Guthrun’s Inciting) and the Hamthesmol (The Ballad of Hamther), belong to a narrative cycle connected with those of Sigurth, the Burgundians, and Atli (cf. Gripisspo, introductory note) by only the slenderest of threads. Of the three early historical kings who gradually assumed a dominant place in Germanic legend, Ermanarich, king of the East Goths in the middle of the fourth century, was actually the least important, even though Jordanes, the sixth century author of De Rebus Getecis, compared him to Alexander the Great. Memories of his cruelty and of his tragic death, however, persisted along with the real glories of Theoderich, a century and a half later, and of the conquests of Attila, whose lifetime approximately bridged the gap between Ermanarich’s death and Theoderich’s birth.

The two concluding poems in the Codex Regius, the Guthrunarhvot (Guthrun’s Inciting) and the Hamthesmol (The Ballad of Hamther), are part of a narrative cycle that is only loosely connected to the stories of Sigurth, the Burgundians, and Atli (see Gripisspo, introductory note). Among the three early historical kings who gradually became central figures in Germanic legend, Ermanarich, king of the East Goths in the mid-fourth century, was actually the least significant, even though Jordanes, a sixth-century writer of De Rebus Getecis, compared him to Alexander the Great. Memories of his cruelty and his tragic death lingered, alongside the genuine achievements of Theoderich, a century and a half later, and the conquests of Attila, whose life spanned the time between Ermanarich’s death and Theoderich’s birth.

Chief among the popular tales of Ermanarich’s cruelty was one concerning the death of a certain Sunilda or Sanielh, whom, according to Jordanes, he caused to be torn asunder by wild horses because of her husband’s treachery. Her brothers, Sarus and Ammius, seeking to avenge her, wounded but failed to kill Ermanarich. In this story is the root of the two Norse poems included in the Codex Regius. Sunilda easily became the wife as well as the victim of the tyrant, and, by the process of legend-blending so frequently observed, the story was connected with the more famous one of the Nibelungs by making her the daughter of Sigurth and Guthrun. To account for her brothers, a third husband had to be found for Guthrun; the Sarus and Ammius of Jordanes are obviously the Sorli and Hamther, sons of Guthrun and Jonak, of the Norse poems. The blending of the Sigurth and Ermanarich legends probably, though not certainly, took place before the story reached the North, in other words before the end of the eighth century.

Chief among the popular stories about Ermanarich’s cruelty was one about the death of a woman named Sunilda or Sanielh. According to Jordanes, he had her torn apart by wild horses because of her husband’s betrayal. Her brothers, Sarus and Ammius, sought to avenge her but managed to wound Ermanarich without killing him. This tale is the origin of the two Norse poems found in the Codex Regius. Sunilda became both the wife and victim of the tyrant, and through the common practice of merging legends, her story was linked to the more famous tale of the Nibelungs by making her the daughter of Sigurth and Guthrun. To explain her brothers, a third husband was needed for Guthrun; Sarus and Ammius from Jordanes are clearly the Sorli and Hamther, sons of Guthrun and Jonak, in the Norse poems. The merging of the Sigurth and Ermanarich legends likely, though not certainly, occurred before the story reached the North, meaning before the end of the eighth century.

Regarding the exact status of the Guthrunarhvot and the Hamthesmol there has been a great deal of discussion. That they are closely related is obvious; indeed the first parts of the two poems are nearly identical in content and occasionally so in actual diction. The annotator, in his concluding prose note, refers to [537]the second poem as the “old” ballad of Hamther, wherefore it has been assumed by some critics that the composer of the Guthrunarhvot used the Hamthesmol, approximately as it now stands, as the source of part of his material. The extant Hamthesmol, however, is almost certainly a patchwork; part of it is in Fornyrthislag (cf. Introduction), including most of the stanzas paralleled in the Guthrunarhvot, and likewise the stanza followed directly by the reference to the “old” ballad, while the rest is in Malahattr. The most reasonable theory, therefore, is that there existed an old ballad of Hamther, all in Fornyrthislag, from which the composer of the Guthrunarhvot borrowed a few stanzas as the introduction for his poem, and which the composer of the extant, or “new,” Hamthesmol likewise used, though far more clumsily.

In terms of the exact relationship between the Guthrunarhvot and the Hamthesmol, there's been a lot of debate. It's clear they're closely linked; in fact, the opening parts of the two poems are nearly identical in both content and occasionally in wording. The annotator, in his final prose note, refers to [__A_TAG_PLACEHOLDER_0__]the second poem as the “old” ballad of Hamther, leading some critics to assume that the composer of the Guthrunarhvot used the Hamthesmol, as it is now, as part of his source material. However, the existing Hamthesmol is almost certainly a mix of various elements; part of it is in Fornyrthislag (see Introduction), including most of the stanzas that parallel the Guthrunarhvot, along with the stanza that immediately follows the reference to the “old” ballad, while the rest is in Malahattr. Therefore, the most reasonable theory is that there was an old ballad of Hamther, entirely in Fornyrthislag, from which the composer of the Guthrunarhvot borrowed a few stanzas for his poem's introduction, and which the composer of the existing, or “new,” Hamthesmol also used, though in a much less skillful way.

The title “Guthrunarhvot,” which appears in the Codex Regius, really applies only to stanzas 1–8, all presumably borrowed from the “old” ballad of Hamther. The rest of the poem is simply another Guthrun lament, following the tradition exemplified by the first and second Guthrun lays; it is possible, indeed, that it is made up of fragments of two separate laments, one (stanzas 9–18) involving the story of Svanhild’s death, and the other (stanzas 19–21) coming from an otherwise lost version of the story in which Guthrun closely follows Sigurth and Brynhild in death. In any event the present title is really a misnomer; the poet, who presumably was an eleventh century Icelander, used the episode of Guthrun’s inciting her sons to vengeance for the slaying of Svanhild simply as an introduction to his main subject, the last lament of the unhappy queen.

The title “Guthrunarhvot,” found in the Codex Regius, really only refers to stanzas 1–8, which are thought to be taken from the old ballad of Hamther. The rest of the poem is just another lament by Guthrun, following the pattern set by the first and second Guthrun lays. It’s possible that it consists of parts from two different laments, one (stanzas 9–18) about Svanhild’s death and the other (stanzas 19–21) coming from a version of the story that has otherwise been lost, where Guthrun closely follows Sigurth and Brynhild in death. In any case, the current title is actually a mislabel; the poet, likely an Icelander from the eleventh century, used the incident of Guthrun urging her sons to take revenge for Svanhild’s murder simply as a way to lead into his main topic, the final lament of the sorrowful queen.

The text of the poem in Regius is by no means in good shape, and editorial emendations have been many and varied, particularly in interchanging lines between the Guthrunarhvot and the Hamthesmol. The Volsungasaga paraphrases the poem with such fidelity as to prove that it lay before the compilers of the saga approximately in its present form.

The poem's text in Regius is far from perfect, and there have been many different editorial changes, especially when switching lines between the Guthrunarhvot and the Hamthesmol. The Volsungasaga summarizes the poem so accurately that it shows that it was available to the saga's compilers in something close to its current form.

[__A_TAG_PLACEHOLDER_0__]

Guthrun went forth to the sea after she had slain Atli. She went out into the sea and fain would drown herself, but she could not sink. The waves bore her across the [538]fjord to the land of King Jonak; he took her as wife; their sons were Sorli and Erp and Hamther. There was brought up Svanhild, Sigurth’s daughter; she was married to the mighty Jormunrek. With him was Bikki, who counselled that Randver, the king’s son, should have her. This Bikki told to the king. The king had Randver hanged, and Svanhild trodden to death under horses’ feet. And when Guthrun learned this, she spake with her sons. [539]

Guthrun went out to the sea after killing Atli. She headed into the water, wanting to drown herself, but she couldn't sink. The waves carried her across the [__A_TAG_PLACEHOLDER_0__]fjord to the land of King Jonak; he took her as his wife, and they had sons named Sorli, Erp, and Hamther. Svanhild, Sigurth’s daughter, was raised there; she married the powerful Jormunrek. Bikki was with him and suggested that the king’s son, Randver, should have her. Bikki told the king this, and the king had Randver hanged and Svanhild trampled to death under horses' hooves. When Guthrun found out about this, she spoke with her sons. [__A_TAG_PLACEHOLDER_0__]

1. A word-strife I learned,   |   most woeful of all,

__A_TAG_PLACEHOLDER_0__. I learned a struggle with words, | the most painful of all,

A speech from the fullness   |   of sorrow spoken,

A speech filled with deep sorrow spoken,

When fierce of heart   |   her sons to the fight

When brave at heart | her sons to the fight

Did Guthrun whet   |   with words full grim.

Did Guthrun sharpen with words full of dread.

2. “Why sit ye idle,   |   why sleep out your lives,

__A_TAG_PLACEHOLDER_0__. “Why are you just sitting around,   |   why are you wasting your lives by sleeping?”

Why grieve ye not   |   in gladness to speak?

Why don't you speak in joy instead of sorrow?

Since Jormunrek   |   your sister young

Since Jormunrek | your sister is young

Beneath the hoofs   |   of horses hath trodden,

Beneath the hooves of horses has trodden,

(White and black   |   on the battle-way,

(White and black   |   on the battlefield,

Gray, road-wonted,   |   the steeds of the Goths.)

Gray, worn from the road,   |   the horses of the Goths.)

3. “Not like are ye   |   to Gunnar of yore,

__A_TAG_PLACEHOLDER_0__. “You’re not like Gunnar from back in the day,

Nor have ye hearts   |   such as Hogni’s was;

Nor do you have hearts like Hogni's;

Vengeance for her   |   ye soon would have

Vengeance for her   |   you would soon have

If brave ye were   |   as my brothers of old,

If you were brave like my brothers of old,

Or hard your hearts   |   as the Hunnish kings’.”

Or hard your hearts | as the Hunnish kings'.

4. Then Hamther spake,   |   the high of heart:

__A_TAG_PLACEHOLDER_0__. Then Hamther spoke,   |   the proud-hearted:

“Little the deed   |   of Hogni didst love, [540]

“Little the deed   |   of Hogni didst love, [__A_TAG_PLACEHOLDER_0__]

When Sigurth they wakened   |   from his sleep;

When they woke Sigurth from his sleep;

Thy bed-covers white   |   were red with blood

Thy bed covers white   |   were red with blood

Of thy husband, drenched   |   with gore from his heart.

Of your husband, soaked with blood from his heart.

5. “Bloody revenge   |   didst have for thy brothers,

__A_TAG_PLACEHOLDER_0__. “Bloody revenge | you had for your brothers,

Evil and sore,   |   when thy sons didst slay;

Evil and painful,   |   when your sons were killed;

Else yet might we all   |   on Jormunrek

Else yet might we all   |   on Jormunrek

Together our sister’s   |   slaying avenge.

Together we will avenge our sister's death.

6. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

__A_TAG_PLACEHOLDER_0__. “.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

The gear of the Hunnish   |   kings now give us!

The gear of the Hunnish kings is now ours!

Thou hast whetted us so   |   to the battle of swords.”

You have sharpened us for the battle of swords.

7. Laughing did Guthrun   |   go to her chamber,

__A_TAG_PLACEHOLDER_0__. Laughing, Guthrun went to her room,

The helms of the kings   |   from the cupboards she took,

The crowns of the kings   |   she took from the cabinets,

And mail-coats broad,   |   to her sons she bore them;

And she made wide mail coats for her sons;

On their horses’ backs   |   the heroes leaped.

On their horses’ backs, the heroes jumped.

8. Then Hamther spake,   |   the high of heart: [541]

__A_TAG_PLACEHOLDER_0__. Then Hamther said,   |   the proud of heart: [__A_TAG_PLACEHOLDER_0__]

“Homeward no more   |   his mother to see

“Homeward no more   |   his mother to see

Comes the spear-god, fallen   |   mid Gothic folk;

Comes the spear-god, fallen   |   among Gothic people;

One death-draught thou   |   for us all shalt drink,

One death-drink you will take for all of us,

For Svanhild then   |   and thy sons as well.”

For Svanhild then   |   and your sons too.”

9. Weeping Guthrun,   |   Gjuki’s daughter,

Crying Guthrun, | Gjuki's daughter,

Went sadly before   |   the gate to sit,

Went sadly before   |   the gate to sit,

And with tear-stained cheeks   |   to tell the tale

And with tear-stained cheeks | to tell the story

Of her mighty griefs,   |   so many in kind.

Of her deep sorrows,   |   so numerous in nature.

10. “Three home-fires knew I,   |   three hearths I knew,

10. “I knew three home fires,   |   I was familiar with three hearths,

Home was I brought   |   by husbands three;

Home was where I was taken by three husbands;

But Sigurth only   |   of all was dear,

But Sigurth was the one most beloved of all,

He whom my brothers   |   brought to his death.

He whom my brothers brought to his death.

11. “A greater sorrow   |   I saw not nor knew,

__A_TAG_PLACEHOLDER_0__. “I’ve never seen or known a greater sorrow,

Yet more it seemed   |   I must suffer yet

Yet more, it seemed, I must suffer still.

When the princes great   |   to Atli gave me.

When the great princes gave me to Atli.

12. “The brave boys I summoned   |   to secret speech;

__A_TAG_PLACEHOLDER_0__. “The courageous boys I called   |   to a private conversation;

For my woes requital   |   I might not win

For my troubles in return | I might not win

Till off the heads   |   of the Hniflungs I hewed.

Till off the heads of the Hniflungs I chopped.

[542]

[__A_TAG_PLACEHOLDER_0__]

13. “To the sea I went,   |   my heart full sore

__A_TAG_PLACEHOLDER_0__. “I went to the sea,   |   my heart heavy with pain

For the Norns, whose wrath   |   I would now escape;

For the Norns, whose anger I would now avoid;

But the lofty billows   |   bore me undrowned,

But the high waves carried me safely,

Till to land I came,   |   so I longer must live.

Till I reached the land, | so I can live no longer.

14. “Then to the bed—   |   of old was it better!—

__A_TAG_PLACEHOLDER_0__. “Then to the bed— | it was better back then!—

Of a King of the folk   |   a third time I came;

Of a King of the people   |   I came a third time;

Boys I bore   |   his heirs to be,

Boys I gave birth to | his heirs to be,

Heirs so young,   |   the sons of Jonak.

Heirs so young,   |   the sons of Jonak.

15. “But round Svanhild   |   handmaidens sat,

15. “But around Svanhild   |   sat the handmaidens,

She was dearest ever   |   of all my children;

She was my absolute favorite of all my kids;

So did Svanhild   |   seem in my hall

So did Svanhild appear in my hall.

As the ray of the sun   |   is fair to see.

As the sun's rays shine down, they are beautiful to behold.

16. “Gold I gave her   |   and garments bright,

__A_TAG_PLACEHOLDER_0__. “I gave her gold | and bright clothes,

Ere I let her go   |   to the Gothic folk;

Ere I let her go to the Gothic people;

Of my heavy woes   |   the hardest it was

Of all my heavy troubles, this was the hardest.

When Svanhild’s tresses   |   fair were trodden

When Svanhild's beautiful hair was walked on

In the mire by hoofs   |   of horses wild.

In the mud made by wild horses’ hooves.

17. “The sorest it was   |   when Sigurth mine [543]

__A_TAG_PLACEHOLDER_0__. “It hurt the most when Sigurth was mine [__A_TAG_PLACEHOLDER_0__]

On his couch, of victory   |   robbed, they killed;

On his couch, robbed of victory, they killed;

And grimmest of all   |   when to Gunnar’s heart

And saddest of all   |   when Gunnar’s heart

There crept the bright-hued   |   crawling snakes.

There moved the brightly colored crawling snakes.

18. “And keenest of all   |   when they cut the heart

__A_TAG_PLACEHOLDER_0__. “And sharpest of all   |   when they pierce the heart

From the living breast   |   of the king so brave;

From the living heart of the brave king;

Many woes I remember,   |   .  .  .  .  .  .  .  .

Many troubles I remember,   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

19. “Bridle, Sigurth,   |   thy steed so black,

__A_TAG_PLACEHOLDER_0__. “Rein in, Sigurth, | your dark horse,

Hither let run   |   thy swift-faring horse;

Hurry along   |   your fast-running horse;

Here there sits not   |   son or daughter

Here there sits neither son nor daughter

Who yet to Guthrun   |   gifts shall give.

Who still has gifts to give to Guthrun?

[544]

[__A_TAG_PLACEHOLDER_0__]

20. “Remember, Sigurth,   |   what once we said,

20. “Remember, Sigurth,   |   what we once talked about,

When together both   |   on the bed we sat,

When we were together, we sat on the bed.

That mightily thou   |   to me wouldst come

That you would come to me so strongly

From hell and I   |   from earth to thee.

From hell and I   |   from earth to you.

21. “Pile ye up, jarls,   |   the pyre of oak,

__A_TAG_PLACEHOLDER_0__. “Gather around, nobles,   |   the wooden pyre,

Make it the highest   |   a hero e’er had;

Make it the greatest | a hero ever had;

Let the fire burn   |   my grief-filled breast,

Let the fire burn   |   my grief-filled heart,

My sore-pressed heart,   |   till my sorrows melt.”

My aching heart,   |   until my sorrows fade away.”

22. May nobles all   |   less sorrow know,

__A_TAG_PLACEHOLDER_0__. May all the nobles feel less sorrow,

And less the woes   |   of women become,

And unless the troubles of women decrease,

Since the tale of this   |   lament is told.

Since the story of this | lament is shared.

[536]

[__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[538]

[__A_TAG_PLACEHOLDER_0__]

Prose. In the manuscript the prose is headed “Of Guthrun,” the title “Guthrunarhvot” preceding stanza 1. The prose introduction is used both by Snorri (Skaldskaparmal, chapter 42) and in the Volsungasaga. It would be interesting to know on what the annotator based this note, for neither Bikki nor Randver is mentioned by name in either the Guthrunarhvot or the Hamthesmol. On the prose notes in general, cf. Reginsmol, introductory note. Guthrun: on the slaying of Atli by his wife, Guthrun, Sigurth’s widow, cf. Atlamol, 83–86 and notes. Jonak: a Northern addition to the legend, introduced to account for Svanhild’s half-brothers; the name is apparently of Slavic origin. Sorli, Erp, and Hamther: Sorli and Hamther are the Sarus and Ammius of the Jordanes story (cf. introductory note). The Volsungasaga follows this note in making Erp likewise a son of Guthrun, but in the Hamthesmol he is a son of Jonak by another wife. Svanhild: cf. Sigurtharkvitha en skamma, 54 and note. Jormunrek (Ermanarich): cf. introductory note. Bikki: the Sifka or Sibicho of the Gothic legends of Ermanarich, whose evil counsel always brings trouble. Randver: in the Volsungasaga Jormunrek sends his son Randver with Bikki to seek Svanhild’s hand. On the voyage home Bikki says to Randver: “It were right for you to have so fair a wife, and not such an old man.” Randver was much pleased with this advice, “and he spake to her with gladness, and she to him.” Thus the story becomes near of kin to those of Tristan and Iseult and Paolo and Francesca. According to the Volsungasaga, Bikki told Ermanarich that a guilty love existed between his son and his young wife, and presumably the annotator here meant as much by his vague “this.” [539]

Prose. In the manuscript, the prose is titled “Of Guthrun,” with the title “Guthrunarhvot” appearing before stanza 1. This prose introduction is referenced by Snorri (Skaldskaparmal, chapter 42) and in the Volsungasaga. It would be intriguing to know the basis for the annotator's comment, as neither Bikki nor Randver is named in the Guthrunarhvot or the Hamthesmol. For general notes on the prose, see Reginsmol, introductory note. Guthrun: regarding the killing of Atli by his wife, Guthrun, who is Sigurth’s widow, see Atlamol, 83–86 and notes. Jonak: a Northern addition to the legend, introduced to explain Svanhild’s half-brothers; the name seems to have Slavic roots. Sorli, Erp, and Hamther: Sorli and Hamther correspond to the Sarus and Ammius from the Jordanes story (see introductory note). The Volsungasaga also makes Erp a son of Guthrun, but in the Hamthesmol, he is a son of Jonak with another wife. Svanhild: see Sigurtharkvitha en skamma, 54 and note. Jormunrek (Ermanarich): see introductory note. Bikki: the Sifka or Sibicho of the Gothic legends of Ermanarich, whose wicked advice always leads to trouble. Randver: in the Volsungasaga, Jormunrek sends his son Randver with Bikki to ask for Svanhild’s hand. During their journey home, Bikki tells Randver: “You should have such a beautiful wife and not an old man.” Randver is pleased with this suggestion, “and he spoke to her happily, and she to him.” Thus, the story becomes similar to those of Tristan and Iseult and Paolo and Francesca. According to the Volsungasaga, Bikki informs Ermanarich that a forbidden love exists between his son and his young wife, and presumably, the annotator meant the same with his vague reference to “this.” [__A_TAG_PLACEHOLDER_0__]

1. The poet’s introduction of himself in this stanza is a fairly certain indication of the relative lateness of the poem.

__A_TAG_PLACEHOLDER_0__. The poet introducing himself in this stanza clearly shows that the poem was written later on.

2. Idle: a guess; a word is obviously missing in the original. The manuscript marks line 5 as beginning a new stanza, and lines 5–6 may well have been inserted from another part of the “old” Hamthesmol (cf. Hamthesmol, 3).

__A_TAG_PLACEHOLDER_0__. Idle: a guess; a word is clearly missing in the original. The manuscript indicates that line 5 starts a new stanza, and lines 5–6 might have been taken from another section of the “old” Hamthesmol (see Hamthesmol, 3).

3. Gunnar and Hogni: cf. Drap Niflunga. Line 5 may be interpolated. Hunnish: here used, as often, merely as a generic term for all South Germanic peoples; the reference is to the Burgundian Gunnar and Hogni.

__A_TAG_PLACEHOLDER_0__. Gunnar and Hogni: see Drap Niflunga. Line 5 might have been added later. Hunnish: used here, as frequently, simply as a general term for all South Germanic peoples; it specifically refers to the Burgundian Gunnar and Hogni.

4. Hamther: some editions spell the name “Hamthir.” Sigurth, etc.: cf. Sigurtharkvitha en skamma, 21–24, and Brot, concluding prose. This stanza has been subjected to many conjectural rearrangements, [540]some editors adding two or three lines from the Hamthesmol.

__A_TAG_PLACEHOLDER_0__. Hamther: some editions spell the name “Hamthir.” Sigurth, etc.: see Sigurtharkvitha en skamma, 21–24, and Brot, concluding prose. This stanza has gone through many suggested rearrangements, [__A_TAG_PLACEHOLDER_0__]with some editors adding two or three lines from the Hamthesmol.

5. Bloody: a guess; a word in the original is clearly missing, and the same is true of all in line 3. Thy sons: i.e., by killing her sons Erp and Eitil (cf. Atlamol, 72–74) Guthrun deprived Hamther, Sorli, and the second Erp of valuable allies in avenging Svanhild’s death.

__A_TAG_PLACEHOLDER_0__. Bloody: a guess; a word is clearly missing from the original, and the same goes for all in line 3. Thy sons: meaning that by killing her sons Erp and Eitil (see Atlamol, 72–74), Guthrun took away valuable allies from Hamther, Sorli, and the second Erp in their quest to avenge Svanhild’s death.

6. The manuscript indicates no gap, but most editors assume the loss of one, two or even more lines before the two here given.

__A_TAG_PLACEHOLDER_0__. The manuscript shows no break, but most editors believe that one, two, or even more lines are missing before the two provided here.

7. The manuscript indicates line 4 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. The manuscript shows that line 4 starts a new stanza.

8. Line 1, identical with line 1 of stanza 4, may be interpolated [541]here. Spear-god: warrior, i.e., Hamther himself. With this stanza the introductory hvot (“inciting”) ends, and stanza 9 introduces the lament which forms the real body of the poem.

__A_TAG_PLACEHOLDER_0__. Line 1, the same as line 1 of stanza 4, can be inserted [__A_TAG_PLACEHOLDER_0__]here. Spear-god: warrior, meaning Hamther himself. This stanza concludes the introductory hvot (“inciting”), and stanza 9 begins the lament that makes up the main part of the poem.

11. Line 1 in the original is of uncertain meaning. Many editors assume the loss of a line after line 1, and some completely reconstruct line 1 on the basis of a hypothetical second line. Princes: Gunnar and Hogni.

__A_TAG_PLACEHOLDER_0__. The meaning of line 1 in the original text is unclear. Many editors think that a line is missing after line 1, and some completely rewrite line 1 based on a guess about what a second line might say. Princes: Gunnar and Hogni.

12. Some editors assume the loss of one line, or more, before line 1. Hniflungs: Erp and Eitil, the sons of Guthrun and Atli. On the application of the name Niflung (or, as later spelt, [542]Hniflung) to the descendants of Gjuki, Guthrun’s father, cf. Brot, 17, note.

__A_TAG_PLACEHOLDER_0__. Some editors believe that one line, or possibly more, is missing before line 1. Hniflungs: Erp and Eitil, the sons of Guthrun and Atli. On the use of the name Niflung (or, as it’s later spelled, [__A_TAG_PLACEHOLDER_0__]Hniflung) for the descendants of Gjuki, who is Guthrun’s father, see Brot, 17, note.

13. Norns: the fates; cf. Voluspo, 8 and note.

__A_TAG_PLACEHOLDER_0__. Norns: the fates; see Voluspo, 8 and note.

14. The manuscript omits the first half of line 4.

__A_TAG_PLACEHOLDER_0__. The manuscript leaves out the first half of line 4.

16. Some editors assume a gap of two lines after line 2, and make a separate stanza of lines 3–5; Gering adds a sixth line of his own coining, while Grundtvig inserts one between lines 3 and 4. The manuscript indicates line 5 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. Some editors think there should be a gap of two lines after line 2 and create a separate stanza for lines 3–5; Gering adds his own sixth line, while Grundtvig puts one in between lines 3 and 4. The manuscript shows that line 5 starts a new stanza.

17. The manuscript does not indicate line 1 as beginning a stanza (cf. note on stanza 16). Stanzas 17 and 18 are very likely [543]later interpolations, although the compilers of the Volsungasaga knew them as they stand here. The whole passage depends on the shades of difference in the meanings of the various superlatives: harþastr, “hardest”; sárastr, “sorest”; grimmastr, “grimmest,” and hvassastr, “keenest.” Snakes: cf. Drap Niflunga.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t mark line 1 as the start of a stanza (see note on stanza 16). Stanzas 17 and 18 are probably [__A_TAG_PLACEHOLDER_0__]later additions, although the compilers of the Volsungasaga were familiar with them as they appear here. The entire passage relies on the subtle differences in the meanings of the various superlatives: harþastr, “hardest”; sárastr, “most painful”; grimmastr, “most fierce,” and hvassastr, “sharpest.” Snakes: see Drap Niflunga.

18. The king: Hogni; cf. Atlakvitha, 25. The manuscript marks line 3 as beginning a new stanza. Most editors agree that there is a more or less extensive gap after stanza 18, and some of them contend that the original ending of the poem is lost, stanzas 19–21 coming from a different poem, probably a lament closely following Sigurth’s death.

__A_TAG_PLACEHOLDER_0__. The king: Hogni; see Atlakvitha, 25. The manuscript indicates that line 3 starts a new stanza. Most editors believe there’s a significant gap after stanza 18, and some argue that the original ending of the poem is missing, with stanzas 19–21 likely coming from a different poem, probably a lament that closely follows Sigurth’s death.

19. The manuscript does not indicate line 1 as beginning a stanza, and it immediately follows the fragmentary line 3 of stanza 18. The resemblance between stanzas 19–21 and stanzas 64–69 of Sigurtharkvitha en skamma suggests that, in some otherwise lost version of the story, Guthrun, like Brynhild, sought to die soon after Sigurth’s death. Thy steed: Guthrun’s appeal to the dead Sigurth to ride back to earth to meet her is reminiscent of the episode related in Helgakvitha Hundingsbana II, 39–48. The promise mentioned in stanza 20 is spoken of elsewhere only in the Volsungasaga paraphrase of this passage. [544]

__A_TAG_PLACEHOLDER_0__. The manuscript doesn't show line 1 as starting a stanza, and it directly follows the incomplete line 3 of stanza 18. The similarity between stanzas 19–21 and stanzas 64–69 of Sigurtharkvitha en skamma suggests that, in some otherwise missing version of the story, Guthrun, like Brynhild, wanted to die shortly after Sigurth’s death. Thy steed: Guthrun's plea to the deceased Sigurth to return to earth to see her is similar to the episode described in Helgakvitha Hundingsbana II, 39–48. The promise mentioned in stanza 20 is referred to elsewhere only in the Volsungasaga adaptation of this passage. [__A_TAG_PLACEHOLDER_0__]

21. Perhaps something has been lost between stanzas 20 and 21, or possibly stanza 21, while belonging originally to the same poem as stanzas 19 and 20, did not directly follow them. Sore-pressed: a guess; a word seems to have been omitted in the original.

__A_TAG_PLACEHOLDER_0__. Maybe something was lost between stanzas 20 and 21, or perhaps stanza 21, while originally part of the same poem as stanzas 19 and 20, didn't come directly after them. Sore-pressed: a guess; it looks like a word was left out in the original.

22. Words of the poet’s, like stanza 1, and perhaps constituting a later addition. Many editors assume the loss of a line after line 3. The meaning, of course, is that the poet hopes the story of Guthrun’s woes will make all other troubles seem light by comparison. [545]

__A_TAG_PLACEHOLDER_0__. The poet's words, similar to stanza 1, might be a later addition. Many editors believe that a line is missing after line 3. The idea, of course, is that the poet wishes Guthrun's suffering will make all other troubles feel minor in comparison. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

HAMTHESMOL

The Ballad of Hamther

[__A_TAG_PLACEHOLDER_0__]

Intro Note

The Hamthesmol, the concluding poem in the Codex Regius, is on the whole the worst preserved of all the poems in the collection. The origin of the story, the relation of the Hamthesmol to the Guthrunarhvot, and of both poems to the hypothetical “old” Hamthesmol, are outlined in the introductory note to the Guthrunarhvot. The Hamthesmol as we have it is certainly not the “old” poem of that name; indeed it is so pronounced a patchwork that it can hardly be regarded as a coherent poem at all. Some of the stanzas are in Fornyrthislag, some are in Malahattr, one (stanza 29) appears to be in Ljothahattr, and in many cases the words can be adapted to any known metrical form only by liberal emendation. That any one should have deliberately composed such a poem seems quite incredible, and it is far more likely that some eleventh century narrator constructed a poem about the death of Hamther and Sorli by piecing together various fragments, and possibly adding a number of Malahattr stanzas of his own.

The Hamthesmol, the final poem in the Codex Regius, is generally the worst preserved of all the poems in the collection. The background of the story, the connection between the Hamthesmol and the Guthrunarhvot, and both poems' relationship to the hypothetical “old” Hamthesmol are explained in the introductory note to the Guthrunarhvot. The version of the Hamthesmol we have is definitely not the “old” poem of that name; in fact, it’s such a mix that it’s hard to consider it a coherent poem at all. Some stanzas are in Fornyrthislag, some are in Malahattr, one (stanza 29) seems to be in Ljothahattr, and in many cases, the words can only be fitted into any known metrical form with significant changes. It seems unbelievable that anyone would have intentionally created such a poem, and it’s much more likely that some eleventh-century storyteller assembled a poem about the deaths of Hamther and Sorli by stitching together various fragments, possibly adding some of his own Malahattr stanzas.

It has been argued, and with apparently sound logic, that our extant Hamthesmol originated in Greenland, along with the Atlamol. In any case, it can hardly have been put together before the latter part of the eleventh century, although the “old” Hamthesmol undoubtedly long antedates this period. Many editors have attempted to pick out the parts of the extant poem which were borrowed from this older lay, but the condition of the text is such that it is by no means clear even what stanzas are in Fornyrthislag and what in Malahattr. Many editors, likewise, indicate gaps and omissions, but it seems doubtful whether the extant Hamthesmol ever had a really consecutive quality, its component fragments having apparently been strung together with little regard for continuity. The notes indicate some of the more important editorial suggestions, but make no attempt to cover all of them, and the metrical form of the translation is often based on mere guesswork as to the character of the original lines and stanzas. Despite the chaotic state of the text, however, the underlying narrative is reasonably clear, and the story can be followed with no great difficulty.

It has been argued, and with seemingly solid reasoning, that our existing Hamthesmol originated in Greenland, along with the Atlamol. In any case, it probably couldn't have been compiled before the late eleventh century, although the "old" Hamthesmol undoubtedly predates this time. Many editors have tried to identify the sections of the existing poem that were taken from this older lay, but the condition of the text is such that it's not at all clear which stanzas are in Fornyrthislag and which are in Malahattr. Many editors also point out gaps and omissions, but it's uncertain whether the existing Hamthesmol ever had a truly cohesive quality, as its various fragments seem to have been assembled with little concern for continuity. The notes highlight some of the more significant editorial suggestions, but don't attempt to cover all of them, and the metrical form of the translation is often based on mere guesses about the nature of the original lines and stanzas. Despite the disorganized state of the text, however, the underlying narrative is fairly clear, and the story can be followed without much difficulty.

[__A_TAG_PLACEHOLDER_0__]

[546]

[__A_TAG_PLACEHOLDER_0__]

1. Great the evils   |   once that grew,

__A_TAG_PLACEHOLDER_0__. The terrible things that once happened,

With the dawning sad   |   of the sorrow of elves;

With the arrival of the elves' sadness;

In early morn   |   awake for men

In the early morning | awake for men

The evils that grief   |   to each shall bring.

The harms that grief brings to everyone.

2. Not now, nor yet   |   of yesterday was it,

__A_TAG_PLACEHOLDER_0__. Not now, and not even yesterday was it,

Long the time   |   that since hath lapsed,

Long the time | that since hath lapsed,

So that little there is   |   that is half as old,

So that little bit there is   |   that's half as old,

Since Guthrun, daughter   |   of Gjuki, whetted

Since Guthrun, daughter of Gjuki, sharpened

Her sons so young   |   to Svanhild’s vengeance.

Her sons are too young for Svanhild’s revenge.

3. “The sister ye had   |   was Svanhild called,

__A_TAG_PLACEHOLDER_0__. “Your sister’s name was Svanhild,

And her did Jormunrek   |   trample with horses,

And he trampled her with horses,

White and black   |   on the battle-way,

White and black | on the battlefield,

Gray, road-wonted,   |   the steeds of the Goths.

Gray, used to the road,   |   the horses of the Goths.

4. “Little the kings   |   of the folk are ye like,

__A_TAG_PLACEHOLDER_0__. “You kings are not at all like the common people,”

For now ye are living   |   alone of my race.

For now you are living | alone of my kind.

[547]

[__A_TAG_PLACEHOLDER_0__]

5. “Lonely am I   |   as the forest aspen,

__A_TAG_PLACEHOLDER_0__. “I am so lonely   |   like the aspen in the forest,

Of kindred bare   |   as the fir of its boughs,

Of close ties, like the fir tree with its branches,

My joys are all lost   |   as the leaves of the tree

My joys are all gone   |   like the leaves on the tree

When the scather of twigs   |   from the warm day turns.”

When the twig gatherer   |   from the warm day returns.

6. Then Hamther spake forth,   |   the high of heart:

__A_TAG_PLACEHOLDER_0__. Then Hamther spoke,   |   feeling bold:

“Small praise didst thou, Guthrun,   |   to Hogni’s deed give

“Small praise did you, Guthrun,   |   give to Hogni’s deed.

When they wakened thy Sigurth   |   from out of his sleep,

When they woke Sigurth from his sleep,

Thou didst sit on the bed   |   while his slayers laughed.

You sat on the bed   |   while his killers laughed.

7. “Thy bed-covers white   |   with blood were red

__A_TAG_PLACEHOLDER_0__. “Your white bedcovers were stained red with blood.

From his wounds, and with gore   |   of thy husband were wet; [548]

From his injuries, and with the blood of your husband were wet; [__A_TAG_PLACEHOLDER_0__]

So Sigurth was slain,   |   by his corpse didst thou sit,

So Sigurth was killed,   |   by his body did you sit,

And of gladness didst think not:   |   ’twas Gunnar’s doing.

And you didn't think of happiness: | it was Gunnar's doing.

8. “Thou wouldst strike at Atli   |   by the slaying of Erp

__A_TAG_PLACEHOLDER_0__. “You would attack Atli   |   by killing Erp

And the killing of Eitil;   |   thine own grief was worse;

And the death of Eitil;   |   your own sorrow was greater;

So should each one wield   |   the wound-biting sword

So each person should wield the sword that bites at wounds.

That another it slays   |   but smites not himself.”

That another it kills   |   but does not harm himself.”

9. Then did Sorli speak out,   |   for wise was he ever:

9. Then Sorli spoke up,   |   for he was always wise:

“With my mother I never   |   a quarrel will make;

“With my mother, I will never argue.”

Full little in speaking   |   methinks ye both lack;

Full little in speaking   |   I think you both lack;

What askest thou, Guthrun,   |   that will give thee no tears?

What are you asking, Guthrun, that won't make you cry?

10. “For thy brothers dost weep,   |   and thy boys so sweet,

__A_TAG_PLACEHOLDER_0__. “Your brothers are crying,   |   and your sweet boys,

Thy kinsmen in birth   |   on the battlefield slain;

Your relatives by birth   |   killed on the battlefield;

Now, Guthrun, as well   |   for us both shalt thou weep,

Now, Guthrun, you should cry for both of us.

We sit doomed on our steeds,   |   and far hence shall we die.”

We sit trapped on our horses,   |   and soon we will die far away.

[549]

[__A_TAG_PLACEHOLDER_0__]

11. Then the fame-glad one—   |   on the steps she was—

__A_TAG_PLACEHOLDER_0__. Then the one who loved fame— | on the steps she stood—

The slender-fingered,   |   spake with her son:

The slender-fingered woman spoke with her son:

“Ye shall danger have   |   if counsel ye heed not;

“You will face danger if you do not heed advice;

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

By two heroes alone   |   shall two hundred of Goths

By just two heroes   |   will two hundred Goths

Be bound or be slain   |   in the lofty-walled burg.”

Be trapped or be killed   |   in the high-walled town.”

12. From the courtyard they fared,   |   and fury they breathed;

__A_TAG_PLACEHOLDER_0__. They left the courtyard, and they were filled with anger;

The youths swiftly went   |   o’er the mountain wet,

The kids quickly went over the wet mountain,

On their Hunnish steeds,   |   death’s vengeance to have.

On their Hun horses,   |   seeking vengeance from death.

13. On the way they found   |   the man so wise; [550]

__A_TAG_PLACEHOLDER_0__. On their journey, they encountered a man of great wisdom; [__A_TAG_PLACEHOLDER_0__]

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

.  .  .  .  .  .  .  .   |   .  .  .  .  .  .  .  .

“What help from the weakling   |   brown may we have?”

“What help can we expect from the weakling brown?”

14. So answered them   |   their half-brother then:

__A_TAG_PLACEHOLDER_0__. So their half-brother answered them then:

“So well may I   |   my kinsmen aid

“So well may I | my kinsmen help

As help one foot   |   from the other has.”

As help one foot | from the other has.

15. “How may a foot   |   its fellow aid,

__A_TAG_PLACEHOLDER_0__. “How can one foot help another,

Or a flesh-grown hand   |   another help?”

Or a hand made of flesh | another kind of help?”

16. Then Erp spake forth,   |   his words were few,

__A_TAG_PLACEHOLDER_0__. Then Erp spoke up,   |   his words were brief,

As haughty he sat   |   on his horse’s back: [551]

As arrogantly he sat   |   on his horse’s back: [__A_TAG_PLACEHOLDER_0__]

“To the timid ’tis ill   |   the way to tell.”

“To the timid, it’s not a good way to speak.”

A bastard they   |   the bold one called.

A bastard they   |   the bold one called.

17. From their sheaths they drew   |   their shining swords,

__A_TAG_PLACEHOLDER_0__. They pulled their shining swords from their sheaths,

Their blades, to the giantess   |   joy to give;

Their blades, to the giantess joy to give;

By a third they lessened   |   the might that was theirs,

By a third they reduced   |   the power that belonged to them,

The fighter young   |   to earth they felled.

The young fighter | they fell to earth.

18. Their cloaks they shook,   |   their swords they sheathed,

__A_TAG_PLACEHOLDER_0__. They shook off their cloaks,   |   their swords were put away,

The high-born men   |   wrapped their mantles close.

The noblemen wrapped their cloaks tightly.

19. On their road they fared   |   and an ill way found,

__A_TAG_PLACEHOLDER_0__. They traveled on their path   |   and discovered a troubling route,

And their sister’s son   |   on a tree they saw,

And they saw their sister's son on a tree,

On the wind-cold wolf-tree   |   west of the hall,

On the chilly wolf-tree   |   west of the hall,

And cranes’-bait crawled;   |   none would care to linger.

And cranes'-bait crawled; | no one wanted to stick around.

[552]

[__A_TAG_PLACEHOLDER_0__]

20. In the hall was din,   |   the men drank deep,

__A_TAG_PLACEHOLDER_0__. The hall was noisy,   |   the men drank heavily,

And the horses’ hoofs   |   could no one hear,

And no one could hear the horses' hooves.

Till the warrior hardy   |   sounded his horn.

Till the brave warrior sounded his horn.

21. Men came and the tale   |   to Jormunrek told

__A_TAG_PLACEHOLDER_0__. Men arrived and shared the story with Jormunrek.

How warriors helmed   |   without they beheld:

How warriors led | without they saw:

“Take counsel wise,   |   for brave ones are come,

“Seek wise advice, | for the brave have arrived,

Of mighty men   |   thou the sister didst murder.”

Of mighty men | you murdered the sister.

22. Then Jormunrek laughed,   |   his hand laid on his beard,

__A_TAG_PLACEHOLDER_0__. Then Jormunrek laughed,   |   his hand resting on his beard,

His arms, for with wine   |   he was warlike, he called for;

His arms, because of the wine, he was aggressive and demanded;

He shook his brown locks,   |   on his white shield he looked,

He shook his brown hair,   |   on his white shield he gazed,

And raised high the cup   |   of gold in his hand.

And lifted the golden cup high in his hand.

23. “Happy, methinks,   |   were I to behold

__A_TAG_PLACEHOLDER_0__. “I think I’d be happy if I could see

Hamther and Sorli   |   here in my hall; [553]

Hamther and Sorli   |   here in my hall; [__A_TAG_PLACEHOLDER_0__]

The men would I bind   |   with strings of bows,

The men I would tie up with bowstrings,

And Gjuki’s heirs   |   on the gallows hang.”

And Gjuki’s heirs | hang on the gallows.”

24. In the hall was clamor,   |   the cups were shattered,

__A_TAG_PLACEHOLDER_0__. In the hall was noise,   |   the cups were broken,

Men stood in blood   |   from the breasts of the Goths.

Men stood in blood from the chests of the Goths.

25. Then did Hamther speak forth,   |   the haughty of heart:

__A_TAG_PLACEHOLDER_0__. Then Hamther spoke up,   |   the proud at heart:

“Thou soughtest, Jormunrek,   |   us to see,

“ You wanted, Jormunrek,   |   us to see,

Sons of one mother   |   seeking thy dwelling;

Sons of one mother   |   looking for your home;

Thou seest thy hands,   |   thy feet thou beholdest,

You see your hands,   |   you see your feet,

Jormunrek, flung   |   in the fire so hot.”

Jormunrek, thrown in the fire so hot.

26. Then roared the king,   |   of the race of the gods,

__A_TAG_PLACEHOLDER_0__. Then the king, descended from the gods, roared, |

Bold in his armor,   |   as roars a bear:

Bold in his armor,   |   as roars a bear:

“Stone ye the men   |   that steel will bite not,

“Stone the men   |   that steel will not bite,

Sword nor spear,   |   the sons of Jonak.”

Sword or spear,   |   the sons of Jonak.”

[554]

[__A_TAG_PLACEHOLDER_0__]

Sorli spake:

Sorli said

27. “Ill didst win, brother,   |   when the bag thou didst open,

__A_TAG_PLACEHOLDER_0__. “You didn't win well, brother,   |   when you opened the bag,

Oft from that bag   |   came baleful counsel;

Often from that bag came harmful advice;

Heart hast thou, Hamther,   |   if knowledge thou hadst!

Heart you have, Hamther,   |   if only you had knowledge!

A man without wisdom   |   is lacking in much.”

A man without wisdom is missing a lot.

Hamther spake:

Hamther said:

28. “His head were now off   |   if Erp were living,

__A_TAG_PLACEHOLDER_0__. “His head would be gone now if Erp were alive,

The brother so keen   |   whom we killed on our road,

The brother we were so eager to confront | whom we ended up killing on our way,

The warrior noble,—   |   ’twas the Norns that drove me

The noble warrior, — it was the Norns that pushed me.

The hero to slay   |   who in fight should be holy.

The hero to defeat   |   who should be righteous in battle.

29. “In fashion of wolves   |   it befits us not

__A_TAG_PLACEHOLDER_0__. “Like wolves, it doesn’t suit us."

Amongst ourselves to strive, [555]

Among ourselves to strive, [__A_TAG_PLACEHOLDER_0__]

Like the hounds of the Norns,   |   that nourished were

Like the hounds of the Norns, | that were nourished

In greed mid wastes so grim.

In greed among such bleak wastelands.

30. “We have greatly fought,   |   o’er the Goths do we stand

__A_TAG_PLACEHOLDER_0__. “We’ve fought hard,   |   we hold our ground against the Goths.

By our blades laid low,   |   like eagles on branches;

By our blades brought low,   |   like eagles on branches;

Great our fame though we die   |   today or tomorrow;

Great our fame though we die today or tomorrow;

None outlives the night   |   when the Norns have spoken.”

None survives the night   |   when the Norns have spoken.”

31. Then Sorli beside   |   the gable sank,

__A_TAG_PLACEHOLDER_0__. Then Sorli beside   |   the gable fell down,

And Hamther fell   |   at the back of the house.

And Hamther fell at the back of the house.

This is called the old ballad of Hamther. [545]

This is known as the old ballad of Hamther. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

NOTES

[546]

[__A_TAG_PLACEHOLDER_0__]

1. This stanza looks like a later interpolation from a totally unrelated source. Sorrow of elves: the sun; cf. Alvissmol, 16 and note.

__A_TAG_PLACEHOLDER_0__. This stanza seems to be a later addition from a completely unrelated source. Sorrow of elves: the sun; see Alvissmol, 16 and note.

2. Some editors regard lines 1–2 as interpolated, while others question line 3. Guthrun, etc.: regarding the marriage of Jonak and Guthrun (daughter of Gjuki, sister of Gunnar and Hogni, and widow first of Sigurth and then of Atli), and the sons of this marriage, Hamther and Sorli (but not Erp), cf. Guthrunarhvot, introductory prose and note.

__A_TAG_PLACEHOLDER_0__. Some editors see lines 1–2 as added later, while others have doubts about line 3. Guthrun, etc.: concerning the marriage between Jonak and Guthrun (daughter of Gjuki, sister of Gunnar and Hogni, and widow first of Sigurth and then of Atli), and their sons, Hamther and Sorli (but not Erp), see Guthrunarhvot, introductory prose and note.

3. Svanhild and Jormunrek: regarding the manner in which Jormunrek (Ermanarich) married Svanhild, daughter of Sigurth and Guthrun, and afterwards had her trodden to death by horses, cf. Guthrunarhvot, introductory note. Lines 3–4 are identical with lines 5–6 of Guthrunarhvot, 2.

__A_TAG_PLACEHOLDER_0__. Svanhild and Jormunrek: about how Jormunrek (Ermanarich) married Svanhild, the daughter of Sigurth and Guthrun, and then had her trampled to death by horses, see Guthrunarhvot, introductory note. Lines 3–4 are the same as lines 5–6 of Guthrunarhvot, 2.

4. These two lines may be all that is left of a four-line stanza. [547]The manuscript and many editions combine them with stanza 5, while a few place them after stanza 5 as a separate stanza, reversing the order of the two lines. Kings of the folk: Guthrun’s brothers, Gunnar and Hogni, slain by Atli.

__A_TAG_PLACEHOLDER_0__. These two lines might be all that remains of a four-line stanza. [__A_TAG_PLACEHOLDER_0__] The manuscript and many editions merge them with stanza 5, while a few put them after stanza 5 as a separate stanza, changing the order of the two lines. Kings of the folk: Guthrun’s brothers, Gunnar and Hogni, killed by Atli.

5. Cf. note on stanza 4; the manuscript does not indicate line 1 as beginning a stanza. Scather of twigs: poetic circumlocution for the wind (cf. Skaldskaparmal, chapter 27), though some editors think the phrase here means the sun. Some editors assume a more or less extensive gap between stanzas 5 and 6.

__A_TAG_PLACEHOLDER_0__. See the note on stanza 4; the manuscript doesn't mark line 1 as the start of a stanza. Scather of twigs: a poetic way to refer to the wind (see Skaldskaparmal, chapter 27), although some editors believe this phrase refers to the sun. A few editors think there might be a significant gap between stanzas 5 and 6.

6. Lines 1–3 are nearly identical with lines 1–3 of Guthrunarhvot, 4. On the death of Sigurth cf. Sigurtharkvitha en skamma, 21–24, and Brot, concluding prose. The word thy in line 3 is omitted in the original.

__A_TAG_PLACEHOLDER_0__. Lines 1–3 are almost the same as lines 1–3 of Guthrunarhvot, 4. For the death of Sigurth, see Sigurtharkvitha en skamma, 21–24, and Brot, concluding prose. The word thy in line 3 is left out in the original.

7. Lines 1–2 are nearly identical with lines 4–5 of Guthrunarhvot, 4. The manuscript, followed by many editions, indicates line 3 and not line 1 as beginning a stanza. [548]

__A_TAG_PLACEHOLDER_0__. Lines 1–2 are almost the same as lines 4–5 of Guthrunarhvot, 4. The manuscript, along with many editions, shows that line 3, rather than line 1, starts a stanza. [__A_TAG_PLACEHOLDER_0__]

8. Some editors regard this stanza as interpolated. Erp and Eitil: regarding Guthrun’s slaying of her sons by Atli, cf. Atlamol, 72–75. The Erp here referred to is not to be confused with the Erp, son of Jonak, who appears in stanza 13. The whole of stanza 8 is in doubtful shape, and many emendations have been suggested.

__A_TAG_PLACEHOLDER_0__. Some editors think this stanza was added later. Erp and Eitil: about Guthrun killing her sons at the hands of Atli, see Atlamol, 72–75. The Erp mentioned here is different from the Erp, son of Jonak, who appears in stanza 13. The entire stanza 8 is in questionable condition, and various revisions have been proposed.

10. Some editors assign this speech to Hamther. Brothers: Gunnar and Hogni. Boys: Erp and Eitil. [549]

__A_TAG_PLACEHOLDER_0__. Some editors attribute this speech to Hamther. Brothers: Gunnar and Hogni. Boys: Erp and Eitil. [__A_TAG_PLACEHOLDER_0__]

11. In the manuscript this stanza follows stanza 21, and some editors take the word here rendered “fame-glad one” (hróþrglǫþ) to be a proper name (Jormunrek’s mother or his concubine). The Volsungasaga, however, indicates that Guthrun at this point “had so fashioned their war-gear that iron would not bite into it, and she bade them to have nought to do with stones or other heavy things, and told them that it would be ill for them if they did not do as she said.” The substance of this counsel may well have been conveyed in a passage lost after line 3, though the manuscript indicates no gap. It is by being stoned that Hamther and Sorli are killed (stanza 26). On the other hand, the second part of line 3 may possibly mean “if silent ye are not,” in which case the advice relates to Hamther’s speech to Jormunrek and Sorli’s reproach to him thereupon (stanzas 25 and 27). Steps: the word in the original is doubtful. Line 3 is thoroughly obscure. Some editors make a separate stanza of lines 3–5, while others question line 5.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza comes after stanza 21, and some editors interpret the term "fame-glad one" (hróþrglǫþ) as a proper name (Jormunrek’s mother or his concubine). However, the Volsungasaga suggests that Guthrun at this moment “had crafted their armor so that iron wouldn't cut through it, and she instructed them to avoid stones or any heavy objects, warning them that it would be bad for them if they didn’t follow her advice.” The essence of this guidance may have been included in a section lost after line 3, even though the manuscript shows no gap. Hamther and Sorli are killed by being stoned (stanza 26). On the other hand, the second part of line 3 could possibly mean “if you remain silent,” which would connect the advice to Hamther’s speech to Jormunrek and Sorli’s subsequent criticism of him (stanzas 25 and 27). Steps: the original word is uncertain. Line 3 is quite unclear. Some editors create a separate stanza from lines 3–5, while others question line 5.

12. Many editors assume the loss of a line after line 1. In several editions lines 2–3 are placed after line 2 of stanza 18. Hunnish: the word meant little more than “German”; cf. Guthrunarhvot, 3 and note. [550]

__A_TAG_PLACEHOLDER_0__. Many editors think there’s a missing line after line 1. In several editions, lines 2-3 are placed after line 2 of stanza 18. Hunnish: the term basically meant “German”; see Guthrunarhvot, 3 and its note. [__A_TAG_PLACEHOLDER_0__]

13. In the manuscript these two lines follow stanza 16; some editors insert them in place of lines 2–3 of stanza 11. The manuscript indicates no gap. The man so wise: Erp, here represented as a son of Jonak but not of Guthrun, and hence a half-brother of Hamther and Sorli. There is nothing further to indicate whether or not he was born out of wedlock, as intimated in stanza 16. Some editors assign line 3 to Hamther, and some to Sorli.

__A_TAG_PLACEHOLDER_0__. In the manuscript, these two lines come after stanza 16; some editors put them in place of lines 2–3 of stanza 11. The manuscript shows no gap. The man so wise: Erp is represented here as a son of Jonak but not of Guthrun, making him a half-brother to Hamther and Sorli. There's no additional information to clarify whether or not he was born out of wedlock, as suggested in stanza 16. Some editors attribute line 3 to Hamther, while others attribute it to Sorli.

14. The stanza is obviously defective. Many editors add Erp’s name in line 1, and insert between lines 2 and 3 a line based on stanza 15 and the Volsungasaga paraphrase: “As a flesh-grown hand   |   another helps.” In the Volsungasaga, after Erp’s death, Hamther stumbles and saves himself from falling with his hand, whereupon he says: “Erp spake truly; I had fallen had I not braced myself with my hand.” Soon thereafter Sorli has a like experience, one foot slipping but the other saving him from a fall. “Then they said that they had done ill to Erp, their brother.”

__A_TAG_PLACEHOLDER_0__. The stanza is clearly incomplete. Many editors include Erp’s name in line 1 and add a line based on stanza 15 and the Volsungasaga paraphrase between lines 2 and 3: “As a flesh-grown hand   |   another helps.” In the Volsungasaga, after Erp’s death, Hamther stumbles and saves himself from falling with his hand, then says: “Erp spoke the truth; I would have fallen if I hadn’t steadied myself with my hand.” Shortly after, Sorli faces a similar situation, one foot slipping while the other keeps him from falling. “Then they said that they had wronged Erp, their brother.”

15. Many editions attach these two lines to stanza 14, while a few assume the loss of two lines.

__A_TAG_PLACEHOLDER_0__. Many editions link these two lines to stanza 14, while a few suggest that two lines are missing.

16. In the manuscript this stanza stands between stanzas 12 and 13. Some editors make line 4 a part of Erp’s speech. [551]

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza is placed between stanzas 12 and 13. Some editors consider line 4 to be part of Erp’s speech. [__A_TAG_PLACEHOLDER_0__]

17. The manuscript does not indicate line 1 as beginning a stanza. The giantess: presumably the reference is to Hel, goddess of the dead, but the phrase is doubtful.

__A_TAG_PLACEHOLDER_0__. The manuscript doesn’t mark line 1 as the start of a stanza. The giantess: this likely refers to Hel, the goddess of the dead, but the wording is uncertain.

18. In the manuscript these two lines are followed by stanza 19 with no indication of a break. Some editions insert here lines 2–3 of stanza 12, while others assume the loss of two or more lines.

__A_TAG_PLACEHOLDER_0__. In the manuscript, these two lines are followed directly by stanza 19 without any sign of a break. Some editions include lines 2–3 from stanza 12 here, while others suggest that two or more lines are missing.

19. Cf. note on stanza 18. Ill way: very likely the road leading through the gate of Jormunrek’s town at which Svanhild was trampled to death. Sister’s son: many editors change the text to read “stepson,” for the reference is certainly to Randver, son of Jormunrek, hanged by his father on Bikki’s advice (cf. Guthrunarhvot, introductory note). Wolf-tree: the gallows, the wolf being symbolical of outlaws. Cranes’-bait: presumably either snakes or worms, but the passage is doubtful. [552]

__A_TAG_PLACEHOLDER_0__. See note on stanza 18. Ill way: likely the road that goes through the gate of Jormunrek’s town where Svanhild was crushed to death. Sister’s son: many editors change this to “stepson,” since it clearly refers to Randver, Jormunrek’s son, who was hanged by his father on Bikki’s advice (see Guthrunarhvot, introductory note). Wolf-tree: the gallows, with the wolf symbolizing outlaws. Cranes’-bait: probably either snakes or worms, but this part is uncertain. [__A_TAG_PLACEHOLDER_0__]

20. Many editors assume the loss of a line after line 3. The warrior: presumably a warder or watchman, but the reference may be to Hamther himself.

__A_TAG_PLACEHOLDER_0__. Many editors believe a line is missing after line 3. The warrior: likely a guard or lookout, but the mention could also refer to Hamther himself.

21. The word here rendered men (line 1) is missing in the original, involving a metrical error, and various words have been suggested.

__A_TAG_PLACEHOLDER_0__. The word translated as men (line 1) is not present in the original text, which creates a metrical mistake, and different words have been proposed.

22. Line 2 in the original is thoroughly obscure; some editors directly reverse the meaning here indicated by giving the line a negative force, while others completely alter the phrase rendered “his arms he called for” into one meaning “he stroked his cheeks.”

__A_TAG_PLACEHOLDER_0__. Line 2 in the original is very unclear; some editors simply flip the meaning by giving the line a negative interpretation, while others completely change the phrase rendered “his arms he called for” to something meaning “he stroked his cheeks.”

23. Gjuki’s heirs: the original has “the well-born of Gjuki,” and some editors have changed the proper name to Guthrun, but the phrase apparently refers to Hamther and Sorli as Gjuki’s grandsons. In the manuscript this stanza is followed by stanza 11, [553]and such editors as have retained this arrangement have had to resort to varied and complex explanations to account for it.

__A_TAG_PLACEHOLDER_0__. Gjuki’s heirs: the original text refers to “the well-born of Gjuki,” and some editors have replaced the proper name with Guthrun, but the phrase seems to refer to Hamther and Sorli, who are Gjuki’s grandsons. In the manuscript, this stanza is followed by stanza 11, [__A_TAG_PLACEHOLDER_0__] and editors who have kept this arrangement have had to come up with various and complicated explanations to make sense of it.

24. Editors have made various efforts to reconstruct a four-line stanza out of these two lines, in some cases with the help of lines borrowed from the puzzling stanza 11 (cf. note on stanza 23). Line 2 in the original is doubtful.

__A_TAG_PLACEHOLDER_0__. Editors have tried different ways to create a four-line stanza from these two lines, sometimes using lines taken from the confusing stanza 11 (see note on stanza 23). Line 2 in the original is uncertain.

25. Some editors mark line 1 as an interpolation. The manuscript marks line 4 as beginning a new stanza. As in the story told by Jordanes, Hamther and Sorli succeed in wounding Jormunrek (here they cut off his hands and feet), but do not kill him.

__A_TAG_PLACEHOLDER_0__. Some editors identify line 1 as an addition. The manuscript indicates that line 4 starts a new stanza. Similar to the tale recounted by Jordanes, Hamther and Sorli manage to injure Jormunrek (here they sever his hands and feet), but they do not kill him.

26. The manuscript marks line 3, and not line 1, as beginning a stanza. Of the race of the gods: the reference here is apparently to Jormunrek, but in the Volsungasaga the advice to kill Hamther and Sorli with stones, since iron will not wound them (cf. note on stanza 11), comes from Othin, who enters the hall as an old man with one eye. [554]

__A_TAG_PLACEHOLDER_0__. The manuscript indicates that line 3, not line 1, starts a stanza. Of the race of the gods: this likely refers to Jormunrek, but in the Volsungasaga, the advice to kill Hamther and Sorli with stones—since iron won't hurt them (see note on stanza 11)—comes from Othin, who appears in the hall as an old man with one eye. [__A_TAG_PLACEHOLDER_0__]

27. In the manuscript this stanza is introduced by the same line as stanza 25: “Then did Hamther speak forth,   |   the haughty of heart,” but the speaker in this case must be Sorli and not Hamther. Some editors, however, give lines 1–2 to Hamther and lines 3–4 to Sorli. Bag: i.e., Hamther’s mouth; cf. note on stanza 11. The manuscript indicates line 3 as beginning a new stanza.

__A_TAG_PLACEHOLDER_0__. In the manuscript, this stanza starts with the same line as stanza 25: “Then Hamther spoke out, | the proud of heart,” but in this case, the speaker should be Sorli, not Hamther. Some editors, however, attribute lines 1–2 to Hamther and lines 3–4 to Sorli. Bag: i.e., Hamther’s mouth; see note on stanza 11. The manuscript shows line 3 as the start of a new stanza.

28. Most editors regard stanzas 28–30 as a speech by Hamther, but the manuscript does not indicate the speaker, and some editors assign one or two of the stanzas to Sorli. Lines 1–2 are quoted in the Volsungasaga. The manuscript does not indicate line 1 as beginning a stanza. Erp: Hamther means that while the two brothers had succeeded only in wounding Jormunrek, Erp, if he had been with them, would have killed him. Lines 3–4 may be a later interpolation. Norns: the fates; the word used in the original means the goddesses of ill fortune. [555]

__A_TAG_PLACEHOLDER_0__. Most editors see stanzas 28–30 as a speech by Hamther, but the manuscript doesn’t specify who is speaking, and some editors attribute one or two of the stanzas to Sorli. Lines 1–2 are quoted in the Volsungasaga. The manuscript does not treat line 1 as the start of a new stanza. Erp: Hamther suggests that while the two brothers only managed to injure Jormunrek, if Erp had been with them, he would have killed him. Lines 3–4 might be a later addition. Norns: the fates; the term used originally refers to the goddesses of misfortune. [__A_TAG_PLACEHOLDER_0__]

29. This is almost certainly an interpolated Ljothahattr stanza, though some editors have tried to expand it into the Fornyrthislag form. Hounds of the Norns: wolves.

__A_TAG_PLACEHOLDER_0__. This is probably an added stanza from Ljothahattr, although some editors have attempted to stretch it into the Fornyrthislag style. Hounds of the Norns: wolves.

30. Some editors assume a gap after this stanza.

__A_TAG_PLACEHOLDER_0__. Some editors think there's a break after this stanza.

31. Apparently a fragment of a stanza from the “old” Hamthesmol to which the annotator’s concluding prose note refers. Some editors assume the loss of two lines after line 2.

__A_TAG_PLACEHOLDER_0__. It seems to be a fragment of a stanza from the “old” Hamthesmol that the annotator mentions in their final prose note. Some editors think that two lines are missing after line 2.

Prose. Regarding the “old” Hamthesmol, cf. Guthrunarhvot, introductory note. [557]

Prose. About the “old” Hamthesmol, see Guthrunarhvot, introductory note. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

PRONOUNCING INDEX OF PROPER NAMES

Introductory Note

Introduction

The pronunciations indicated in the following index are in many cases, at best, mere approximations, and in some cases the pronunciation of the Old Norse is itself more or less conjectural. For the sake of clarity it has seemed advisable to keep the number of phonetic symbols as small as possible, even though the result is occasional failure to distinguish between closely related sounds. In every instance the object has been to provide the reader with a clearly comprehensible and approximately correct pronunciation, for which reason, particularly in such matters as division of syllables, etymology has frequently been disregarded for the sake of phonetic clearness. For example, when a root syllable ends in a long (double) consonant, the division has arbitrarily been made so as to indicate the sounding of both elements (e.g., Am-ma, not Amm-a).

The pronunciations shown in the following index are often just rough estimates, and in some cases, the pronunciation of Old Norse is somewhat uncertain. To keep things clear, it seems best to minimize the number of phonetic symbols used, even if that means sometimes not differentiating between similar sounds. The goal has always been to give the reader a clear and reasonably accurate pronunciation. Because of this, especially regarding syllable division, etymology has often been overlooked for the sake of phonetic clarity. For instance, when a root syllable ends with a long (double) consonant, the division has been made in such a way as to show that both elements are pronounced (e.g., Am-ma, not Amm-a).

As many proper names occur in the notes but not in the text, and as frequently the more important incidents connected with the names are outlined in notes which would not be indicated by textual references alone, the page numbers include all appearances of proper names in the notes as well as in the text.

As many proper names appear in the notes but not in the text, and since important events related to these names are often summarized in the notes without being referenced in the text, the page numbers cover all instances of proper names in both the notes and the text.

The following general rules govern the application of the phonetic symbols used in the index, and also indicate the approximate pronunciation of the unmarked vowels and consonants.

The following general rules apply to the phonetic symbols used in the index and also show the approximate pronunciation of the unmarked vowels and consonants.

Vowels. The vowels are pronounced approximately as follows:

Vowels. The vowels are pronounced roughly like this:

a —as in “alone”
ā —as in “father”
e —as in “men”
ē —as a in “fate”
i —as in “is”
ī —as in “machine”
o —as in “on”
ō —as in “old”
ö —as in German “öffnen”
ȫ —as in German “schön”
ǭ —as aw in “law”
u —as ou in “would”[__A_TAG_PLACEHOLDER_0__]
ū —as ou in “wound”
y —as i in “is” } Both with a slight sound of German ü
ȳ —as ee in “free”
æ —as e in “men”
ǣ —as a in “fate”
ei —as ey in “they”
ey —as in “they”
au —as ou in “out”
ai —as i in “fine”

No attempt has been made to differentiate between the short open “o” and the short closed “o,” which for speakers of English closely resemble one another.

No attempt has been made to distinguish between the short open "o" and the short closed "o," which for English speakers look very similar.

Consonants. The consonants are pronounced approximately as in English, with the following special points to be noted:

Consonants. The consonants are pronounced pretty much like in English, but there are a few important points to keep in mind:

G is always hard, as in “get,” never soft, as in “gem;” following “n” it has the same sound as in “sing.”

G is always pronounced hard, like in “get,” never soft, like in “gem;” when it comes after “n,” it sounds the same as in “sing.”

J is pronounced as y in “young.”

J is pronounced like y in “young.”

Th following a vowel is soft, as in “with;” at the beginning of a word or following a consonant it is hard, as in “thin.”

The following a vowel is soft, as in “with;” at the beginning of a word or following a consonant it is hard, as in “thin.”

The long (doubled) consonants should be pronounced as in Italian, both elements being distinctly sounded; e.g., “Am-ma.”

The long (doubled) consonants should be pronounced like in Italian, with both parts clearly pronounced; for example, “Am-ma.”

S is always hard, as in “so,” “this,” never soft, as in “as.”

S is always strong, as in “so,” “this,” never weak, as in “as.”

H enters into combinations with various following consonants; with “v” the sound is approximately that of wh in “what”; with “l,” “r” and “n” it produces sounds which have no exact English equivalents, but which can be approximated by pronouncing the consonants with a marked initial breathing.

H combines with different consonants that follow it; with “v,” the sound is roughly like wh in “what”; with “l,” “r,” and “n,” it creates sounds that don’t have exact English equivalents, but can be imitated by adding a strong initial breath to the pronunciation of those consonants.

Accents. The accented syllable in each name is indicated by the acute accent (′). In many names, however, and particularly in compounds, there is both a primary and a secondary accent, and where this is the case the primary stress is indicated by a double acute accent (″) and the secondary one by a single acute accent (′). To avoid possible confusion with the long vowel marks used in Old Norse texts, the accents are placed, not over the vowels, but after the accented syllables. [559]

Dialects. The stressed syllable in each name is shown with an acute accent (′). In many names, especially in compounds, there is both a primary and a secondary stress, with the primary stress indicated by a double acute accent (″) and the secondary stress by a single acute accent (′). To avoid confusion with the long vowel marks found in Old Norse texts, the accents are placed after the stressed syllables instead of above the vowels. [__A_TAG_PLACEHOLDER_0__]

[__A_TAG_PLACEHOLDER_0__]

PRONOUNCING INDEX

Æg′-ir, the sea-god, 102, 132, 139–141, 150–154, 156–158, 161, 172, 199, 280, 299, 300, 314, 324, 359.

Æg′-ir, the sea-god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–141, __A_TAG_PLACEHOLDER_3__–154, __A_TAG_PLACEHOLDER_4__–158, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__.

Æk′-in, a river, 95.

Æk′-in, a river, __A_TAG_PLACEHOLDER_0__.

Af′-i, Grandfather, 204, 207.

Af′-i, Grandpa, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ag′-nar, a warrior, 390, 444, 445.

Ag′-nar, a warrior, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ag′-nar, brother of Geirröth, 85, 86.

Ag′-nar, brother of Geirröth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ag′-nar, son of Geirröth, 84, 87, 88, 106.

Ag′-nar, son of Geirröth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Āi, a dwarf, 6, 8.

Āi, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Āi, Great-Grandfather, 204.

Āi, Great-Grandfather, __A_TAG_PLACEHOLDER_0__.

Alf, a dwarf, 8.

Alf, a little person, __A_TAG_PLACEHOLDER_0__.

Alf, husband of Hjordis, 335, 336, 359, 374, 454.

Alf, Hjordis' husband, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Alf, slayer of Helgi, 286, 288, 289, 331.

Alf, slayer of Helgi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Alf, son of Dag, 223, 454.

Alf, son of Dag, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Alf, son of Hring, 306.

Alf, son of Hring, __A_TAG_PLACEHOLDER_0__.

Alf, son of Hunding, 295, 316, 317.

Alf, son of Hunding, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Alf, son of Ulf, 222.

Alf, son of Ulf, __A_TAG_PLACEHOLDER_0__.

Alf′-heim, home of the elves, 3, 88, 186.

Alfheim, home of the elves, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Alf′-hild, wife of Hjorvarth, 272, 273.

Alf′-hild, wife of Hjorvarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Alf′-roth-ul, the sun, 81.

Alf′-roth-ul, the sun, __A_TAG_PLACEHOLDER_0__.

Al′-grȫn, an island, 127.

Al'grȫn, an island, __A_TAG_PLACEHOLDER_0__.

Āl′-i, a warrior, 222.

Āl′-i, a fighter, __A_TAG_PLACEHOLDER_0__.

Alm′-veig, wife of Halfdan, 222.

Alm'veig, wife of Halfdan, __A_TAG_PLACEHOLDER_0__.

Ā′-lof, daughter of Franmar, 273, 275, 276.

Ā′-lof, daughter of Franmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Al′-svith, a giant, 62.

Al′-svith, a giant, __A_TAG_PLACEHOLDER_0__.

Al′-svith, a horse, 99, 100, 394.

Al′-svith, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Al′-thjōf, a dwarf, 6.

Al′-thjōf, a dwarf, __A_TAG_PLACEHOLDER_0__.

Al′-vald-i, a giant, 128.

Al′-vald-i, a giant, __A_TAG_PLACEHOLDER_0__.

Al′-vīs, a dwarf, 183–193.

Al’vīs, a dwarf, __A_TAG_PLACEHOLDER_0__–193.

Al″-vīss-mǭl, the Ballad of Alvis, 68, 109, 183–194, 252, 283, 546.

Alvissmol, the Ballad of Alvis, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–194, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Ām, son of Dag, 223.

Ām, son of Dag, __A_TAG_PLACEHOLDER_0__.

Am′-bōtt, daughter of Thræll, 207.

Am'bott, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Am′-ma, Grandmother, 204, 207, 208.

Amma, Grandmother, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ān, a dwarf, 6.

Ān, a dwarf, __A_TAG_PLACEHOLDER_0__.

And′-hrim-nir, a cook, 92.

And′-hrim-nir, a chef, __A_TAG_PLACEHOLDER_0__.

And″-var-a-naut′, a ring, 114, 361, 448.

And″-var-a-naut′, a ring, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

And′-var-i, a dwarf, 8, 114, 260, 343, 357–361, 417, 426, 448, 493.

And′-var-i, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–361, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

An′-gan-tȳr, a berserker, 225.

An′-gan-tȳr, a berserker, __A_TAG_PLACEHOLDER_0__.

An′-gan-tȳr, a warrior, 218, 220, 232.

An'gan-tyr, a warrior, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ang′-eyj-a, mother of Heimdall, 229.

Ang′-eyj-a, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Angr′-both-a, a giantess, 17, 21, 146, 196, 230, 231.

Angr′-both-a, a giantess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Arf′-i, son of Jarl, 214.

Arf′-i, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Ar″-in-nef′-ja, daughter of Thræll, 207.

Ar″-in-nef′-ja, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Arn′-grīm, father of the berserkers, 225. [560]

Arn′-grīm, dad of the berserkers, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Ār′-vak, a horse, 99, 100, 394.

Ār′-vak, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ās″-a-thōr′, Thor, 135.

Ās″-a-thōr′, Thor, __A_TAG_PLACEHOLDER_0__.

Ās′-garth, home of the gods, 3, 11, 12, 141, 179, 186.

Ās'garth, home of the gods, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Ask, Ash, 8.

Ask, Ash, __A_TAG_PLACEHOLDER_0__.

Ās′-laug, daughter of Brynhild, 353, 404, 429.

Ās′-laug, daughter of Brynhild, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ās′-mund, a giant (?), 104.

Ās′-mund, a giant (?), __A_TAG_PLACEHOLDER_0__.

Ath′-al, son of Jarl, 214.

Ath'al, son of Jarl, __A_TAG_PLACEHOLDER_0__.

At′-la, mother of Heimdall, 229.

At’la, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

At″-la-kvith′-a, the Lay of Atli, 165, 255, 306, 421, 448, 463, 476, 480–501, 515, 520, 522, 530, 543.

Atla-kvitha, the Lay of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–501, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

At″-la-mǭl′, the Ballad of Atli, 448, 449, 463, 480–482, 485, 487, 491, 494, 498–535, 538, 540, 545, 548.

Atla-mǭl, the Ballad of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–482, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–535, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

At′-li, Attila, 8, 121, 290, 339, 346, 361, 406, 418, 419, 422, 430–432, 436–438, 447–451, 456–459, 461–466, 468–470, 472–478, 480–485, 487–489, 491–502, 504, 506, 507, 513, 514, 516–520, 522–538, 541, 546–548.

At′-li, Attila, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__–432, __A_TAG_PLACEHOLDER_11__–438, __A_TAG_PLACEHOLDER_12__–451, __A_TAG_PLACEHOLDER_13__–459, __A_TAG_PLACEHOLDER_14__–466, __A_TAG_PLACEHOLDER_15__–470, __A_TAG_PLACEHOLDER_16__–478, __A_TAG_PLACEHOLDER_17__–485, __A_TAG_PLACEHOLDER_18__–489, __A_TAG_PLACEHOLDER_19__–502, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__–520, __A_TAG_PLACEHOLDER_26__–538, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__–548.

At′-li, son of Hring, 306.

Atli, son of Hring, __A_TAG_PLACEHOLDER_0__.

At′-li, son of Ithmund, 271, 273–276, 278–281, 283, 284.

At-li, son of Ithmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–276, __A_TAG_PLACEHOLDER_2__–281, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

At′-rīth, Othin, 104.

At'rieth, Othin, __A_TAG_PLACEHOLDER_0__.

Aur′-both-a, a giantess, 109, 228.

Aur′-both-a, a giantess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Aur′-both-a, Mengloth’s handmaid, 249.

Aur′-both-a, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Aur′-gelm-ir, Ymir, 76.

Aur′-gelm-ir, Ymir, __A_TAG_PLACEHOLDER_0__.

Aur′-vang, a dwarf, 7.

Aur′-vang, a dwarf, __A_TAG_PLACEHOLDER_0__.

Austr′-i, a dwarf, 6.

Austr′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Auth, mother of Harald Battle-Tooth, 227.

Auth, mother of Harald Battle-Tooth, __A_TAG_PLACEHOLDER_0__.

Auth′-a, sister of Agnar, 390, 444, 445.

Auth′-a, sister of Agnar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Auth′-i, son of Halfdan the Old, 221, 485.

Auth’i, son of Halfdan the Old, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Baldr, a god, 1, 2, 14–16, 22, 25, 82, 83, 90, 91, 114, 161, 172, 195–199, 218, 227, 228, 236, 245, 360.

Baldr, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–16, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–199, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__.

Baldrs Draumar, Baldr’s Dreams, 15, 19, 114, 174, 178, 195–200, 236.

Baldr's Dreams, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–200, __A_TAG_PLACEHOLDER_6__.

Bāl′-eyg, Othin, 103.

Bāl′-eyg, Othin, __A_TAG_PLACEHOLDER_0__.

Bar′-i, a dwarf, 247.

Bar′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Barn, son of Jarl, 214.

Barn, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Bar′-ri, a berserker, 225.

Bar′-ri, a warrior, __A_TAG_PLACEHOLDER_0__.

Bar′-ri, a forest, 119, 120.

Bar′-ri, a forest, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Beit′-i, Atli’s steward, 520.

Beit’i, Atli’s steward, __A_TAG_PLACEHOLDER_0__.

Bekk′-hild, sister of Brynhild, 345, 346.

Bekk′-hild, sister of Brynhild, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Bel′-i, a giant, 22, 110, 112.

Bel'i, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ber′-a, Kostbera, 449, 510, 511, 517.

Ber′-a, Kostbera, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Ber′-gel-mir, a giant, 76, 78.

Ber′-gel-mir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Best′-la, Othin’s mother, 4, 61, 160.

Best′-la, Othin’s mom, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Beyl′-a, servant of Freyr, 152, 153, 169.

Beyl′-a, freeman of Freyr, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Bif′-lind-i, Othin, 104.

Bif'lin-ii, Othin, __A_TAG_PLACEHOLDER_0__.

Bif′-rost, the rainbow bridge, 22, 90, 96, 102, 136, 329, 376.

Bif′-rost, the rainbow bridge, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Bī′-fur, a dwarf, 6.

Bī′-fur, a dwarf, __A_TAG_PLACEHOLDER_0__.

Bik′-ki, follower of Jormunrek, 439, 487, 488, 538, 551.

Bik′-ki, Jormunrek's follower, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Bīl′-eyg, Othin, 103. [561]

Bīl′-eyg, Othin, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Bil′-ling, a giant (?), 28, 46, 48.

Bil′-ling, a giant (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Bil′-rost, the rainbow bridge, 102, 376.

Bil′-rost, the rainbow bridge, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Bil′-skirn-ir, Thor’s dwelling, 88, 93.

Bil'skirnir, Thor's home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Bjort, Mengloth’s handmaid, 249.

Bjort, Mengloth's handmaid, __A_TAG_PLACEHOLDER_0__.

Blāin, Ymir (?), 6.

Blain, Ymir (?), __A_TAG_PLACEHOLDER_0__.

Bleik, Mengloth’s handmaid, 249.

Bleik, Mengloth's handmaid, __A_TAG_PLACEHOLDER_0__.

Blind, follower of Hunding, 312.

Blind, Hunding's follower, __A_TAG_PLACEHOLDER_0__.

Blīth, Mengloth’s handmaid, 249.

Blīth, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Bod′-di, son of Karl, 209.

Boddi, son of Karl, __A_TAG_PLACEHOLDER_0__.

Bǭ′-fur, a dwarf, 6.

Bǭ′-fur, a dwarf, __A_TAG_PLACEHOLDER_0__.

Bolm, an island, 225.

Bolm, an island, __A_TAG_PLACEHOLDER_0__.

Bol′-thorn, Othin’s grandfather, 4, 61.

Bol'thorn, Othin's grandfather, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Bol′-verk, Othin, 50, 52, 103.

Bol′-verk, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Bom′-bur, a dwarf, 6.

Bom′-bur, a dwarf, __A_TAG_PLACEHOLDER_0__.

Bōnd′-i, son of Karl, 209.

Bōnd′-i, son of Karl, __A_TAG_PLACEHOLDER_0__.

Borg′-ar, brother of Borghild (?), 334.

Borg'ar, brother of Borghild (?), __A_TAG_PLACEHOLDER_0__.

Borg′-hild, mother of Helgi, 270, 291, 293, 310, 333–335.

Borg′-hild, mother of Helgi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–335.

Borg′-nȳ, daughter of Heithrek, 469–473, 479.

Borg′-nȳ, daughter of Heithrek, __A_TAG_PLACEHOLDER_0__–473, __A_TAG_PLACEHOLDER_1__.

Both′-vild, daughter of Nithuth, 254, 258, 260, 261, 263, 265–268.

Both′-vild, daughter of Nithuth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–268.

Brag′-a-lund, a forest, 314.

Brag-a-lund, a forest, __A_TAG_PLACEHOLDER_0__.

Brag′-i, a god, 102, 152, 155–158, 228, 314, 394.

Brag'i, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–158, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Brag′-i, brother of Sigrun, 318, 319.

Brag′-i, brother of Sigrun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Brag′-i Bod′-da-son, a skald, 102.

Brag'i Bod'da-son, a skald, __A_TAG_PLACEHOLDER_0__.

Brā′-lund, birthplace of Helgi, 291, 292, 310.

Brā′-lund, birthplace of Helgi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Brām′-i, a berserker, 225.

Brām′-i, a warrior, __A_TAG_PLACEHOLDER_0__.

Brand′-ey, an island, 297.

Brand′-ey, an island, __A_TAG_PLACEHOLDER_0__.

Bratt′-skegg, son of Karl, 209.

Bratt's beard, son of Karl, __A_TAG_PLACEHOLDER_0__.

Brā′-voll, a field, 303.

Brāv'-voll, a field, __A_TAG_PLACEHOLDER_0__.

Breith, son of Karl, 209.

Breith, son of Karl, __A_TAG_PLACEHOLDER_0__.

Breith′-a-blik, Baldr’s home, 90.

Breith′-a-blik, Baldr's home, __A_TAG_PLACEHOLDER_0__.

Brim′-ir, a giant, 6, 16, 17, 394.

Brim'ir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Brim′-ir, a sword, 102.

Brim'ir, a sword, __A_TAG_PLACEHOLDER_0__.

Brīs′-ings, the dwarfs, 159, 177–179, 236.

Brisings, the dwarfs, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–179, __A_TAG_PLACEHOLDER_2__.

Brodd, follower of Hrolf, 224.

Brodd, Hrolf's follower, __A_TAG_PLACEHOLDER_0__.

Brot af Sig″-urth-ar-kvith′-u, Fragment of a Sigurth Lay, 155, 370, 402–412, 420, 421, 427–429, 448, 450–452, 486, 493, 515, 539, 542, 547.

Brot af Sig″-urth-ar-kvith′-u, Fragment of a Sigurth Lay, 155, 370, 402–412, 420, 421, 427–429, 448, 450–452, 486, 493, 515, 539, 542, 547.

Brun″-a-vāg′-ar, a harbor, 313, 314.

Brun″-a-vāg′-ar, a harbor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Brūth, daughter of Karl, 210.

Brūth, daughter of Karl, __A_TAG_PLACEHOLDER_0__.

Bryn′-hild, wife of Gunnar, 14, 226, 234, 270, 296, 339, 344–347, 349–353, 362, 370, 371, 383–388, 391, 396, 397, 400, 403–408, 412, 417–419, 421–425, 427, 429–438, 442–448, 457, 459, 460, 469, 470, 474–476, 481, 484, 511, 516, 518, 532, 537, 543.

Bryn′-hild, wife of Gunnar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–347, __A_TAG_PLACEHOLDER_7__–353, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–388, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__–408, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__–419, __A_TAG_PLACEHOLDER_19__–425, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__–438, __A_TAG_PLACEHOLDER_22__–448, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__–476, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__.

Bū′-i, a berserker, 225.

Bū′-i, a berserker, __A_TAG_PLACEHOLDER_0__.

Bū′-i, son of Karl, 209.

Bū′-i, son of Karl, __A_TAG_PLACEHOLDER_0__.

Bund″-in-skeg′-gi, son of Karl, 209. [562]

Bund-in-skeg-gi, son of Karl, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Bur, father of Othin, 4, 160, 228.

Bur, father of Odin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Bur, son of Jarl, 214.

Bur, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Buth′-li, father of Atli, 296, 339, 344, 346, 347, 371, 385, 388, 405, 406, 408, 417–419, 425, 429, 430, 432, 437, 441, 443, 459, 466, 474, 485, 487, 488, 498, 512, 518, 521, 525, 530, 532.

Buth′-li, father of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–419, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__.

Buth′-lungs, descendants of Buthli, 498.

Buth'lungs, descendants of Buthli, __A_TAG_PLACEHOLDER_0__.

Bygg′-vir, Freyr’s servant, 152, 153, 165, 166, 169.

Bygg′-vir, Freyr’s servant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Bȳ′-leist (or Bȳ′-leipt), brother of Loki, 22, 230.

Byleist (or Byleipt), brother of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Dag, a god (Day), 66, 75, 192.

Day, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Dag, brother of Sigrun, 310, 318, 319, 323, 324, 331.

Dag, brother of Sigrun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Dag, husband of Thora, 223, 454.

Dag, husband of Thora, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Dāin, a dwarf, 6, 220.

Dāin, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Dāin, a hart, 98.

Dāin, a stag, __A_TAG_PLACEHOLDER_0__.

Dāin, an elf, 62.

Dāin, an elf, __A_TAG_PLACEHOLDER_0__.

Dan, a king, 216.

Dan, a king, __A_TAG_PLACEHOLDER_0__.

Dan′-a, daughter of Danp, 216.

Dan'a, daughter of Danp, __A_TAG_PLACEHOLDER_0__.

Danp, a king, 216, 484.

Danp, a king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Del′-ling, father of Day, 66, 75, 247.

Del′-ling, father of Day, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Digr′-ald-i, son of Thræll, 206.

Digr′-ald-i, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Dog′-ling, Delling, 75.

Dogling, Delling, __A_TAG_PLACEHOLDER_0__.

Dög′-lings, descendants of Dag, 223.

Dög'lings, descendants of Dag, __A_TAG_PLACEHOLDER_0__.

Dolg′-thras-ir, a dwarf, 7.

Dolg′-thras-ir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Dōr′-i, a dwarf, 8, 247.

Dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Drāp Nifl′-ung-a, the Slaying of the Niflungs, 408, 438, 447–449, 461, 472, 477, 481, 482, 485, 489, 494, 501, 539, 543.

Drāp Nifl′-ung-a, the Slaying of the Niflungs, 408, 438, 447–449, 461, 472, 477, 481, 482, 485, 489, 494, 501, 539, 543.

Draup′-nir, a dwarf, 7.

Draup′-nir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Draup′-nir, a ring, 114, 360.

Draup′-nir, a ring, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Dreng, son of Karl, 209.

Dude, son of Karl, __A_TAG_PLACEHOLDER_0__.

Drott, son of Thræll, 206.

Drott, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Drumb, son of Thræll, 206.

Drumb, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Drumb′-a, daughter of Thræll, 207.

Drumb′-a, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Dūf, a dwarf, 8.

Dūf, a dwarf, __A_TAG_PLACEHOLDER_0__.

Dun′-eyr, a hart, 98.

Dun′-eyr, a deer, __A_TAG_PLACEHOLDER_0__.

Dur′-in, a dwarf, 6.

Dur′-in, a dwarf, __A_TAG_PLACEHOLDER_0__.

Dval′-in, a dwarf, 6, 7, 62, 188, 375.

Dval'in, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Dval′-in, a hart, 98.

Dval′-in, a deer, __A_TAG_PLACEHOLDER_0__.

Dyr′-a-thrōr, a hart, 98.

Dyr'athror, a deer, __A_TAG_PLACEHOLDER_0__.

Ed′-da, Great-Grandmother, 204, 205.

Ed′-da, Great-Grandmother, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Egg′-thēr, the giants’ watchman, 18.

Egg′-thēr, the giants’ watchman, __A_TAG_PLACEHOLDER_0__.

Eg′-il, brother of Völund, 254–257, 265, 267.

Eg′-il, brother of Völund, __A_TAG_PLACEHOLDER_0__–257, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Eg′-il, father of Thjalfi (?), 141.

Eg′-il, father of Thjalfi (?), __A_TAG_PLACEHOLDER_0__.

Eg″-ils-sag′-a, the Saga of Egil, 139.

Eg″-ils-sag′-a, The Saga of Egil, __A_TAG_PLACEHOLDER_0__.

Eik″-in-skjald′-i, a dwarf, 7, 8.

Eik-in-skjald-i, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Eik″-in-tjas′-na, daughter of Thræll, 207.

Eik-in-tjas-na, daugher of Thrall, __A_TAG_PLACEHOLDER_0__.

Eik′-thyrn-ir, a hart, 94.

Eik'thyrn-ir, a deer, __A_TAG_PLACEHOLDER_0__.

Eir, Mengloth’s handmaid, 248, 249.

Eir, Mengloth’s assistant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Eist′-la, mother of Heimdall, 229.

Eist′-la, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Eit′-il, son of Atli, 448, 461, [563]482, 495–498, 525, 540, 541, 548.

Eit′-il, son of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, [__A_TAG_PLACEHOLDER_2__]__A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–498, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Eld′-hrim-nir, a kettle, 92.

Eld′-hrim-nir, a kettle, __A_TAG_PLACEHOLDER_0__.

Eld′-ir, Ægir’s servant, 153, 154.

Eld'r, Ægir's servant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ēl″-i-vāg′-ar, the Milky Way (?), 76, 140.

Ēl″-i-vāg′-ar, the Milky Way (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Emb′-la, Elm, 8.

Emb′-la, Elm, __A_TAG_PLACEHOLDER_0__.

Ern′-a, wife of Jarl, 213, 214.

Ern'a, Jarl's wife, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Erp, son of Atli, 448, 461, 482, 495–498, 525, 540, 541, 548.

Erp, son of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–498, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Erp, son of Jonak, 361, 439, 538, 540, 546, 548, 550, 554.

Erp, son of Jonak, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Ey′-fur-a, mother of the berserkers, 225.

Ey′-fur-a, *mother of the berserkers*, __A_TAG_PLACEHOLDER_0__.

Eyj′-olf, son of Hunding, 295, 316, 317.

Eyj'olf, Hunding's son, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ey′-lim-i, father of Hjordis, 226, 270, 295, 335, 336, 340, 341, 363, 365.

Ey'limi, Hjordis's father, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Ey′-lim-i, father of Svava, 277, 284, 285, 287, 335.

Ey'limi, father of Svava, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Ey′-mōth, Atli’s emissary, 456, 457.

Ey'moth, Atli's envoy, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ey′-mund, king of Holmgarth, 222.

Ey′-mund, king of Holmgarth, __A_TAG_PLACEHOLDER_0__.

Eyr′-gjaf-a, mother of Heimdall, 229.

Eyr'gjafa, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Fāf′-nir, brother of Regin, 226, 260, 273, 339, 345, 357, 359, 361–365, 369–383, 385, 412, 421, 431, 445, 448, 475, 476, 484.

Fáfnir, brother of Regin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–365, __A_TAG_PLACEHOLDER_8__–383, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__.

Fāf″-nis-mǭl′, the Ballad of Fafnir, 6, 7, 125, 151, 188, 215, 226, 273, 343, 344, 356, 357, 365, 369–388, 390, 402, 411, 417, 445, 450, 474, 476, 509.

Fāf″-nis-mǭl′, The Ballad of Fafnir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__–388, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__.

Fal′-hōfn-ir, a horse, 96.

Fal′-hōfn-ir, a horse, __A_TAG_PLACEHOLDER_0__.

Far′-baut-i, father of Loki, 157, 168.

Far′-baut-i, father of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Farm′-a-tȳr, Othin, 104.

Farm'tary, Othin, __A_TAG_PLACEHOLDER_0__.

Fath′-ir, Father, 204, 210.

Dad, Father, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Feim′-a, daughter of Karl, 210.

Feim′-a, Karl's daughter, __A_TAG_PLACEHOLDER_0__.

Feng, Othin, 366.

Feng, Othin, __A_TAG_PLACEHOLDER_0__.

Fen′-ja, a giantess, 436.

Fen′-ja, a giantess, __A_TAG_PLACEHOLDER_0__.

Fenr′-ir, a wolf, 17–23, 81–83, 91, 93, 100, 140, 146, 152, 164, 165, 170, 196, 303.

Fenr′-ir, a wolf, __A_TAG_PLACEHOLDER_0__–23, __A_TAG_PLACEHOLDER_1__–83, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

Fen′-sal-ir, Frigg’s hall, 15.

Fen'salir, Frigg’s hall, __A_TAG_PLACEHOLDER_0__.

Fīl′-i, a dwarf, 7.

Fīl′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Fim′-a-feng, Ægir’s servant, 152, 153.

Fim′-a-feng, Ægir’s servant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Fim′-bul-thul, a river, 95.

Fim′-bul-thul, a river, __A_TAG_PLACEHOLDER_0__.

Fith, a dwarf, 8.

Fith, a dwarf, __A_TAG_PLACEHOLDER_0__.

Fit′-jung, Earth, 43, 44.

Fit′-jung, Earth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Fjal′-ar, a cock, 18, 19, 243.

Fjal′-ar, a rooster, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Fjal′-ar, a dwarf, 8.

Fjal′-ar, a dwarf, __A_TAG_PLACEHOLDER_0__.

Fjal′-ar, Suttung (?), 32.

Fjal′-ar, Suttung (?), __A_TAG_PLACEHOLDER_0__.

Fjal′-ar, Utgartha-Loki (?), 130.

Fjal′-ar, Utgartha-Loki (?), __A_TAG_PLACEHOLDER_0__.

Fjol′-kald, Svipdag’s grandfather, 240.

Fjol′-kald, Svipdag's grandfather, __A_TAG_PLACEHOLDER_0__.

Fjol′-nir, Othin, 103, 366.

Fjol′-nir, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Fjol″-svinns-mǭl′, the Ballad of Fjolsvith, 234, 239–251.

Fjolsvinn's Song, The Ballad of Fjolsvith, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–251.

Fjol′-svith, Mengloth’s watchman, 234, 239–250.

Fjol′-svith, Mengloth’s guard, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–250.

Fjol′-svith, Othin, 103.

Fjol′-svith, Odin, __A_TAG_PLACEHOLDER_0__.

Fjol′-var, a giant (?), 127.

Fjol′-var, a giant, __A_TAG_PLACEHOLDER_0__.

Fjōn, an island, 455.

Fjōn, an island, __A_TAG_PLACEHOLDER_0__.

Fjorg′-yn, Jorth, 23, 24, 136. [564]

Fjorg′-yn, Jorth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__. [__A_TAG_PLACEHOLDER_3__]

Fjorg′-yn, Othin, 24, 160.

Fjorg′-yn, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Fjorm, a river, 95.

Fjorm, a river, __A_TAG_PLACEHOLDER_0__.

Fjorn′-ir, Gunnar’s cupbearer, 486.

Fjorn′-ir, Gunnar’s cupbearer, __A_TAG_PLACEHOLDER_0__.

Fjors′-ungs, the fishes (?), 321.

Fjors′-ungs, the fish (?), __A_TAG_PLACEHOLDER_0__.

Fjōsn′-ir, son of Thræll, 206.

Fjōsn′-ir, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Fjot′-ur-lund, a forest, 323.

Fjot′-ur-lund, a forest, __A_TAG_PLACEHOLDER_0__.

Fljōth, daughter of Karl, 210.

Fljōth, daughter of Karl, __A_TAG_PLACEHOLDER_0__.

Folk′-vang, Freyja’s home, 90, 175.

Fólkvangr, Freyja’s home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

For′-set-i, a god, 91, 228.

For′-set-i, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Fōst″-bræth-ra-sag′-a, the Saga of the Foster-Brothers, 46.

Fōst"-bræth-ra-sag'a, The Saga of the Foster-Brothers, __A_TAG_PLACEHOLDER_0__.

Frā Dauth′-a Sinf′-jotl-a, Of Sinfjotli’s Death, 270, 293, 295, 302, 332–337, 340, 342, 356, 357, 359, 365, 368, 374, 386, 388, 421, 454, 455.

Frā Dauth′-a Sinf′-jotl-a, Of Sinfjotli’s Death, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–337, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__.

Frǣg, a dwarf, 7.

Frǣg, a dwarf, __A_TAG_PLACEHOLDER_0__.

Frān′-ang, a waterfall, 172, 173.

Frān′-ang, a waterfall, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Frān′-mar, Sigrlin’s foster-father, 273, 275.

Frān′-mar, Sigrlin’s stepdad, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Frār, a dwarf, 7.

Frār, a dwarf, __A_TAG_PLACEHOLDER_0__.

Frath′-mar, son of Dag, 223.

Frath'mar, son of Dag, __A_TAG_PLACEHOLDER_0__.

Frek′-a-stein, a battlefield, 287, 288, 304, 307, 318, 319, 322.

Frek'-a-stein, a battlefield, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Frek′-i, a wolf, 92, 295.

Frek′-i, a wolf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Frek′-i, son of Dag, 223.

Frek'i, son of Dag, __A_TAG_PLACEHOLDER_0__.

Frey′-ja, a goddess, 10–12, 22, 90, 91, 102, 108, 128, 152, 157–159, 161–163, 175–177, 180, 181, 217–220, 231–233, 236, 472.

Freyja, a goddess, __A_TAG_PLACEHOLDER_0__–12, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–159, __A_TAG_PLACEHOLDER_9__–163, __A_TAG_PLACEHOLDER_10__–177, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__–220, __A_TAG_PLACEHOLDER_14__–233, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__.

Freyr, a god, 10, 22, 88, 91, 101, 107–110, 112–115, 117, 119, 120, 152, 161–166, 169, 175, 220, 228, 284, 308, 428.

Freyr, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–110, __A_TAG_PLACEHOLDER_6__–115, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–166, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__.

Fri′-aut, daughter of Hildigun, 222, 223.

Fri'aut, daughter of Hildigun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Frigg, a goddess, 14, 15, 22, 68, 29, 86, 89, 91, 151, 152, 157–161, 182, 196, 236, 248, 472.

Frigg, a goddess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__–161, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__.

Frīth, Mengloth’s handmaid, 249.

Frīth, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Frost′-i, a dwarf, 8.

Frost-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Frōth′-i, a Danish king, 294, 295, 436.

Frōth′-i, a Danish king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Frōth′-i, father of Hledis, 222.

Frōth′-i, father of Hledis, __A_TAG_PLACEHOLDER_0__.

Frōth′-i, father of Kari (?), 224.

Frōth′-i, father of Kari (?), __A_TAG_PLACEHOLDER_0__.

Ful′-la, Frigg’s handmaid, 86.

Ful′-la, Frigg’s maid, __A_TAG_PLACEHOLDER_0__.

Ful′-nir, son of Thræll, 206.

Ful′-nir, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Fund′-in, a dwarf, 7.

Fund'in, a little person, __A_TAG_PLACEHOLDER_0__.

Gagn′-rāth, Othin, 68, 70–72.

Gagn'rāth, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–72.

Gand′-alf, a dwarf, 7.

Gand′-alf, a dwarf, __A_TAG_PLACEHOLDER_0__.

Gang, brother of Thjazi, 128.

Gang, brother of Thjazi, __A_TAG_PLACEHOLDER_0__.

Gang′-ler-i, King Gylfi, 94.

Gang′-ler-i, King Gylfi, __A_TAG_PLACEHOLDER_0__.

Gang′-ler-i, Othin, 103.

Gang′-ler-i, Othin, __A_TAG_PLACEHOLDER_0__.

Garm, a hound, 19, 21, 24, 102, 140, 196.

Garm, a dog, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Gast′-ropn-ir, Mengloth’s dwelling, 242.

Gast′-ropn-ir, Mengloth’s place, __A_TAG_PLACEHOLDER_0__.

Gaut, Othin, 105.

Gaut, Othin, __A_TAG_PLACEHOLDER_0__.

Gef′-jun, a goddess, 157–159.

Gef′-jun, a goddess, __A_TAG_PLACEHOLDER_0__–159.

Geir′-mund, kinsman of Atli, 478.

Geir'mund, relative of Atli, __A_TAG_PLACEHOLDER_0__.

Geir′-on-ul, a Valkyrie, 99.

Geir′-on-ul, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Geir′-röth, a king, 84–87, 104–106.

Geir′-röth, a king, __A_TAG_PLACEHOLDER_0__–87, __A_TAG_PLACEHOLDER_1__–106.

Geir′-skog-ul, a Valkyrie, 14.

Geir′-skog-ul, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Geir′-vim-ul, a river, 95. [565]

Geir'vim-ul, a river, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Geit′-ir, Gripir’s servant, 340–342.

Geit′-ir, Gripir's servant, __A_TAG_PLACEHOLDER_0__–342.

Ger′-i, a hound, 244.

Ger′-i, a dog, __A_TAG_PLACEHOLDER_0__.

Ger′-i, a wolf, 92, 295.

Ger′-i, a wolf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gerth, daughter of Gymir, 109, 111–115, 119, 120, 152, 165, 228.

Gerth, daughter of Gymir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–115, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Gīf, a hound, 244.

If, a dog, __A_TAG_PLACEHOLDER_0__.

Gim′-lē, a mountain, 26.

Gimli, a mountain, __A_TAG_PLACEHOLDER_0__.

Gin′-nar, a dwarf, 8.

Gin′-nar, a dwarf, __A_TAG_PLACEHOLDER_0__.

Gin″-nung-a-gap′, Yawning Gap, 4, 77.

Gin″-nung-a-gap′, Yawning Gap, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gip′-ul, a river, 95.

Gip′-ul, a river, __A_TAG_PLACEHOLDER_0__.

Gīsl, a horse, 96.

Gīsl, a horse, __A_TAG_PLACEHOLDER_0__.

Gjaf′-laug, Gjuki’s sister, 413.

Gjaf′-laug, Gjuki's sister, __A_TAG_PLACEHOLDER_0__.

Gjal″-lar-horn′, Heimdall’s horn, 12, 20.

Gjal″-lar-horn′, Heimdall's horn, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gjol, a river, 95.

Gjol, a river, __A_TAG_PLACEHOLDER_0__.

Gjolp, mother of Heimdall, 229.

Gjolp, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Gjūk′-i, father of Gunnar, 226, 343, 344, 348, 352–354, 362, 383, 403, 406, 407, 410, 411, 413, 415–418, 421–423, 426, 429, 444, 446–448, 451, 452, 459, 462, 466, 470, 476, 477, 480, 482, 499, 500, 509, 516, 517, 529, 535, 541, 542, 546, 552, 553.

Gjūk′-i, father of Gunnar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–354, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__–418, __A_TAG_PLACEHOLDER_14__–423, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__–448, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__, __A_TAG_PLACEHOLDER_38__, __A_TAG_PLACEHOLDER_39__, __A_TAG_PLACEHOLDER_40__.

Gjūk′-i, son of Hogni, 449.

Gjūk′-i, son of Hogni, __A_TAG_PLACEHOLDER_0__.

Gjūk′-ungs, Gjuki’s sons, 344, 383, 388, 403, 408, 421, 426, 431, 446, 448, 449, 451, 456, 457, 476, 477, 483, 484, 500, 501.

Gjūk′-ungs, Gjuki’s sons, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Glap′-svith, Othin, 103.

Glap'svith, Othin, __A_TAG_PLACEHOLDER_0__.

Glas′-ir, a forest, 274.

Glas'ir, a forest, __A_TAG_PLACEHOLDER_0__.

Glath, a horse, 96.

Glath, a horse, __A_TAG_PLACEHOLDER_0__.

Glaths′-heim, Othin’s dwelling, 89.

Glaths'heim, Odin's home, __A_TAG_PLACEHOLDER_0__.

Glaum, Atli’s horse, 493.

Glaum, Atli’s horse, __A_TAG_PLACEHOLDER_0__.

Glaum′-vor, wife of Gunnar, 448, 500, 502, 507, 508, 510, 511.

Glaum'vor, wife of Gunnar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Gleip′-nir, a chain, 17.

Gleip′-nir, a chain, __A_TAG_PLACEHOLDER_0__.

Gler, a horse, 96.

Gler, a horse, __A_TAG_PLACEHOLDER_0__.

Glit′-nir, Forseti’s dwelling, 91.

Glitnir, Forseti's home, __A_TAG_PLACEHOLDER_0__.

Glō′-in, a dwarf, 7.

Glō′-in, a dwarf, __A_TAG_PLACEHOLDER_0__.

Gnip″-a-hel′-lir, a cave, 19, 21, 24.

Gnip-a-hel-lir, a cave, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Gnip′-a-lund, a forest, 300, 301, 303, 306.

Gnip'-a-lund, a forest, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Gnit′-a-heith, Fafnir’s mountain, 343, 365, 371, 484.

Gnit'a-heith, Fafnir's mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Gō′-in, a serpent, 98.

Gō′-in, a serpent, __A_TAG_PLACEHOLDER_0__.

Gol, a Valkyrie, 99.

Gol, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Gol″-lin-kamb′-i, a cock, 19, 243, 329.

Gol″-lin-kamb′-i, a rooster, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Goll′-nir, a giant (?), 303.

Goll′-nir, a giant, __A_TAG_PLACEHOLDER_0__.

Goll′-rond, daughter of Gjuki, 414–416, 418.

Goll′-rond, daughter of Gjuki, __A_TAG_PLACEHOLDER_0__–416, __A_TAG_PLACEHOLDER_1__.

Goll′-topp, a horse, 96, 97.

Goll'topp, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Goll′-veig, a Wane, 10.

Goll′-veig, a Wane, __A_TAG_PLACEHOLDER_0__.

Gom′-ul, a river, 95.

Gom′-ul, a river, __A_TAG_PLACEHOLDER_0__.

Gond′-lir, Othin, 104.

Gond′-lir, Othin, __A_TAG_PLACEHOLDER_0__.

Gond′-ul, a Valkyrie, 14.

Gond′-ul, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Gop′-ul, a river, 95.

Gop′-ul, a river, __A_TAG_PLACEHOLDER_0__.

Gorm (the Old), King of Denmark, 201, 202.

Gorm (the Old), King of Denmark, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Goth′-mund, son of Granmar, 290, 300–305, 309, 316–318, 321, 322, 332.

Goth'mund, son of Granmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–305, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–318, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Got′-thorm, slayer of Sigurth, [566]226, 350, 354, 361, 405, 410, 426–428, 453, 533.

Got'thorm, slayer of Sigurth, [__A_TAG_PLACEHOLDER_0__]226, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–428, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Grā′-bak, a serpent, 98.

Grā′-bak, a serpent, __A_TAG_PLACEHOLDER_0__.

Graf′-vit-nir, a serpent, 98.

Graf′-vit-nir, a serpent, __A_TAG_PLACEHOLDER_0__.

Graf′-vol-luth, a serpent, 98.

Graf′-vol-luth, a serpent, __A_TAG_PLACEHOLDER_0__.

Gram, Sigurth’s sword, 351, 365, 378, 427, 428.

Gram, Sigurth's sword, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Gran′-i, Sigurth’s horse, 259, 260, 303, 342, 344, 350, 358, 359, 385, 395, 403, 406, 417, 431, 432, 445, 446, 452, 476.

Gran′-i, Sigurth’s horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__.

Gran′-mar, father of Hothbrodd, 291, 296, 300, 304, 308, 316–322, 332.

Gran'mar, father of Hothbrodd, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–322, __A_TAG_PLACEHOLDER_6__.

Greip, mother of Heimdall, 229.

Greip, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Gret′-tir, a hero, 64.

Gret′-tir, a hero, __A_TAG_PLACEHOLDER_0__.

Gret″-tis-sag′-a, the Saga of Grettir, 129.

Grettir's Saga, __A_TAG_PLACEHOLDER_0__.

Grīm, follower of Hrolf, 224.

Grīm, Hrolf's follower, __A_TAG_PLACEHOLDER_0__.

Grīm, Othin, 103.

Grim, Odin, __A_TAG_PLACEHOLDER_0__.

Grīm′-hild, wife of Gjuki, 226, 349, 350, 354, 403, 405, 436, 448, 455–457, 459–461, 474, 519, 524, 526.

Grimhild, wife of Gjuki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–457, __A_TAG_PLACEHOLDER_9__–461, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__.

Grim′-nir, Othin, 84, 86, 87, 103, 104.

Grimnir, Odin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Grim″-nis-mǭl, the Ballad of Grimnir, 4, 5, 9, 12, 14, 17–20, 62, 68, 75, 84–108, 122, 130, 136, 138, 139, 152, 175, 179, 180, 196, 203, 221, 230, 234, 237, 253, 302, 303, 323, 329, 366, 376, 378, 384, 394, 472, 487, 494.

Grimnir's Song, The Ballad of Grimnir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–20, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–108, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__.

Grīp′-ir, Sigurth’s uncle, 337, 340–355.

Grīp′-ir, Sigurth’s uncle, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–355.

Grīp″-is-spǭ′, Gripir’s Prophecy, 14, 87, 226, 336–359, 365, 371, 383, 386, 388, 403, 404, 406, 409, 412, 417, 418, 421, 422, 429, 440–442, 446, 447, 450, 451, 456, 469, 481, 484, 499, 518, 536.

Grípr's Prophecy, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–359, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__–442, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__.

Grō′-a, mother of Svipdag, 234–236, 238.

Grō′-a, mother of Svipdag, __A_TAG_PLACEHOLDER_0__–236, __A_TAG_PLACEHOLDER_1__.

Grǭth, a river, 95.

Grǭth, a river, __A_TAG_PLACEHOLDER_0__.

Grot″-ta-songr′, the Song of Grotti, 436.

Grot″-ta-songr′, the Song of Grotti, __A_TAG_PLACEHOLDER_0__.

Grot′-ti, a mill, 436.

Grot'ti, a mill, __A_TAG_PLACEHOLDER_0__.

Grō″-u-galdr′, Groa’s Spell, 234–239.

Grō″-u-galdr′, Groa’s Spell, __A_TAG_PLACEHOLDER_0__–239.

Gull′-fax-i, a horse, 126.

Gulfaxi, a horse, __A_TAG_PLACEHOLDER_0__.

Gull″-in-tan′-ni, Heimdall, 97.

Gull-in-tan-ni, Heimdall, __A_TAG_PLACEHOLDER_0__.

Gung′-nir, a spear, 101, 395.

Gungnir, a spear, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Gun′-nar, brother of Borghild (?), 334.

Gun'nar, brother of Borghild (?), __A_TAG_PLACEHOLDER_0__.

Gun′-nar, follower of Hrolf, 224.

Gun′-nar, follower of Hrolf, __A_TAG_PLACEHOLDER_0__.

Gun′-nar, son of Gjuki, 8, 226, 339, 343, 349–354, 361, 383, 403–405, 407–409, 414, 417–419, 421–424, 426, 427, 429–434, 436–38, 442, 447–449, 453, 456, 457, 459–461, 467, 469, 470, 473–479, 482–486, 488–494, 497–500, 502, 507–509, 513, 517–519, 521, 522, 532, 533, 539, 541, 543, 546–548.

Gun′-nar, son of Gjuki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–354, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–405, __A_TAG_PLACEHOLDER_8__–409, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__–419, __A_TAG_PLACEHOLDER_11__–424, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__–434, __A_TAG_PLACEHOLDER_15__–38, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__–449, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__–461, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__–479, __A_TAG_PLACEHOLDER_26__–486, __A_TAG_PLACEHOLDER_27__–494, __A_TAG_PLACEHOLDER_28__–500, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__–509, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__–519, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__, __A_TAG_PLACEHOLDER_38__, __A_TAG_PLACEHOLDER_39__, __A_TAG_PLACEHOLDER_40__–548.

Gunn′-loth, daughter of Suttung, 28, 32, 50–52.

Gunn′-loth, daughter of Suttung, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–52.

Gunn′-thor-in, a river, 95.

Gunn'thor-in, a river, __A_TAG_PLACEHOLDER_0__.

Gunn′-thrō, a river, 95. [567]

Gunn′-thrō, a river, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Gust, Andvari (?), 357, 361.

Gust, Andvari (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Guth, a Valkyrie, 14, 314.

Guth, a Valkyrie, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Guth′-rūn, wife of Sigurth, 226, 339, 343, 344, 349, 352–354, 383, 388, 403–407, 410–417, 419, 421–424, 428, 429, 433, 436–439, 442, 446–451, 453, 455–457, 459–466, 468, 470, 477, 480, 482, 485, 493–501, 513, 515, 516, 518, 519, 522–544, 546–550, 552.

Guth'rūn, wife of Sigurth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–354, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–407, __A_TAG_PLACEHOLDER_9__–417, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–424, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__–439, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__–451, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__–457, __A_TAG_PLACEHOLDER_20__–466, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__–501, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__–544, __A_TAG_PLACEHOLDER_34__–550, __A_TAG_PLACEHOLDER_35__.

Guth″-rūn-ar-hvot′, Guthrun’s Inciting, 226, 410, 411, 439, 447, 450, 497, 535–547, 549, 551, 555.

Guthrun’s Inciting, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–547, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Guth″-rūn-ar-kvith′-a I (en Fyrst′-a), the First Lay of Guthrun, 4, 293, 325, 402, 409, 411–420, 422, 423, 426, 429, 430, 450, 452–454, 475, 479.

Guthrúnarqviða I (the First Lay of Guthrun), 4, 293, 325, 402, 409, 411–420, 422, 423, 426, 429, 430, 450, 452–454, 475, 479.

Guth″-rūn-ar-kvith′-a II (On′-nur, en Forn′-a), the Second (Old) Lay of Guthrun, 230, 255, 325, 407, 410–412, 416, 419, 450–465, 467, 476, 493, 495, 496, 501, 505.

Guth″-rūn-ar-kvith′-a II (On′-nur, en Forn′-a), the Second (Old) Lay of Guthrun, 230, 255, 325, 407, 410–412, 416, 419, 450–465, 467, 476, 493, 495, 496, 501, 505.

Guth″-rūn-ar-kvith′-a III (Thrith′-ja), the Third Lay of Guthrun, 450, 451, 465–469, 517.

Guthrun's Third Lay (Thrithja), the Third Lay of Guthrun, 450, 451, 465–469, 517.

Gylf″-a-gin′-ning, the Deceiving of Gylfi, 120, 228, 229, 231, 248, 370.

Gylfaginning, The Deceiving of Gylfi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Gyl′-lir, a horse, 96.

Gyl′-lir, a horse, __A_TAG_PLACEHOLDER_0__.

Gym′-ir, Ægir, 151.

Gym'Mir, Ægir, __A_TAG_PLACEHOLDER_0__.

Gym′-ir, a giant, 109, 111, 112, 114, 165, 228.

Gym′-ir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Gyrth, son of Dag, 223.

Gyrth, son of Dag, __A_TAG_PLACEHOLDER_0__.

Had′-ding, a Danish king, 311, 458.

Had′-ding, a Danish king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Had″-ding-ja-skat′-i, Haddings’-Hero (Helgi), 311, 330, 331.

Had″-ding-ja-skat′-i, Haddings’ Hero (Helgi), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Had′-dings, berserkers, 225.

Had′-dings, berserkers, __A_TAG_PLACEHOLDER_0__.

Hǣm′-ing, son of Hunding, 311.

Hǣm'ing, son of Hunding, __A_TAG_PLACEHOLDER_0__.

Hag′-al, Helgi’s foster-father, 310–312.

Hag′-al, Helgi’s stepdad, __A_TAG_PLACEHOLDER_0__–312.

Hak′-i, son of Hvethna, 227.

Hak′-i, son of Hvethna, __A_TAG_PLACEHOLDER_0__.

Hal, son of Karl, 209.

Hal, son of Karl, __A_TAG_PLACEHOLDER_0__.

Hālf, King of Horthaland, 222, 223.

Hālf, King of Horthaland, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Half′-dan, father of Kara, 316, 330.

Half'dan, father of Kara, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Half′-dan (the Old), a Danish king, 221–223, 227, 269, 307, 308, 364, 454.

Halfdan (the Old), a Danish king, __A_TAG_PLACEHOLDER_0__–223, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Hālfs′-sag-a, the Saga of Half, 222, 223.

Half's Saga, The Saga of Half, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ham′-al, son of Hagal, 311, 314.

Ham′-al, son of Hagal, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ham′-thēr, son of Jonak, 361, 439, 447, 536–541, 545–550, 552–555.

Ham'ther, son of Jonak, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–541, __A_TAG_PLACEHOLDER_4__–550, __A_TAG_PLACEHOLDER_5__–555.

Ham″-thēs-mǭl′, the Ballad of Hamther, 226, 410, 439, 447, 450, 488, 536–540, 545–555.

Ham″-thēs-mǭl′, the Ballad of Hamther, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–540, __A_TAG_PLACEHOLDER_7__–555.

Hā′-mund, son of Sigmund, 293, 334.

Hámun, son of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Han′-nar, a dwarf, 7.

Han′-nar, a dwarf, __A_TAG_PLACEHOLDER_0__.

Hār, Othin, 94, 103. [568]

Hār, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__. [__A_TAG_PLACEHOLDER_2__]

Har′-ald (Battle-Tooth), son of Hrörek, 227.

Har'ald (Battle-Tooth), son of Hrörek, __A_TAG_PLACEHOLDER_0__.

Har′-ald (Blue-Tooth), King of Denmark, 201, 202.

Harald (Bluetooth), King of Denmark, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hār′-barth, Othin, 104, 121, 122, 125–137.

Hār′-barth, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–137.

Hār″-barths-ljōth′, the Poem of Harbarth, 12, 24, 104, 121–140, 142, 143, 152, 167, 168, 170, 171, 174, 175, 185, 195, 228, 314, 394, 443, 478, 480.

Hār″-barths-ljōth′, The Poem of Harbarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–140, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__.

Hat′-a-fjord, a fjord, 278.

Hat′-a-fjord, a fjord, __A_TAG_PLACEHOLDER_0__.

Hat′-i, a giant, 278, 280, 281.

Hat′-i, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hat′-i, a wolf, 18, 100.

Hat′-i, a wolf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Haug′-spor-i, a dwarf, 7.

Haug' the dwarf, __A_TAG_PLACEHOLDER_0__.

Heer′-fath-er, Othin, 13, 14, 69, 92, 94, 218, 390.

Heavenly Father, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Heim′-dall, a god, 3, 12, 18, 20, 90, 97, 115, 166, 167, 178, 202, 203, 213, 228–230.

Heimdall, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__–230.

Heim′-ir, Brynhild’s foster-father, 345–348, 350, 351, 353, 403, 404, 445.

Heim′-ir, Brynhild’s foster dad, __A_TAG_PLACEHOLDER_0__–348, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Heith, daughter of Hrimnir, 228.

Heith, daugher of Hrimnir, __A_TAG_PLACEHOLDER_0__.

Heith, Gollweg (?), 10.

Heith, Gollweg (?), __A_TAG_PLACEHOLDER_0__.

Heith′-draup-nir, Mimir (?), 393, 394.

Heith′-draup-nir, Mimir (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Heith′-rek, father of Borgny, 470.

Heith'rek, father of Borgny, __A_TAG_PLACEHOLDER_0__.

Heith′-rūn, a goat, 94, 232.

Heith′-rūn, a goat, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hel, goddess of the dead, 16, 17, 19, 20, 22, 93, 95, 97, 115, 118, 146, 196, 231, 237, 245, 377, 441–443, 518, 551.

Hel, goddess of the dead, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__–443, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__.

Hel′-blind-i, Othin, 103.

Hel-blind-i, Othin, __A_TAG_PLACEHOLDER_0__.

Helg″-a-kvith′-a Hjor″-varths-son′-ar, the Lay of Helgi the Son of Hjorvarth, 14, 189, 269–290, 292, 293, 295, 298, 300, 302, 304, 309, 313, 318, 332, 358, 359, 371, 506.

Helg″-a-kvith′-a Hjor″-varths-son′-ar, the Lay of Helgi the Son of Hjorvarth, 14, 189, 269–290, 292, 293, 295, 298, 300, 302, 304, 309, 313, 318, 332, 358, 359, 371, 506.

Helg″-a-kvith′-a Hund″-ings-ban′-a I (en Fyr′-ri), the First Lay of Helgi Hundingsbane, 14, 160, 215, 221, 273, 276, 281, 287, 290–308, 310, 311, 313, 316–319, 321, 322, 328, 358, 364–366, 428, 524.

Helg″-a-kvith′-a Hund″-ings-ban′-a I (en Fyr′-ri), the First Lay of Helgi Hundingsbane, 14, 160, 215, 221, 273, 276, 281, 287, 290–308, 310, 311, 313, 316–319, 321, 322, 328, 358, 364–366, 428, 524.

Helg″-a-kvith′-a Hund″-ings-ban′-a II (On′-nur), the Second Lay of Helgi Hundingsbane, 95, 272, 288, 289, 294, 296, 298, 306, 309–331, 366, 418, 434, 466, 543.

Helg″-a-kvith′-a Hund″-ings-ban′-a II (On′-nur), the Second Lay of Helgi Hundingsbane, 95, 272, 288, 289, 294, 296, 298, 306, 309–331, 366, 418, 434, 466, 543.

Helg′-i (Had″-ding-ja-skat′-i), Helgi the Haddings’-Hero, 311, 330, 331.

Helg'i (Had-ding-ja-skat-i), Helgi the Haddings’-Hero, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Helg′-i, Hjalmgunnar (?), 344, 345.

Helg′-i, Hjalmgunnar (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Helg′-i, son of Hjorvarth, 269–272, 276–289, 310, 311, 330, 331, 335.

Helgi, son of Hjorvarth, __A_TAG_PLACEHOLDER_0__–272, __A_TAG_PLACEHOLDER_1__–289, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Helg′-i, son of Sigmund, 221, 269, 270, 276, 289–301, 304, 306–336, 339, 340, 357, 358, 364–366, 368, 371, 446.

Helg’i, son of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–301, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–336, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–366, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__.

Hel′-reith Bryn′-hild-ar, Brynhild’s Hell-Ride, 129, 255, 345, 346, 353, 387, 388, 390, 442–447, 450, 511.

Hel′-reith Bryn′-hild-ar, Brynhild’s Hell-Ride, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–447, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Hept″-i-fīl′-i, a dwarf, 7.

Hept-i-fīl′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Her′-borg, queen of the Huns, 411, 413, 414. [569]

Her′-borg, queen of the Huns, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__. [__A_TAG_PLACEHOLDER_3__]

Her′-fjot-ur, a Valkyrie, 99.

Her′-fjot-ur, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Her′-jan, Othin, 14, 103, 416.

Her′-jan, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Herk′-ja, Atli’s servant, 465, 466, 468.

Herk′-ja, Atli’s servant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Her′-mōth, son of Othin, 218.

Her-moth, son of Odin, __A_TAG_PLACEHOLDER_0__.

Hers′-ir, father of Erna, 213.

Hers′-ir, father of Erna, __A_TAG_PLACEHOLDER_0__.

Her′-teit, Othin, 103.

Her'teit, Othin, __A_TAG_PLACEHOLDER_0__.

Her″-var-ar-sag′-a, the Saga of Hervor, 366, 484.

Her″-var-ar-sag′-a, the Saga of Hervor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Her′-varth, a berserker, 225.

Her′-varth, a berserker, __A_TAG_PLACEHOLDER_0__.

Her′-varth, son of Hunding, 316, 317.

Her′-varth, son of Hunding, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Her′-vor, a swan-maiden, 254–256, 259.

Her′-vor, a swan-maiden, __A_TAG_PLACEHOLDER_0__–256, __A_TAG_PLACEHOLDER_1__.

Heth′-in, brother of Helgi, 271–273, 284–286, 288, 289.

Heth'in, brother of Helgi, __A_TAG_PLACEHOLDER_0__–273, __A_TAG_PLACEHOLDER_1__–286, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Heth′-ins-ey, an island, 297.

Heth'ins-ey, an island, __A_TAG_PLACEHOLDER_0__.

Hild, a Valkyrie, 14, 99.

Hild, a Valkyrie, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hild, Brynhild, 444, 511.

Hild, Brynhild, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hild, mother of King Half, 223, 224.

Hild, mother of King Half, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hild′-i-gun, daughter of Sækonung, 222, 223.

Hild′-i-gun, daughter of Sækonung, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hild″-i-svin′-i, a boar, 220.

Hild-i-svin-i, a boar, __A_TAG_PLACEHOLDER_0__.

Hild′-olf, a warrior, 124.

Hild′-olf, a warrior, __A_TAG_PLACEHOLDER_0__.

Him′-in-bjorg, Heimdall’s dwelling, 90.

Him′-in-bjorg, Heimdall’s home, __A_TAG_PLACEHOLDER_0__.

Him″-in-vang′-ar, Heaven’s-Field, 293.

Him-in-vang-ar, Heaven’s-Field, __A_TAG_PLACEHOLDER_0__.

Hind′-ar-fjoll, Brynhild’s mountain, 383, 384, 388, 445.

Hind'ar-fjoll, Brynhild’s mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Hjal′-li, Atli’s cook, 491, 492, 520, 521.

Hjal′-li, Atli's chef, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Hjalm′-ar, a warrior, 225.

Hjalm′-ar, a warrior, __A_TAG_PLACEHOLDER_0__.

Hjalm′-ber-i, Othin, 103.

Hjalm′-ber-i, Odin, __A_TAG_PLACEHOLDER_0__.

Hjalm′-gun-nar, a Gothic king, 345, 390, 445.

Hjalm′-gun-nar, a Gothic king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hjalp′-rek, father of Alf, 335, 336, 358, 359, 365, 369, 454.

Hjalp'rek, father of Alf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Hjor′-dīs, mother of Sigurth, 226, 270, 277, 293, 333, 335, 336, 340, 341, 368, 374, 454.

Hjordís, mother of Sigurth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__.

Hjor′-leif, father of King Half, 223.

Hjor′-leif, father of King Half, __A_TAG_PLACEHOLDER_0__.

Hjor′-leif, follower of Helgi, 298.

Hjor'leif, Helgi's follower, __A_TAG_PLACEHOLDER_0__.

Hjor′-varth, a berserker, 225.

Hjor′-varth, a berserker, __A_TAG_PLACEHOLDER_0__.

Hjor′-varth, father of Helgi, 269–274, 276–278, 284, 287, 289, 331.

Hjor'varth, father of Helgi, __A_TAG_PLACEHOLDER_0__–274, __A_TAG_PLACEHOLDER_1__–278, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Hjor′-varth, father of Hvethna, 227.

Hjor’varth, father of Hvethna, __A_TAG_PLACEHOLDER_0__.

Hjor′-varth, son of Hunding, 273, 295, 316, 317, 368.

Hjor′-varth, son of Hunding, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Hlath′-guth, a swan-maiden, 254–256.

Swan maiden, __A_TAG_PLACEHOLDER_0__–256.

Hlē′-barth, a giant, 128.

Hlē′-barth, a giant, __A_TAG_PLACEHOLDER_0__.

Hlē′-bjorg, a mountain, 319, 320.

Hlē′-bjorg, a mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hlē′-dīs, mother of Ottar, 222.

Hlē′-dīs, mother of Ottar, __A_TAG_PLACEHOLDER_0__.

Hlēr, Ægir, 132, 152.

Hlēr, Ægir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hlēs′-ey, an island, 132, 139, 314, 478.

Hlēs′-ey, an island, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Hlē′-vang, a dwarf, 7.

Hlē′-vang, a dwarf, __A_TAG_PLACEHOLDER_0__.

Hlīf, Mengloth’s handmaid, 248.

Hlīf, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Hlīf′-thras-a, Mengloth’s handmaid, 248.

Hlīf′-thras-a, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Hlīn, Frigg, 22.

Hlīn, Frigg, __A_TAG_PLACEHOLDER_0__.

Hlith′-skjolf, Othin’s seat, 86, 88, 107, 108, 480, 487.

Hlith′-skjolf, Odin’s throne, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Hlokk, a Valkyrie, 99.

Hlokk, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Hlōr′-rith-i, Thor, 135, 140, [570]143, 147, 149, 169, 176, 178, 182.

Hlōr′-rith-i, Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, [__A_TAG_PLACEHOLDER_2__]143, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Hloth′-varth, follower of Helgi, 280.

Hloth′-varth, follower of Helgi, __A_TAG_PLACEHOLDER_0__.

Hloth′-vēr, a Frankish king, 459.

Hloth′-vēr, a Frankish king, __A_TAG_PLACEHOLDER_0__.

Hloth′-vēr, father of Hervor, 254–256, 259.

Hloth′-vēr, father of Hervor, __A_TAG_PLACEHOLDER_0__–256, __A_TAG_PLACEHOLDER_1__.

Hlōth′-yn, Jorth, 23.

Hlōth′-yn, Jorth, __A_TAG_PLACEHOLDER_0__.

Hlym′-dal-ir, Brynhild’s home, 444.

Hlym′-dal-ir, Brynhild’s home, __A_TAG_PLACEHOLDER_0__.

Hnifl′-ung, son of Hogni, 498, 515, 529.

Hnifl-ung, son of Hogni, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hnifl′-ungs, the people of Gjuki (Nibelungs), 291, 305.

Nibelungs, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hnik′-ar, Othin, 103, 357, 366, 367.

Hnik′-ar, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Hnik′-uth, Othin, 103, 104.

Hnik′-uth, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hǭ′-alf, a Danish king, 437, 454.

Hǭ′-alf, a Danish king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hǭ′-alf, King Half of Horthaland, 223, 224.

Hǭ′-alf, King Half of Horthaland, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hǭ′-brōk, a hawk, 102.

Hǭ′-brōk, a hawk, __A_TAG_PLACEHOLDER_0__.

Hodd′-mim-ir, Mimir, 80.

Hodd′-mim-ir, Mimir, __A_TAG_PLACEHOLDER_0__.

Hodd′-rof-nir, Mimir (?), 393, 394.

Hodd′-rof-nir, Mimir (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hog′-ni, brother of Sigar, 312, 313.

Hog'ni, brother of Sigar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hog′-ni, father of Sigrun, 296, 306, 308, 312, 313, 316–319, 323, 328, 329.

Hog′-ni, father of Sigrun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–319, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Hog′-ni, son of Gjuki, 226, 343, 350, 354, 361, 404–406, 421, 425–427, 429, 431, 434, 447–449, 453, 456, 457, 459–461, 467, 469, 472, 476, 477, 482, 484–487, 490–93, 498–500, 502–506, 509, 511, 512, 514, 515, 517–521, 523, 529–533, 539, 541, 543, 546–548.

Hog′-ni, son of Gjuki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–406, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–427, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–449, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__–461, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__–487, __A_TAG_PLACEHOLDER_23__–93, __A_TAG_PLACEHOLDER_24__–500, __A_TAG_PLACEHOLDER_25__–506, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__–521, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__–533, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__–548.

Hǭk′-on, father of Thora, 419, 454, 455.

Hǭk′-on, Thora's father, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hol, a river, 95.

Hol, a river, __A_TAG_PLACEHOLDER_0__.

Holm′-garth, Russia, 222.

Holm′-garth, Russia, __A_TAG_PLACEHOLDER_0__.

Holth, son of Karl, 209.

Holth, son of Karl, __A_TAG_PLACEHOLDER_0__.

Hȫn′-ir, a god, 8, 20, 25, 162, 358, 359, 493.

Hȫn′-ir, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Hǭr, a dwarf, 7.

Here, a dwarf, __A_TAG_PLACEHOLDER_0__.

Hǭr, Othin, 10, 51–53, 60, 103.

Hǭr, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–53, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Horn, a river, 237.

Horn, a river, __A_TAG_PLACEHOLDER_0__.

Horn′-bor-i, a dwarf, 7.

Horn′-bor-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Horth′-a-land, Half’s kingdom, 222, 223.

Horth'a-land, Half's kingdom, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hörv′-ir, follower of Hrolf, 224.

Hörv′-ir, Hrolf's follower, __A_TAG_PLACEHOLDER_0__.

Hos′-vir, son of Thræll, 206.

Hos′-vir, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Hoth, slayer of Baldr, 15, 25, 161, 198, 228.

Hoth, killer of Baldr, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Hoth′-brodd, son of Granmar, 269, 270, 291, 296, 297, 301, 304–306, 309, 316, 317, 319, 321, 322.

Hoth'brodd, son of Granmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–306, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

Hǭ′-tūn, Helgi’s home, 293, 298.

Hǭ′-tūn, Helgi’s home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hǭv″-a-mǭl′, the Ballad of the High One, 4, 28–68, 71, 75, 112, 117, 130, 188, 193, 205, 215, 236, 237, 247, 357, 367, 368, 379, 387, 393, 397.

Hǭv″-a-mǭl′, the Ballad of the High One, 4, 28–68, 71, 75, 112, 117, 130, 188, 193, 205, 215, 236, 237, 247, 357, 367, 368, 379, 387, 393, 397.

Hǭ′-varth, son of Hunding, 295.

Hǭ′-varth, son of Hunding, __A_TAG_PLACEHOLDER_0__.

Hrǣ′-svelg, an eagle, 21, 78, 115.

Hrǣ′-svelg, an eagle, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hran′-i, a berserker, 225. [571]

Hran′-i, a berserker, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Hrauth′-ung, ancestor of Hjordis, 226.

Hrauth′-ung, ancestor of Hjordis, __A_TAG_PLACEHOLDER_0__.

Hrauth′-ung, father of Geirröth, 85.

Hrauth′-ung, father of Geirröth, __A_TAG_PLACEHOLDER_0__.

Hreim, son of Thræll, 206.

Hreim, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Hreith′-mar, father of Regin, 7, 357–359, 361–363.

Hreith-mar, father of Regin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–359, __A_TAG_PLACEHOLDER_2__–363.

Hrīm′-fax-i, a horse, 72.

Hrīm′-fax-i, a horse, __A_TAG_PLACEHOLDER_0__.

Hrīm′-gerth, a giantess, 189, 271, 278–283.

Hrīm′-gerth, a giantess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–283.

Hrīm″-gerth-ar-mǭl′, the Ballad of Hrimgerth, 271, 278–284.

Hrīm″-gerth-ar-mǭl′, The Ballad of Hrimgerth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–284.

Hrīm′-grim-nir, a giant, 118.

Hrīm′-grim-nir, a giant, __A_TAG_PLACEHOLDER_0__.

Hrim′-nir, a giant, 115, 228.

Hrim’nir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hring, a warrior, 306, 307.

Hring, a warrior, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hring′-stath-ir, Ringsted, 293, 308.

Hring′-stath-ir, Ringsted, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hring′-stoth, Ringsted (?), 293.

Hring′-stoth, Ringsted (?), __A_TAG_PLACEHOLDER_0__.

Hrist, a Valkyrie, 99.

Hrist, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Hrīth, a river, 95, 237.

Hrīth, a river, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hrō′-ar, brother of Borghild (?), 334.

Hrō′-ar, brother of Borghild (?), __A_TAG_PLACEHOLDER_0__.

Hrolf (the Old), King of Gautland, 224.

Hrolf (the Old), King of Gautland, __A_TAG_PLACEHOLDER_0__.

Hrol′-laug, a warrior, 319, 320.

Hrol′-laug, a warrior, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hrō′-mund, a warrior, 331.

Hrō′-mund, a warrior, __A_TAG_PLACEHOLDER_0__.

Hrō′-mund-ar Sag′-a Greips′-son-ar, the Saga of Hromund Greipsson, 311, 331.

Hrōmundar Sagá Greipssonar, the Saga of Hromund Greipsson, 311, 331.

Hron, a river, 95, 237.

Hron, a river, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hrōpt, Othin, 25, 166, 393.

Hrōpt, Odin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hrōpt′-a-tȳr, Othin, 66, 105.

Hrōpt′-a-tȳr, Odin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hrȫ′-rek, King of Denmark, 227.

Hrȫ′-rek, King of Denmark, __A_TAG_PLACEHOLDER_0__.

Hross′-thjōf, son of Hrimnir, 228.

Hross'thjof, son of Hrimnir, __A_TAG_PLACEHOLDER_0__.

Hrōth, a giant, 142.

Hrōth, a giant, __A_TAG_PLACEHOLDER_0__.

Hrōth′-mar, lover of Sigrlin, 275, 276, 278, 286.

Hrōth-mar, Sigrlin's lover, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Hrōth′-vit-nir, Fenrir, 100, 164.

Hrōth′-vit-nir, Fenrir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hrot′-ti, a sword, 385.

Hrot′-ti, a sword, __A_TAG_PLACEHOLDER_0__.

Hrung′-nir, a giant, 125, 126, 143, 171, 172, 394.

Hrung'nir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Hrym, a giant, 21.

Hrym, a giant, __A_TAG_PLACEHOLDER_0__.

Hug′-in, a raven, 92.

Hug-in, a raven, __A_TAG_PLACEHOLDER_0__.

Hum′-lung, son of Hjorvarth, 272, 273.

Hum′-lung, son of Hjorvarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Hund′-ing, enemy of Sigmund, 269, 270, 273, 294, 295, 307, 309–311, 313, 315, 316, 326, 335, 336, 342, 343, 357, 358, 365, 368, 369.

Hund′-ing, enemy of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–311, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Hund′-land, Hunding’s kingdom, 294, 310, 311.

Hund′-land, Hunding’s kingdom, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Hver′-gel-mir, a spring, 94.

Hver′-gel-mir, a spring, __A_TAG_PLACEHOLDER_0__.

Hveth′-na, mother of Haki, 227.

Hveth′-na, mother of Haki, __A_TAG_PLACEHOLDER_0__.

Hym′-ir, a giant, 77, 138–150, 163.

Hym′-ir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–150, __A_TAG_PLACEHOLDER_2__.

Hym″-is-kvith′-a, the Lay of Hymir, 21, 77, 116, 122, 138–152, 163, 170, 174, 179, 180, 182, 183, 391.

Hymir's Lay, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–152, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

Hym′-ling, son of Hjorvarth, 273.

Hym′-ling, son of Hjorvarth, __A_TAG_PLACEHOLDER_0__.

Hynd′-la, a giantess, 217–220, 222, 231–233.

Hynd′-la, a giantess, __A_TAG_PLACEHOLDER_0__–220, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–233.

Hynd″-lu-ljōth′, the Poem of Hyndla, 115, 132, 154, 167, 203, 217–233, 273, 292, 307, 314, 350, 427, 454, 457.

Hynd"–lu-ljōth", the Poem of Hyndla, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–233, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__.

If′-ing, a river, 72, 131.

If-ing, a river, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Im, son of Vafthruthnir, 70. [572]

Im, son of Vafthruthnir, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Imth, a giant, 304.

Imth, a giant, __A_TAG_PLACEHOLDER_0__.

Imth, mother of Heimdall, 229.

Imth, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Ing′-un, sister of Njorth (?), 165.

Ing'un, sister of Njorth (?), __A_TAG_PLACEHOLDER_0__.

Ing′-un-ar = Freyr, Freyr, 165.

Ing′-un-ar = Freyr, Freyr, __A_TAG_PLACEHOLDER_0__.

In′-stein, father of Ottar, 220, 222, 224.

In'stein, father of Ottar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Īr′-i, a dwarf, 247.

Īr′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Īs′-olf, son of Olmoth, 224.

Īs′-olf, son of Olmoth, __A_TAG_PLACEHOLDER_0__.

Īs′-ung, a warrior, 297.

Īs′-ung, a fighter, __A_TAG_PLACEHOLDER_0__.

Ith′-a-voll, meeting-place of the gods, 5, 24.

Ith'a-voll, meeting place of the gods, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Īth′-i, brother of Thjazi, 128.

Īth′-i, brother of Thjazi, __A_TAG_PLACEHOLDER_0__.

Ith′-mund, follower of Hjorvarth, 273, 274.

Ith′-mund, follower of Hjorvarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Īth′-un, a goddess, 102, 113, 128, 152, 157, 158, 175.

Īth′-un, a goddess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Ī′-vald-i, a dwarf, 101.

Ī′-vald-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

I′-var, King of Sweden, 227.

I′-var, King of Sweden, __A_TAG_PLACEHOLDER_0__.

Jafn′-hǭr, Othin, 103, 104.

Jafn′-hǭr, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jalk, Othin, 104, 105.

Jalk, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jar′-i, a dwarf, 7, 247.

Jar′-i, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jar′-iz-leif, Atli’s emissary, 456, 457.

Jar′-iz-leif, Atli’s messenger, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jar′-iz-skār, Atli’s emissary, 456, 457.

Jar'izskār, Atli's envoy, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Jarl, son of Rig, 212–215.

Jarl, son of Rig, __A_TAG_PLACEHOLDER_0__–215.

Jarn′-sax-a, a giantess, 125.

Jarn′-sax-a, a giantess, __A_TAG_PLACEHOLDER_0__.

Jarn′-sax-a, mother of Heimdall, 229.

Jarn′-sax-a, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Jof′-ur-mar, son of Dag, 223.

Jof′-ur-mar, son of Dag, __A_TAG_PLACEHOLDER_0__.

Jōn′-ak, father of Hamther, 439, 447, 536, 538, 542, 546, 548, 550, 553.

Jōn′-ak, father of Hamther, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Jor′-mun-rek, Ermanarich, 225, 226, 339, 407, 437, 439, 447, 451, 538–540, 546, 549, 551–554.

Jor′-mun-rek, Ermanarich, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–540, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–554.

Jorth, Earth, 12, 23, 24, 123, 136, 170, 174, 175, 389.

Jorth, Earth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Jōth, son of Jarl, 214.

Jōth, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Jot′-un-heim, the world of the giants, 3, 5, 6, 21, 107, 111, 128, 179–181, 186.

Jotunheim, the world of giants, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–181, __A_TAG_PLACEHOLDER_8__.

Kār′-a, daughter of Halfdan, 272, 310, 311, 314, 316, 330, 331, 345.

Kār′-a, daughter of Halfdan, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Kār′-i, ancestor of Ketil, 224.

Kār′-i, ancestor of Ketil, __A_TAG_PLACEHOLDER_0__.

Karl, son of Rig, 208, 209.

Karl, son of Rig, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Kār″-u-ljōth′, the Poem of Kara, 272, 311, 314, 315, 331.

Kār-u-ljōth, The Poem of Kara, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Kef′-sir, son of Thræll, 206.

Kef′-sir, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Ker′-laug, a river, 96.

Ker′-laug, a river, __A_TAG_PLACEHOLDER_0__.

Ket′-il Horth′-a = Kār′-i, husband of Hildigun, 223, 224.

Ket'il Horth'a = Kār'i, husband of Hildigun, 223, 224.

Kīl′-i, a dwarf, 7.

Kīl′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Kjal′-ar, Othin, 104.

Kjal′-ar, Odin, __A_TAG_PLACEHOLDER_0__.

Kjār, father of Olrun, 254–256, 485.

Kjār, father of Olrun, __A_TAG_PLACEHOLDER_0__–256, __A_TAG_PLACEHOLDER_1__.

Kleg′-gi, son of Thræll, 206.

Kleg′-gi, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Klūr, son of Thræll, 206.

Klūr, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Klypp, father of Ketil, 223.

Klypp, father of Ketil, __A_TAG_PLACEHOLDER_0__.

Knē′-fröth, Atli’s messenger, 448, 482, 483, 502.

Knē′-fröth, Atli’s messenger, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Kolg′-a, daughter of Ægir, 299.

Kolg′-a, daughter of Ægir, __A_TAG_PLACEHOLDER_0__.

Kon, son of Rig, 201, 209, 210, 214, 215, 236, 256, 306.

Kon, son of Rig, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Kormt, a river, 96.

Kormt, a river, __A_TAG_PLACEHOLDER_0__.

Kost′-ber-a, wife of Hogni, 449, 500, 502–506, 510. [573]

Kost′-ber-a, wife of Hogni, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–506, __A_TAG_PLACEHOLDER_3__. [__A_TAG_PLACEHOLDER_4__]

Kumb′-a, daughter of Thræll, 207.

Kumb′-a, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Kund, son of Jarl, 214.

Kund, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Lǣ′-gjarn, Loki, 245.

Lǣ'-gjarn, Loki, __A_TAG_PLACEHOLDER_0__.

Lǣ′-rāth, Yggdrasil, 94.

Læ′-rath, Yggdrasil, __A_TAG_PLACEHOLDER_0__.

Lǣv′-a-tein, a sword, 245.

Leav'atin, a sword, __A_TAG_PLACEHOLDER_0__.

Lauf′-ey, mother of Loki, 9, 157, 168, 177–179.

Laufey, mother of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–179.

Leg′-gjald-i, son of Thræll, 206.

Leg'gjald-i, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Leipt, a river, 95, 323.

Leipt, a river, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Leir′-brim-ir, Ymir (?), 242.

Leir-brimir, Ymir (?), __A_TAG_PLACEHOLDER_0__.

Lētt′-fet-i, a horse, 96.

Lett'fet, a horse, __A_TAG_PLACEHOLDER_0__.

Līf, mother of the new race, 80.

Life, mother of the new race, __A_TAG_PLACEHOLDER_0__.

Līf′-thras-ir, father of the new race, 80.

Lif'thrasir, father of the new race, __A_TAG_PLACEHOLDER_0__.

Lim′-a-fjord, a fjord, 501, 510.

Lim′-a-fjord, a fjord, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Lit, a dwarf, 7.

Lit, a small person, __A_TAG_PLACEHOLDER_0__.

Ljōth′-a-tal, the List of Charms, 28, 44, 60, 63, 236.

Ljōth′-a-tal, The List of Charms, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Lodd′-fāf-nir, a singer, 28, 52–59, 67.

Lodd′-fāf-nir, a singer, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–59, __A_TAG_PLACEHOLDER_2__.

Lodd″-fāf-nis-mǭl′, the Ballad of Loddfafnir, 28, 67, 387, 397.

Loddfafnismol, the Ballad of Loddfafnir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Lof′-ar, a dwarf, 7, 8.

Lof' ar, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Lofn′-heith, daughter of Hreithmar, 363.

Lofn′-heith, daughter of Hreithmar, __A_TAG_PLACEHOLDER_0__.

Log′-a-fjoll, a mountain, 294, 295, 316, 317.

Log′-a-fjoll, a mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Lok″-a-sen′-na, Loki’s Wrangling, 4, 16, 26, 102, 107, 130, 134, 139, 151–175, 177, 178, 180, 184, 196, 218, 228, 232, 236, 256, 306.

Lok’a-senna, Loki’s Wrangling, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–175, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Lok′-i, a god, 1, 8, 9, 11, 15–17, 21, 22, 25, 101, 102, 128, 130, 134, 146, 149–173, 175–179, 196, 198, 200, 228, 230–232, 245–247, 303, 357–362, 417, 493.

Lok'i, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–17, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__–173, __A_TAG_PLACEHOLDER_15__–179, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__–232, __A_TAG_PLACEHOLDER_21__–247, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__–362, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__.

Lōn′-i, a dwarf, 7.

Lōn′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Lopt, Loki, 154, 231, 245.

Lopt, Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Loth′-in, a giant, 282.

Loth'in, a giant, __A_TAG_PLACEHOLDER_0__.

Lōth′-ur, Loki, 8, 9, 154.

Lōth′-ur, Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Lūt, son of Thræll, 206.

Lūt, son of Thræll, __A_TAG_PLACEHOLDER_0__.

Lyf′-ja-berg, a mountain, 248, 251.

Lyf′-ja-berg, a mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Lyng′-heith, daughter of Hreithmar, 363, 364.

Lyng′-heith, daughter of Hreithmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Lyng′-vi, son of Hunding, 336, 368, 369.

Lyng'vi, Hunding's son, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Lȳr, Mengloth’s hall, 247.

Lyr, Mengloth’s hall, __A_TAG_PLACEHOLDER_0__.

Mag′-ni, son of Thor, 82, 125, 135.

Magni, son of Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Mān′-i, Moon, 74, 75, 99.

Mān'i, Moon, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Meil′-i, brother of Thor, 125.

Meil'i, Thor's brother, __A_TAG_PLACEHOLDER_0__.

Mēln′-ir, a horse, 306.

Mēln′-ir, a horse, __A_TAG_PLACEHOLDER_0__.

Men′-gloth, beloved of Svipdag, 234–236, 238, 239, 241, 248–251, 350, 388, 441.

Men'gloth, beloved of Svipdag, __A_TAG_PLACEHOLDER_0__–236, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–251, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Men′-ja, a giantess, 436.

Men′-ja, a giantess, __A_TAG_PLACEHOLDER_0__.

Mīm (or Mīm′-ir), a water-spirit, 12, 13, 20, 61, 81, 242, 393, 394.

Mīm (or Mīm′-ir), a water spirit, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Mīm′-a-meith, Yggdrasil, 242, 243.

Mīm′-a-meith, Yggdrasil, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Mīm′-ir, brother of Regin, 359.

Mímir, brother of Regin, __A_TAG_PLACEHOLDER_0__.

Mist, a Valkyrie, 99, 305. [574]

Mist, a Valkyrie, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__. [__A_TAG_PLACEHOLDER_2__]

Mith′-garth, the world of men, 3, 4, 92, 100, 101, 129, 186, 221, 223.

Mith′-garth, the world of men, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Mith″-garths-orm′, a serpent, 17, 21, 23, 24, 122, 139, 145, 146, 170, 196, 230.

Mith″-garths-orm′, a serpent, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Mith′-vit-nir, a giant, 104.

Mith′-vit-nir, a giant, __A_TAG_PLACEHOLDER_0__.

Mjoll′-nir, Thor’s hammer, 82, 126, 149, 169–171, 174, 181.

Mjollnir, Thor's hammer, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–171, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Mjoth′-vit-nir, a dwarf, 6, 7.

Mjoth′-vit-nir, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Mog, son of Jarl, 214.

Mog, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Mog′-thras-ir, a giant (?), 82.

Mog'thras-ir, a giant (?), __A_TAG_PLACEHOLDER_0__.

Mō′-in, a serpent, 98.

Mō′-in, a serpent, __A_TAG_PLACEHOLDER_0__.

Mō″-ins-heim′-ar, a battlefield, 304, 322.

Mō″-ins-heim′-ar, a battlefield, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Morn′-a-land, an eastern country, 470.

Morn'a-land, an eastern country, __A_TAG_PLACEHOLDER_0__.

Mōth′-i, son of Thor, 82, 148.

Moth, son of Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Mōth′-ir, mother of Jarl, 204, 210–212.

Mōth′-ir, mother of Jarl, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–212.

Mōt′-sog-nir, a dwarf, 6.

Mōt′-sog-nir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Mund″-il-fer′-i, father of Sol, 5, 74, 99.

Mund’ilferi, father of Sol, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Mun′-in, a raven, 92.

Mun′-in, a raven, __A_TAG_PLACEHOLDER_0__.

Mū′-spell, father of the fire-dwellers, 22, 165.

Mū′-spell, father of the fire-dwellers, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Mū′-spells-heim, home of the fire-dwellers, 3, 21, 73, 100.

Mū′-spells-heim, home of the fire-dwellers, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Mȳln′-ir, a horse, 306.

Mȳln′-ir, a horse, __A_TAG_PLACEHOLDER_0__.

Myrk′-heim, Myrkwood (Atli’s land), 498.

Myrkwood, Myrkwood (Atli’s land), __A_TAG_PLACEHOLDER_0__.

Myrk′-wood, a forest in Atli’s land, 476, 483, 484, 487, 498.

Myrk′-wood, a forest in Atli’s land, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Myrk′-wood, a forest in Hothbrodd’s land, 306.

Myrk'wood, a forest in Hothbrodd’s land, __A_TAG_PLACEHOLDER_0__.

Myrk′-wood, a forest in Muspellsheim, 165.

Myrk'wood, a forest in Muspellsheim, __A_TAG_PLACEHOLDER_0__.

Myrk′-wood, a forest in Nithuth’s land, 255, 256.

Myrk′-wood, a forest in Nithuth’s land, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Nab′-bi, a dwarf, 220.

Nab'bi, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nagl′-far, a ship, 21.

Nagl′-far, a ship, __A_TAG_PLACEHOLDER_0__.

Nāin, a dwarf, 6.

Nāin, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nal, Laufey, 168.

Nal, Laufey, __A_TAG_PLACEHOLDER_0__.

Nāl′-i, a dwarf, 7.

Nāl′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nan′-na, daughter of Nokkvi, 224.

Nan′-na, daughter of Nokkvi, __A_TAG_PLACEHOLDER_0__.

Nan′-na, wife of Baldr, 91.

Nan'na, wife of Baldr, __A_TAG_PLACEHOLDER_0__.

Nār, a dwarf, 6.

Nār, a dwarf, __A_TAG_PLACEHOLDER_0__.

Narf′-i, Nor, 75, 192.

Narf'i, Nor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Narf′-i, son of Loki, 16, 167, 172, 173.

Narf’i, son of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Nā′-strond, Corpse-Strand, 17.

Nā′-strond, Corpse-Strand, __A_TAG_PLACEHOLDER_0__.

Nep, father of Nanna, 91.

Nep, father of Nanna, __A_TAG_PLACEHOLDER_0__.

Ner′-i, a giant (?), 292.

Ner′-i, a giant?, __A_TAG_PLACEHOLDER_0__.

Nifl′-heim, the world of the dead, 3, 94.

Niflheim, the realm of the dead, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Nifl′-hel, land of the dead, 80, 196.

Nifl-hel, realm of the dead, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Nifl′-ungs, the people of Gjuki (Nibelungs), 408, 447, 448, 486, 487, 489, 492, 493, 515, 517, 541.

Nifl′-ungs, the people of Gjuki (Nibelungs), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Nīp′-ing, a dwarf, 6.

Nipping, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nith, son of Jarl, 214.

Nith, son of the Jarl, __A_TAG_PLACEHOLDER_0__.

Nith′-a-fjoll, a mountain, 16, 26, 27.

Nith'a-fjoll, a mountain, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Nith″-a-vel′-lir, home of the dwarfs, 3, 16.

Nith″-a-vel′-lir, dwarfs' home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Nīth′-hogg, a dragon, 17, 26, 27, 97–99.

Nīth′-hogg, a dragon, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–99.

Nith′-i, a dwarf, 6.

Nith′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nith′-jung, son of Jarl, 214. [575]

Nith' jung, son of Jarl, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Nīth′-uth, king of the Njars, 253–255, 257–268.

Nīth′-uth, king of the Njars, __A_TAG_PLACEHOLDER_0__–255, __A_TAG_PLACEHOLDER_1__–268.

Njāls′-sag-a, the Saga of Njal, 399.

Njáls saga, __A_TAG_PLACEHOLDER_0__.

Njars, the people of Nithuth, 254, 257, 259, 265, 268.

Njars, the people of Nithuth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Njorth, a Wane, 9, 10, 78, 79, 90, 91, 101, 107, 108, 119, 120, 128, 152, 161–163, 165, 167, 175, 179, 180, 228.

Njorth, a Wane, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__–163, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Nō′-a-tūn, home of Njorth, 90, 91, 108, 179, 180.

Nō′-a-tūn, home of Njorth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Nokk′-vi, father of Nanna, 224.

Nokk′-vi, father of Nanna, __A_TAG_PLACEHOLDER_0__.

Non, a river, 95.

No, a river, __A_TAG_PLACEHOLDER_0__.

Nor (or Norv′-i), father of Not, 75, 192.

Nor (or Norv′-i), father of Not, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Nōr′-i, a dwarf, 6.

Nōr′-i, a gnome, __A_TAG_PLACEHOLDER_0__.

Norn″-a-gests-thāttr′, the Story of Nornagest, 336, 356, 364, 369, 442, 444, 445.

Nornagest's Saga, The Story of Nornagest, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

North′-ri, a dwarf, 6.

North′-ri, a dwarf, __A_TAG_PLACEHOLDER_0__.

Not, a river, 95.

Not, a river, __A_TAG_PLACEHOLDER_0__.

Nǭt, Night, 66, 75, 192, 389.

Nǭt, Night, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Nȳ′-i, a dwarf, 6.

Nȳ′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nȳr, a dwarf, 7.

Nȳr, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nȳ′-rāth, a dwarf, 7.

Nyrath, a dwarf, __A_TAG_PLACEHOLDER_0__.

Nyt, a river, 95.

Nyt, a river, __A_TAG_PLACEHOLDER_0__.

Odd′-rūn, sister of Atli, 420, 438, 448, 449, 469–474, 476, 478, 479.

Odd′-rūn, sister of Atli, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–474, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Odd″-rūn-ar-grātr′, the Lament of Oddrun, 132, 420, 438, 447, 449, 450, 469–479, 483, 494, 522, 532.

Odd-run-ar-gratr, The Lament of Oddrun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–479, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Ofn′-ir, a serpent, 98.

Ofn′-ir, a serpent, __A_TAG_PLACEHOLDER_0__.

Ofn′-ir, Othin, 105.

Ofn'-ir, Othin, __A_TAG_PLACEHOLDER_0__.

Ō′-in, father of Andvari, 360. Ökk″-vin-kalf′-a, daughter of Thræll, 207.

Ō′-in, father of Andvari, 360. Ökk″-vin-kalf′-a, daughter of Thræll, 207.

Ō′-kōl-nir, a volcano (?), 16.

Ō′-kōl-nir, a volcano (?), __A_TAG_PLACEHOLDER_0__.

Ol′-mōth, father of Isolf, 224.

Old-moth, father of Isolf, __A_TAG_PLACEHOLDER_0__.

Ol′-rūn, a swan-maiden, 254–257, 485.

Old-run, a swan-maiden, __A_TAG_PLACEHOLDER_0__–257, __A_TAG_PLACEHOLDER_1__.

Ōm′-i, Othin, 104.

Ōm′-i, Othin, __A_TAG_PLACEHOLDER_0__.

Ōn′-ar, a dwarf, 6.

Ōn′-ar, a dwarf, __A_TAG_PLACEHOLDER_0__.

Ōr′-i, a dwarf, 8, 247.

Ōr′-i, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ork′-ning, brother of Kostbera, 449, 509, 510, 517.

Ork'ning, brother of Kostbera, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Ormt, a river, 96.

Ormt, a river, __A_TAG_PLACEHOLDER_0__.

Orv′-and-il, husband of Groa, 234.

Orv′-and-il, husband of Groa, __A_TAG_PLACEHOLDER_0__.

Orv′-ar = Odd, a warrior, 225.

Orv′-ar = Odd, a warrior, __A_TAG_PLACEHOLDER_0__.

Orv′-ar = Odds′-sag-a, the Saga of Orvar-Odd, 225.

Orv′-ar = Odds′-sag-a, the Saga of Orvar-Odd, 225.

Orv′-a-sund, a bay, 298.

Orv′-a-sund, a bay, __A_TAG_PLACEHOLDER_0__.

Ōsk′-i, Othin, 104.

Ōsk′-i, Othin, __A_TAG_PLACEHOLDER_0__.

Ō′-skōp-nir, an island, 376.

Ō′-skōp-nir, an island, __A_TAG_PLACEHOLDER_0__.

Ōs′-olf, son of Olmoth, 224.

Ōs′-olf, son of Olmoth, __A_TAG_PLACEHOLDER_0__.

Ōth, husband of Freyja, 11, 12, 161, 220, 232.

Ōth, Freyja's husband, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Ōth′-in, chief of the gods, 1, 3, 4, 8–15, 19–26, 28, 32, 45, 48–53, 60–63, 66, 68–84, 86, 88, 89, 91, 92, 94, 97, 98, 101–106, 108, 114, 117, 121, 122, 125, 126, 129, 131, 133, 134, 136, 139–141, 145, 149, 151, 152, 155, 157–160, 166, 167, 170, 174, 179, 182, 185, 195–200, 202, 203, 213, 218, 219, 221, 226, 228–231, 236, 274, 293–295, 302, 308, 319, 323–327, 330, 332, 335, 339, 342, [576]357–359, 361, 365, 366, 371, 372, 384, 390, 393–395, 416, 428, 445, 474, 483, 487, 493, 494, 553.

Ōth′-in, chief of the gods, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–15, __A_TAG_PLACEHOLDER_4__–26, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–53, __A_TAG_PLACEHOLDER_9__–63, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–84, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__–106, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__–141, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__, __A_TAG_PLACEHOLDER_38__, __A_TAG_PLACEHOLDER_39__–160, __A_TAG_PLACEHOLDER_40__, __A_TAG_PLACEHOLDER_41__, __A_TAG_PLACEHOLDER_42__, __A_TAG_PLACEHOLDER_43__, __A_TAG_PLACEHOLDER_44__, __A_TAG_PLACEHOLDER_45__, __A_TAG_PLACEHOLDER_46__, __A_TAG_PLACEHOLDER_47__–200, __A_TAG_PLACEHOLDER_48__, __A_TAG_PLACEHOLDER_49__, __A_TAG_PLACEHOLDER_50__, __A_TAG_PLACEHOLDER_51__, __A_TAG_PLACEHOLDER_52__, __A_TAG_PLACEHOLDER_53__, __A_TAG_PLACEHOLDER_54__, __A_TAG_PLACEHOLDER_55__–231, __A_TAG_PLACEHOLDER_56__, __A_TAG_PLACEHOLDER_57__, __A_TAG_PLACEHOLDER_58__–295, __A_TAG_PLACEHOLDER_59__, __A_TAG_PLACEHOLDER_60__, __A_TAG_PLACEHOLDER_61__, __A_TAG_PLACEHOLDER_62__–327, __A_TAG_PLACEHOLDER_63__, __A_TAG_PLACEHOLDER_64__, __A_TAG_PLACEHOLDER_65__, __A_TAG_PLACEHOLDER_66__, __A_TAG_PLACEHOLDER_67__, [__A_TAG_PLACEHOLDER_68__]357–359, __A_TAG_PLACEHOLDER_69__, __A_TAG_PLACEHOLDER_70__, __A_TAG_PLACEHOLDER_71__, __A_TAG_PLACEHOLDER_72__, __A_TAG_PLACEHOLDER_73__, __A_TAG_PLACEHOLDER_74__, __A_TAG_PLACEHOLDER_75__, __A_TAG_PLACEHOLDER_76__–395, __A_TAG_PLACEHOLDER_77__, __A_TAG_PLACEHOLDER_78__, __A_TAG_PLACEHOLDER_79__, __A_TAG_PLACEHOLDER_80__, __A_TAG_PLACEHOLDER_81__, __A_TAG_PLACEHOLDER_82__, __A_TAG_PLACEHOLDER_83__, __A_TAG_PLACEHOLDER_84__, __A_TAG_PLACEHOLDER_85__.

Oth′-lings, a mythical race, 221, 223, 226.

Oth′-lings, a mythical race, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ōth′-rör-ir, a goblet, 51, 61.

Ōth′-rör-ir, a goblet, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ōtr, brother of Regin, 358, 359, 362.

Ōtr, Regin's brother, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ōt′-tar, a warrior, 217–227, 231–233.

Ōt′-tar, a warrior, __A_TAG_PLACEHOLDER_0__–227, __A_TAG_PLACEHOLDER_1__–233.

Rǣv′-il, a sea-king, 366.

Rǣv′-il, a sea king, __A_TAG_PLACEHOLDER_0__.

Rag′-nar Loth′-brōk, a Danish king, 366.

Ragnar Lothbrok, a Danish king, __A_TAG_PLACEHOLDER_0__.

Rand′-grīth, a Valkyrie, 99.

Rand′-grīth, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Rand′-vēr, son of Jormunrek, 439, 538, 551.

Rand'ver, son of Jormunrek, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Rand′-vēr, son of Rathbarth, 227.

Rand'ver, son of Rathbarth, __A_TAG_PLACEHOLDER_0__.

Ran′-i, Othin, 236.

Ran'i, Othin, __A_TAG_PLACEHOLDER_0__.

Rat′-a-tosk, a squirrel, 97.

Rat′-a-tosk, a squirrel, __A_TAG_PLACEHOLDER_0__.

Rāth′-barth, a Russian king, 227.

Rāth′-barth, a Russian king, __A_TAG_PLACEHOLDER_0__.

Rāth′-grīth, a Valkyrie, 99.

Rāth′-grīth, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Rāths′-ey, an island, 124.

Rāths′-ey, an island, __A_TAG_PLACEHOLDER_0__.

Rāth′-svith, a dwarf, 7.

Rāth′-svith, a dwarf, __A_TAG_PLACEHOLDER_0__.

Rat′-i, a gimlet, 50.

Rat′-i, a gimlet, __A_TAG_PLACEHOLDER_0__.

Reg′-in, a dwarf, 7, 359.

Reg'in, a dwarf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Reg′-in, son of Hreithmar, 7, 343, 356–359, 361–366, 369–372, 377–383, 403.

Reg'in, son of Hreithmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__–359, __A_TAG_PLACEHOLDER_3__–366, __A_TAG_PLACEHOLDER_4__–372, __A_TAG_PLACEHOLDER_5__–383, __A_TAG_PLACEHOLDER_6__.

Reg′-in-leif, a Valkyrie, 99.

Reg′-in-leif, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Reg″-ins-mǭl′, the Ballad of Regin, 7, 8, 114, 151, 270, 295, 308, 333, 336, 342, 343, 356–371, 376, 378, 384, 386, 387, 402, 411, 426, 428, 448, 450, 493, 538.

Regin's Song, The Ballad of Regin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__–371, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__.

Reif′-nir, a berserker, 225.

Reif′-nir, a berserker, __A_TAG_PLACEHOLDER_0__.

Rīg, Heimdall (?), 3, 201–204, 207, 208, 210–212, 215, 216.

Riga, Heimdall (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–204, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–212, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Rigs′-thul-a, the Song of Rig, 3, 90, 167, 183, 201–216, 230, 428, 484.

Rigs' thul-a, The Song of Rig, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__–216, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Rīn, a river, 95.

Rīn, a river, __A_TAG_PLACEHOLDER_0__.

Rind, mother of Vali, 198, 236.

Rind, *mother of Vali*, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Rin′-nand-i, a river, 95.

Rin'nand-i, a river, __A_TAG_PLACEHOLDER_0__.

Rist′-il, daughter of Karl, 210.

Rist'il, Karl's daughter, __A_TAG_PLACEHOLDER_0__.

Rith′-il, a sword, 380.

Rith′-il, a sword, __A_TAG_PLACEHOLDER_0__.

Rog′-a-land, Norway, 281.

Rogaland, Norway, __A_TAG_PLACEHOLDER_0__.

Rog′-heim, Home of Battle, 289.

Rog′-heim, Home of Battle, __A_TAG_PLACEHOLDER_0__.

Rǭn, wife of Ægir, 280, 300, 359.

Rǭn, wife of Ægir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Rosk′-va, sister of Thjalfi, 141.

Rosk'va, sister of Thjalfi, __A_TAG_PLACEHOLDER_0__.

Roth′-uls-fjoll, a mountain, 289.

Roth′-uls-fjoll, a mountain, __A_TAG_PLACEHOLDER_0__.

Roth′-uls-voll, a field, 276.

Roth′-uls-voll, a field, __A_TAG_PLACEHOLDER_0__.

Ruth, a river, 237.

Ruth, a river, __A_TAG_PLACEHOLDER_0__.

Sǣ′-far-i, father of Ulf, 222.

Sǣ′-far-i, father of Ulf, __A_TAG_PLACEHOLDER_0__.

Sǣ′-hrim-nir, a boar, 92.

Sǣ′-hrim-nir, a boar, __A_TAG_PLACEHOLDER_0__.

Sæk′-in, a river, 95.

Sæk′-in, a river, __A_TAG_PLACEHOLDER_0__.

Sǣ′-kon-ung, father of Hildigun, 223.

Sǣ′-kon-ung, father of Hildigun, __A_TAG_PLACEHOLDER_0__.

Sǣ′-morn, a river, 275.

Sǣ′-morn, a river, __A_TAG_PLACEHOLDER_0__.

Sǣ′-reith, wife of Hjorvarth, 272, 273.

Sǣ′-reith, wife of Hjorvarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sǣ′-var-stath, an island, 261, 262.

Sǣ’var-stath, an island, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sāg′-a, a goddess, 89, 302.

Sāg′-a, a goddess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sal′-gof-nir, a cock, 329.

Sal′-gof-nir, a rooster, __A_TAG_PLACEHOLDER_0__.

Sāms′-ey, an island, 160.

Sāms′-ey, an island, __A_TAG_PLACEHOLDER_0__.

Sann′-get-al, Othin, 103.

Sann′-get-al, Othin, __A_TAG_PLACEHOLDER_0__.

Sath, Othin, 103. [577]

Sath, Othin, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Sax′-i, a southern king, 467.

Sax′-i, a southern king, __A_TAG_PLACEHOLDER_0__.

Segg, son of Karl, 209.

Segg, son of Karl, __A_TAG_PLACEHOLDER_0__.

Sess′-rym-nir, Freyja’s hall, 91, 175.

Sess'rymnir, Freyja’s hall, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sev′-a-fjoll, Sigrun’s home, 319, 323, 325, 327–329.

Sev'a-fjoll, Sigrun’s home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–329.

Sif, Thor’s wife, 88, 101, 134, 140, 143, 148, 151, 157, 168, 180, 184.

Sif, Thor’s wife, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Sig′-ar, a Danish king, 293.

Sig′-ar, a Danish king, __A_TAG_PLACEHOLDER_0__.

Sig′-ar, brother of Hogni, 312, 313.

Sig′-ar, brother of Hogni, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sig′-ar, father of Siggeir, 455.

Sig'ar, father of Siggeir, __A_TAG_PLACEHOLDER_0__.

Sig′-ar, Helgi’s messenger, 287, 288.

Sig′-ar, Helgi’s messenger, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sig′-ars-holm, an island, 277.

Sig′-ars-holm, an island, __A_TAG_PLACEHOLDER_0__.

Sig′-ars-voll, a battlefield, 277, 287, 293.

Sig′-ars-voll, a battlefield, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Sig′-fath-er, Othin, 23, 103, 104, 170.

Sig′-fath-er, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Sig′-geir, husband of Signy, 302, 303, 332, 455.

Siggeir, husband of Signy, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Sig′-mund, son of Sigurth, 407, 424, 428, 429, 456, 460.

Sigmund, son of Sigurth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Sig′-mund, son of Volsung, 218, 219, 226, 270, 276, 290–295, 301, 302, 307, 310, 311, 315, 317, 318, 330–336, 341, 364–366, 368, 369, 373, 374, 388, 389, 432, 455.

Sigmund, son of Volsung, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–295, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__–336, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__–366, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__.

Sig′-nȳ, sister of Sigmund, 270, 290, 293, 302, 332, 333, 455.

Sig′-nȳ, sister of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.

Sigr′-drif-a, Brynhild, 296, 384–386, 388, 390, 391, 403.

Sigr'drifta, Brynhild, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–386, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Sigr″-drif-u-mǭl′, the Ballad of the Victory-Bringer, 4, 99, 100, 119, 151, 293, 339, 344, 356, 357, 370, 381, 384–403, 411, 442, 444, 445, 450, 470, 472.

Sigr″-drif-u-mǭl′, The Ballad of the Victory-Bringer, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–403, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Sigr′-lin, wife of Hjorvarth, 271–276, 287.

Sigr′-lin, wife of Hjorvarth, __A_TAG_PLACEHOLDER_0__–276, __A_TAG_PLACEHOLDER_1__.

Sig′-rūn, wife of Helgi, 14, 269, 270, 289, 296, 299, 300, 306, 307, 309–316, 318–320, 323, 325–330, 339, 345.

Sig′-rūn, wife of Helgi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–316, __A_TAG_PLACEHOLDER_10__–320, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–330, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__.

Sig′-trygg, a king, 222.

Sig′-trygg, a king, __A_TAG_PLACEHOLDER_0__.

Sig′-tȳr, Othin, 494.

Sig'tyr, Odin, __A_TAG_PLACEHOLDER_0__.

Sig′-urth, son of Sigmund, 8, 226, 234, 260, 269, 270, 273, 277, 293, 295, 296, 303, 308, 333, 335–359, 361–380, 382–389, 391, 395, 396, 400, 402–407, 409–412, 414–433, 435, 437, 439–442, 445–448, 450–457, 460, 465, 469, 475, 476, 481, 484, 490, 493, 513, 518, 523, 532–534, 536–544, 546–548.

Sigurth, son of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__–359, __A_TAG_PLACEHOLDER_15__–380, __A_TAG_PLACEHOLDER_16__–389, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__–407, __A_TAG_PLACEHOLDER_22__–412, __A_TAG_PLACEHOLDER_23__–433, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__, __A_TAG_PLACEHOLDER_26__–442, __A_TAG_PLACEHOLDER_27__–448, __A_TAG_PLACEHOLDER_28__–457, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__, __A_TAG_PLACEHOLDER_38__, __A_TAG_PLACEHOLDER_39__, __A_TAG_PLACEHOLDER_40__, __A_TAG_PLACEHOLDER_41__–534, __A_TAG_PLACEHOLDER_42__–544, __A_TAG_PLACEHOLDER_43__–548.

Sig″-urth-a-kvith′-a en Skam′-ma, the Short Lay of Sigurth, 93, 241, 308, 407, 410, 416–441, 443, 448–450, 453, 459, 470, 475, 488, 493, 534, 538, 539, 543, 547.

Sigurth's Lay, The Short Lay of Sigurth, 93, 241, 308, 407, 410, 416–441, 443, 448–450, 453, 459, 470, 475, 488, 493, 534, 538, 539, 543, 547.

Sig′-urth Ring, son of Randver, 227.

Sig′-urth Ring, son of Randver, __A_TAG_PLACEHOLDER_0__.

Sig′-yn, wife of Loki, 16, 167, 172, 173.

Sigyn, wife of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Silf′-rin-topp, a horse, 96.

Silf′-rin-topp, a horse, __A_TAG_PLACEHOLDER_0__.

Sind′-ri, a dwarf, 16.

Sind′-ri, a dwarf, __A_TAG_PLACEHOLDER_0__.

Sin′-fjot-li, son of Sigmund, 270, 290, 293, 300–304, 307, 309, 318, 321, 322, 332–335. [578]

Sin′-fjot-li, son of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–304, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–335. [__A_TAG_PLACEHOLDER_10__]

Sin′-ir, a horse, 96.

Sin′-ir, a horse, __A_TAG_PLACEHOLDER_0__.

Sin′-mor-a, a giantess, 243, 245–247.

Sin′-mor-a, a giantess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–247.

Sin′-rjōth, wife of Hjorvarth, 272, 273.

Sin′-rjōth, wife of Hjorvarth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sīth, a river, 95.

Sīth, a river, __A_TAG_PLACEHOLDER_0__.

Sīth′-gran-i, Othin, 185.

Sith’grani, Odin, __A_TAG_PLACEHOLDER_0__.

Sīth′-hott, Othin, 103.

Sith-hot, Odin, __A_TAG_PLACEHOLDER_0__.

Sīth′-skegg, Othin, 103.

Sith-skegg, Odin, __A_TAG_PLACEHOLDER_0__.

Skāf′-ith, a dwarf, 8.

Skāf′-ith, a dwarf, __A_TAG_PLACEHOLDER_0__.

Skāld″-skap-ar-māl, the Treatise on Poetics, 189, 192, 221, 274, 359, 370, 538, 547.

Skaldskaparmal, The Art of Poetry, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Skat′-a-lund, a forest, 445.

Skat'ah-lund, a forest, __A_TAG_PLACEHOLDER_0__.

Skath′-i, a goddess, 90, 108, 128, 152, 157, 167, 168, 172, 180, 228.

Skath′-i, a goddess, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__.

Skegg′-jold, a Valkyrie, 99.

Skegg'jold, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Skeith′-brim-ir, a horse, 96.

Skeith′-brim-ir, a horse, __A_TAG_PLACEHOLDER_0__.

Skek′-kil, father of Skurhild, 224.

Skek'kil, father of Skurhild, __A_TAG_PLACEHOLDER_0__.

Skelf′-ir, a king, 221.

Skelf′-ir, a king, __A_TAG_PLACEHOLDER_0__.

Skilf′-ing, Othin, 105, 221.

Skilf-ing, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Skilf′-ings, descendants of Skelfir, 221, 223.

Skilf'ings, descendants of Skelfir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Skin′-fax-i, a horse, 71, 96.

Skin′-fax-i, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Skirf′-ir, a dwarf, 8.

Skirf′-ir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Skirn′-ir, Freyr’s servant, 107–115, 119, 120, 152.

Skirn′-ir, Freyr’s servant, __A_TAG_PLACEHOLDER_0__–115, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Skirn″-is-mǭl′, the Ballad of Skirnir, 21, 22, 78, 86, 88, 101, 107–121, 126, 149, 152, 162, 163, 165, 174, 175, 193, 218, 228, 282, 360.

Skirnir's poem, The Ballad of Skirnir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–121, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__.

Skīth′-blath-nir, a ship, 101, 102.

Skith-blath-nir, a ship, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Skjold, a Danish king, 221.

Skjold, a Danish king, __A_TAG_PLACEHOLDER_0__.

Skjöld″-ung-a-sag′-a, the Saga of the Skjoldungs, 216.

Saga of the Skjoldungs, __A_TAG_PLACEHOLDER_0__.

Skjold′-ungs, descendants of Skjold, 221–223.

Skjold′-ungs, descendants of Skjold, __A_TAG_PLACEHOLDER_0__–223.

Skog′-ul, a Valkyrie, 14, 99.

Skog′-ul, a Valkyrie, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Skoll, a wolf, 18, 81, 93, 100.

Skoll, a wolf, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Skor′-u-strond, home of Varin, 281.

Skor'u-strond, home of Varin, __A_TAG_PLACEHOLDER_0__.

Skrȳm′-ir, a giant, 122, 130, 170, 171.

Skrȳm′-ir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Skuld, a Norn, 9.

Skuld, a Norn, __A_TAG_PLACEHOLDER_0__.

Skuld, a Valkyrie, 14.

Skuld, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Skûr′-hild, daughter of Skekkil, 224.

Skûr′-hild, daughter of Skekkil, __A_TAG_PLACEHOLDER_0__.

Slag′-fith, brother of Völund, 254–257.

Slag′-fith, brother of Völund, __A_TAG_PLACEHOLDER_0__–257.

Sleip′-nir, Othin’s horse, 97, 102, 126, 160, 196, 230, 342, 394.

Sleip′-nir, Odin's horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Slīth, a river, 16, 95.

Slīth, a river, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Smith, son of Karl, 209.

Smith, Karl's son, __A_TAG_PLACEHOLDER_0__.

Snǣ′-fjoll, a mountain, 293.

Snǣ′-fjoll, a mountain, __A_TAG_PLACEHOLDER_0__.

Snǣv′-ar, son of Hogni, 449, 487, 509, 517.

Snǣv′-ar, son of Hogni, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Snör, wife of Karl, 209.

Snör, wife of Karl, __A_TAG_PLACEHOLDER_0__.

Snōt, daughter of Karl, 210.

Snōt, daughter of Karl, __A_TAG_PLACEHOLDER_0__.

Sogn, a bay, 305.

Sogn, a bay, __A_TAG_PLACEHOLDER_0__.

Sǭg′-u-nes, a cape, 302.

Sǭg′-u-nes, a cape, __A_TAG_PLACEHOLDER_0__.

Sokk′-mīm-ir, a giant, 104.

Sokk′-mīm-ir, a giant, __A_TAG_PLACEHOLDER_0__.

Sökk′-va-bekk, Saga’s dwelling, 88, 89.

Sökk′-va-bekk, Saga’s dwelling, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sōl, Sun, 74, 75, 79.

Sōl, Sun, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Sōl′-ar, son of Hogni, 449, 487, 509, 517.

Sōl′-ar, son of Hogni, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Sōl′-bjart, father of Svipdag, 250.

Sólbjart, father of Svipdag, __A_TAG_PLACEHOLDER_0__.

Sōl′-blind-i, a dwarf, 241. [579]

Sōl′-blind-i, a dwarf, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Sōl′-fjoll, a mountain, 293.

Sólfjöll, a mountain, __A_TAG_PLACEHOLDER_0__.

Sōl′-heim-ar, Hothbrodd’s home, 304.

Sōl′-heim-ar, Hothbrodd's home, __A_TAG_PLACEHOLDER_0__.

Sorl′-i, son of Jonak, 361, 439, 536, 538, 540, 545, 546, 548–550, 552–555.

Sorl'i, son of Jonak, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–550, __A_TAG_PLACEHOLDER_8__–555.

Spar′-ins-heith, Sparin’s Heath, 306.

Sparin’s Heath, __A_TAG_PLACEHOLDER_0__.

Spor′-vit-nir, a horse, 306.

Spor'vit-nir, a horse, __A_TAG_PLACEHOLDER_0__.

Sprak′-ki, daughter of Karl, 210.

Sprak′-ki, Karl's daughter, __A_TAG_PLACEHOLDER_0__.

Sprund, daughter of Karl, 210.

Sprund, Karl's daughter, __A_TAG_PLACEHOLDER_0__.

Stafns′-nes, a cape, 298.

Stafns’nes, a cape, __A_TAG_PLACEHOLDER_0__.

Stark′-ath, son of Granmar, 316, 319, 320.

Stark'ath, son of Granmar, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Stor′-verk, father of Starkath, 320.

Stor' verk, father of Starkath, __A_TAG_PLACEHOLDER_0__.

Strond, a river, 95.

Strond, a river, __A_TAG_PLACEHOLDER_0__.

Styr′-kleif-ar, a battlefield, 319, 320.

Styr'kleif-ar, a battlefield, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Sun, son of Jarl, 214.

Sun, son of Jarl, __A_TAG_PLACEHOLDER_0__.

Surt, a giant, 18, 20–22, 73, 82, 110, 165, 243, 376.

Surt, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–22, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Suth′-ri, a dwarf, 6.

Suth′-ri, a dwarf, __A_TAG_PLACEHOLDER_0__.

Sut′-tung, a giant, 32, 50–52, 117, 187, 193.

Sut'tung, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–52, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Svaf′-nir, a king, 273–275, 278.

Svaf′-nir, a king, __A_TAG_PLACEHOLDER_0__–275, __A_TAG_PLACEHOLDER_1__.

Svaf′-nir, a serpent, 98.

Svaf′-nir, a serpent, __A_TAG_PLACEHOLDER_0__.

Svaf′-nir, Othin, 105.

Svaf′-nir, Othin, __A_TAG_PLACEHOLDER_0__.

Svafr′-thor-in, Mengloth’s grandfather, 241.

Svafr'thor-in, Mengloth’s grandfather, __A_TAG_PLACEHOLDER_0__.

Sval′-in, a shield, 100, 394.

Sval′-in, a shield, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Svan, father of Sæfari, 222.

Svan, father of Sæfari, __A_TAG_PLACEHOLDER_0__.

Svan′-hild, daughter of Sigurth, 226, 339, 407, 437, 439, 447, 448, 537, 538, 540–542, 546, 551.

Svan′-hild, daughter of Sigurth, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–542, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__.

Svan′-ni, daughter of Karl, 210.

Svan'ni, daughter of Karl, __A_TAG_PLACEHOLDER_0__.

Svār′-ang, a giant, 131.

Svār′-ang, a giant, __A_TAG_PLACEHOLDER_0__.

Svar′-in, a hill, 300, 316, 317.

Svar'in, a hill, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Svar′-ri, daughter of Karl, 210.

Svar′-ri, daughter of Karl, __A_TAG_PLACEHOLDER_0__.

Svart″-alf-a-heim′, the world of the dark elves, 3, 187.

Svartalfheim, the world of the dark elves, 3, 187.

Svart′-hofth-i, a magician, 229.

Svart′-hofth-i, a wizard, __A_TAG_PLACEHOLDER_0__.

Svath″-il-far′-i, a stallion, 102, 159, 160, 196, 230.

Svath-il-fari, a stallion, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Svāv′-a, daughter of Eylimi, 14, 270, 271, 276–278, 282, 284, 285, 287–289, 311, 313, 335, 339, 345.

Svāv′-a, daughter of Eylimi, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–278, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–289, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__.

Svāv′-a, wife of Sækonung, 223.

Svāv′-a, wife of Sækonung, __A_TAG_PLACEHOLDER_0__.

Svāv′-a-land, Svafnir’s country, 273, 275, 276, 278.

Svāv′-a-land, Svafnir’s country, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Svegg′-juth, a horse, 304, 305.

Svegg′-juth, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Svein, son of Jarl, 214.

Svein, son of the Jarl, __A_TAG_PLACEHOLDER_0__.

Sver″-ris-sag′-a, the Saga of Sverrir, 370.

Sverrir's Saga, __A_TAG_PLACEHOLDER_0__.

Svip′-al, Othin, 103.

Svip'al, Odin, __A_TAG_PLACEHOLDER_0__.

Svip′-dag, son of Solbjart, 234–236, 238–250.

Svip′-dag, son of Solbjart, __A_TAG_PLACEHOLDER_0__–236, __A_TAG_PLACEHOLDER_1__–250.

Svip″-dags-mǭl′, the Ballad of Svipdag, 60, 81, 154, 234–251, 350, 388, 441, 472.

Svipdag's Ballad, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–251, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Svip′-uth, a horse, 304, 305.

Svip′-uth, a horse, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Svith′-rir, Othin, 104.

Svith′-rir, Odin, __A_TAG_PLACEHOLDER_0__.

Svith′-ur, Othin, 104.

Svith′-ur, Odin, __A_TAG_PLACEHOLDER_0__.

Svī′-ur, a dwarf, 7.

Svī′-ur, a dwarf, __A_TAG_PLACEHOLDER_0__.

Svol, a river, 95.

Svol, a river, __A_TAG_PLACEHOLDER_0__.

Svǭs′-uth, father of Summer, 75.

Svǭs′-uth, father of Summer, __A_TAG_PLACEHOLDER_0__.

Sylg, a river, 95. [580]

Sylg, a river, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Thakk′-rāth, Nithuth’s thrall, 268.

Thakk′-rāth, Nithuth’s servant, __A_TAG_PLACEHOLDER_0__.

Thegn, son of Karl, 209.

Thegn, son of Karl, __A_TAG_PLACEHOLDER_0__.

Thekk, a dwarf, 7.

Thekk, a dwarf, __A_TAG_PLACEHOLDER_0__.

Thekk, Othin, 103.

Thekk, Othin, __A_TAG_PLACEHOLDER_0__.

Thīr, wife of Thræll, 206.

Thīr, wife of Thræll, __A_TAG_PLACEHOLDER_0__.

Thith″-reks-sag′-a, the Saga of Theoderich, 252, 254, 262, 265, 267, 268, 359, 410, 426, 530.

Thith″-reks-sag′-a, The Saga of Theoderich, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__.

Thjalf′-i, Thor’s servant, 126, 127, 133, 141, 149.

Thjalf′-i, Thor's servant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Thjaz′-i, a giant, 89, 90, 128, 152, 167, 168, 175, 228.

Thjaz′-i, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Thjōth′-mar, father of Thjothrek, 466, 467.

Thjōth′-mar, father of Thjothrek, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thjoth′-num-a, a river, 95.

Thjoth′-num-a, a river, __A_TAG_PLACEHOLDER_0__.

Thjōth′-rek, Theoderich, 451, 465–467, 517.

Thjōth′-rek, Theoderich, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–467, __A_TAG_PLACEHOLDER_2__.

Thjōth′-rör-ir, a dwarf, 66.

Thjōth′-rör-ir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Thjōth′-var-a, Mengloth’s handmaid, 248.

Thjōth′-var-a, Mengloth’s handmaid, __A_TAG_PLACEHOLDER_0__.

Thjōth′-vit-nir, Skoll, 93.

Thjōth′-vit-nir, Skoll, __A_TAG_PLACEHOLDER_0__.

Thol, a river, 95.

Thol, a river, __A_TAG_PLACEHOLDER_0__.

Tholl′-ey, an island, 282.

Tholl′-ey, an island, __A_TAG_PLACEHOLDER_0__.

Thōr, a god, 12, 23, 24, 82, 83, 88, 93, 94, 96, 121–149, 151, 152, 168–171, 174, 176, 178–180, 182–193, 219, 228, 234, 303, 394.

Thōr, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–149, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–171, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__–180, __A_TAG_PLACEHOLDER_16__–193, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__.

Thōr′-a, daughter of Hokon, 419, 454, 455.

Thōr′-a, daughter of Hokon, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Thōr′-a, wife of Dag, 222, 454.

Thōr′-a, wife of Dag, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thōr′-in, a dwarf, 7.

Thōr′-in, a dwarf, __A_TAG_PLACEHOLDER_0__.

Thōr′-ir, follower of Hrolf, 224.

Thórir, follower of Hrolf, __A_TAG_PLACEHOLDER_0__.

Thōrs′-nes, a cape, 303.

Thōrs′-nes, a cape, __A_TAG_PLACEHOLDER_0__.

Thrǣll, son of Rig, 205, 206.

Thrall, son of Rig, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thrāin, a dwarf, 7.

Thrāin, a dwarf, __A_TAG_PLACEHOLDER_0__.

Thrith′-i, Othin, 103.

Thrith′-i, Othin, __A_TAG_PLACEHOLDER_0__.

Thrōr, a dwarf, 7.

Thrōr, a dwarf, __A_TAG_PLACEHOLDER_0__.

Thrōr, Othin, 104.

Thrōr, Odin, __A_TAG_PLACEHOLDER_0__.

Thrūth, a Valkyrie, 99.

Truth, a Valkyrie, __A_TAG_PLACEHOLDER_0__.

Thrūth, daughter of Thor, 184.

Truth, daughter of Thor, __A_TAG_PLACEHOLDER_0__.

Thrūth′-gel-mir, a giant, 76, 77.

Thrūth′-gel-mir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thrūth′-heim, Thor’s home, 88.

Thor's home, __A_TAG_PLACEHOLDER_0__.

Thrym, a giant, 174, 176, 177, 179–182.

Thrym, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–182.

Thrym′-gjol, a gate, 241.

Thrym's gate, __A_TAG_PLACEHOLDER_0__.

Thrym′-heim, Thjazi’s home, 89, 90.

Thrym's home, Thjazi’s home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thryms′-kvith-a, the Lay of Thrym, 12, 82, 107, 122, 128, 129, 143, 159, 166, 169, 174–183, 185, 195, 210, 252, 274, 471.

Thryms' poem, the Lay of Thrym, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__–183, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__.

Thund, a river, 93.

Thund, a river, __A_TAG_PLACEHOLDER_0__.

Thund, Othin, 63, 105.

Thund, Odin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Thuth, Othin, 103.

Thuth, Othin, __A_TAG_PLACEHOLDER_0__.

Thyn, a river, 95.

Thyn, a river, __A_TAG_PLACEHOLDER_0__.

Tind, a berserker, 225.

Tind, a berserker, __A_TAG_PLACEHOLDER_0__.

Tot″-rug-hyp′-ja, daughter of Thræll, 207.

Tot rug hyp ja, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Tron″-u-bein′-a, daughter of Thræll, 207.

Tron-u-bein-a, daughter of Thræll, __A_TAG_PLACEHOLDER_0__.

Tron′-u-eyr, Crane-Strand, 298.

Tron′-u-eyr, Crane-Strand, __A_TAG_PLACEHOLDER_0__.

Tveg′-gi, Othin, 25.

Tveg'gi, Othin, __A_TAG_PLACEHOLDER_0__.

Tȳr, a god, 18, 140–143, 147–149, 152, 163, 164, 228, 391.

Týr, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–143, __A_TAG_PLACEHOLDER_2__–149, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.

Tyrf′-ing, a berserker, 225. [581]

Tyrf′-ing, a berserker, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Ulf, follower of Hrolf, 224.

Ulf, Hrolf's follower, __A_TAG_PLACEHOLDER_0__.

Ulf, son of Sæfari, 222.

Ulf, son of Sæfari, __A_TAG_PLACEHOLDER_0__.

Ulf′-dal-ir, Völund’s home, 254, 255, 257, 259.

Ulf′-dal-ir, Völund’s home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Ulf′-rūn, mother of Heimdall, 229.

Ulf′-rūn, mother of Heimdall, __A_TAG_PLACEHOLDER_0__.

Ulf′-sjār, a lake, 254, 255.

Ulf′-sjār, a lake, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ull, a god, 88, 100, 228, 494.

Ull, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Un″-a-vāg′-ar, a harbor, 300.

Un”-a-vāg′-ar, a harbor, __A_TAG_PLACEHOLDER_0__.

Un′-i, a dwarf, 247.

Un′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Urth, a Norn, 9, 52, 96, 236, 250, 251.

Urth, a Norn, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Ūt′-garth-a=Lok′-i, a giant, 122, 130.

Ūt′-garth-a=Lok′-i, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Uth, daughter of Ægir, 323, 466.

Uth, Ægir's daughter, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Uth, Othin, 103.

Uth, Othin, __A_TAG_PLACEHOLDER_0__.

Vaf′-thrūth-nir, a giant, 68–83.

Vaf' thruthnir, a giant, __A_TAG_PLACEHOLDER_0__–83.

Vaf″-thrūth-nis-mǭl′, the Ballad of Vafthruthnir, 4, 5, 21, 68–84, 99, 100, 115, 116, 131, 141, 149, 152, 174, 183, 192, 242, 247, 360, 368, 375, 376, 378.

Vaf″-thrūth-nis-mǭl′, the Ballad of Vafthruthnir, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__–84, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__.

Vak, Othin, 105.

Vak, Othin, __A_TAG_PLACEHOLDER_0__.

Vāl′-a-skjolf, Othin’s home, 88.

Vāl'askjolf, Odin's home, __A_TAG_PLACEHOLDER_0__.

Val′-bjorg, Grimhild’s land, 461.

Val′-bjorg, Grimhild’s land, __A_TAG_PLACEHOLDER_0__.

Vald′-ar, a Danish king, 456, 457.

Vald′-ar, a Danish king, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Val′-fath-er, Othin, 3, 12, 104.

Val-father, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Val′-grind, a gate, 93.

Val′-grind, a gate, __A_TAG_PLACEHOLDER_0__.

Val′-hall, Othin’s hall, 3, 14, 15, 25, 79, 88, 89, 92–94, 218, 220, 232, 325, 326, 441, 474, 480, 483.

Valhalla, Odin’s hall, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–94, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__.

Vāl′-i, a god, 15, 82, 198, 227, 228, 236.

Vāl′-i, a deity, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__.

Vāl′-i, son of Loki, 16, 167, 172, 173.

Vali, son of Loki, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Val′-land, Slaughter-Land, 129, 136, 254, 255, 443.

Val′-land, Slaughter-Land, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Val′-tam, father of Vegtam, 197.

Val'tam, father of Vegtam, __A_TAG_PLACEHOLDER_0__.

Vam, a river, 165.

Vam, a river, __A_TAG_PLACEHOLDER_0__.

Van′-a-heim, home of the Wanes, 3, 187.

Van'a-heim, home of the Wanes, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vand′-ils-vē, a shrine, 324.

Vand′-ils-vē, a shrine, __A_TAG_PLACEHOLDER_0__.

Van′-ir, the Wanes, 1, 10.

Van′-ir, the Wanes, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Var, a dwarf, 247.

Var, a dwarf, __A_TAG_PLACEHOLDER_0__.

Var′-in, a Norwegian king (?), 281, 302.

Var′-in, a Norwegian king (?), __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Var′-ins-fjord, a bay, 298, 299.

Var′-ins-fjord, a bay, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vār′-kald, father of Vindkald, 240.

Vār′-kald, father of Vindkald, __A_TAG_PLACEHOLDER_0__.

Vath′-gel-mir, a river, 360.

Vath′-gel-mir, a river, __A_TAG_PLACEHOLDER_0__.

Vē, brother of Othin, 4, 26, 160.

Vē, brother of Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Veg′-dras-il, a dwarf, 247.

Veg′-dras-il, a dwarf, __A_TAG_PLACEHOLDER_0__.

Veg′-svin, a river, 95.

Veg'svin, a river, __A_TAG_PLACEHOLDER_0__.

Veg′-tam, Othin, 195, 197, 199.

Veg'tam, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Veg″-tams-kvith′-a, the Lay of Vegtam, 195.

Vegtam's Lay, __A_TAG_PLACEHOLDER_0__.

Vel″-ents-sag′-a, the Saga of Velent, 252.

Velents Saga, __A_TAG_PLACEHOLDER_0__.

Ver′-a-tȳr, Othin, 87, 88.

Verity, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Ver′-land, Land of Men, 136.

Ver′-land, Land of Men, __A_TAG_PLACEHOLDER_0__.

Verth′-and-i, a Norn, 9.

Verth′-and-i, a Norn, __A_TAG_PLACEHOLDER_0__.

Vestr′-i, a dwarf, 6.

Vestr′-i, a dwarf, __A_TAG_PLACEHOLDER_0__.

Vestr′-sal-ir, Rind’s home, 198.

Vestr′-sal-ir, Rind's home, __A_TAG_PLACEHOLDER_0__.

Vethr′-fol-nir, a hawk, 97.

Vethr'-fol-nir, a hawk, __A_TAG_PLACEHOLDER_0__.

Vē′-ur, Thor, 142, 144, 145.

Vē′-ur, Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Vīf, daughter of Karl, 210. [582]

Vīf, daughter of Karl, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Vīg′-blǣr, Helgi’s horse, 325.

Vīg-blær, Helgi’s horse, __A_TAG_PLACEHOLDER_0__.

Vīg′-dal-ir, Battle-Dale, 324, 325.

Vigdalir, Battle-Dale, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vigg, a dwarf, 7.

Vigg, a dwarf, __A_TAG_PLACEHOLDER_0__.

Vīg′-rith, a field, 73, 376.

Vig'rithe, a field, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vil′-i, brother of Othin, 4, 26, 160.

Vil′-i, brother of Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Vil′-meith, a dwarf (?), 229.

Vil′-meith, a dwarf (?), __A_TAG_PLACEHOLDER_0__.

Vil′-mund, lover of Borgny, 469–472.

Vil'mund, Borgny's lover, __A_TAG_PLACEHOLDER_0__–472.

Vin, a river, 95.

Vin, a river, __A_TAG_PLACEHOLDER_0__.

Vin′-bjorg, Grimhild’s land, 461.

Vin′-bjorg, Grimhild’s land, __A_TAG_PLACEHOLDER_0__.

Vind′-alf, a dwarf, 7.

Vind′-alf, a dwarf, __A_TAG_PLACEHOLDER_0__.

Vind′-heim, Wind-Home, 25, 26.

Vindheim, Wind-Home, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vind′-kald, Svipdag, 240.

Vind′-kald, Svipdag, __A_TAG_PLACEHOLDER_0__.

Vind′-ljōn-i, Vindsval, 75.

Vind'ljoni, Vindsval, __A_TAG_PLACEHOLDER_0__.

Vind′-sval, father of Winter, 75.

Vind'sval, father of Winter, __A_TAG_PLACEHOLDER_0__.

Ving′-i, Atli’s messenger, 448, 482, 501, 502, 510, 512–514, 517.

Ving'i, Atli’s messenger, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__–514, __A_TAG_PLACEHOLDER_6__.

Ving′-nir, Thor, 82, 135, 174.

Ving'nir, Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Ving′-skorn-ir, a horse, 384.

Ving' skorn ir, a horse, __A_TAG_PLACEHOLDER_0__.

Ving′-thor, Thor, 135, 174, 185, 186.

Vingthor, Thor, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Vīn′-ǭ, a river, 95.

Vīn′-ǭ, a river, __A_TAG_PLACEHOLDER_0__.

Virf′-ir, a dwarf, 8.

Virf′-ir, a dwarf, __A_TAG_PLACEHOLDER_0__.

Vit, a dwarf, 7.

Vit, a dwarf, __A_TAG_PLACEHOLDER_0__.

Vīth, a river, 95.

Vīth, a river, __A_TAG_PLACEHOLDER_0__.

Vīth′-ar, a god, 23, 82, 83, 91, 152, 155, 156, 164, 170, 228.

Vīth′-ar, a god, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__.

Vith′-ga, son of Völund, 268.

Vith'ga, son of Völund, __A_TAG_PLACEHOLDER_0__.

Vith′-i, Vithar’s land, 91.

Vith'i, Vithar's land, __A_TAG_PLACEHOLDER_0__.

Vith′-of-nir, a cock, 243, 245, 246.

Vith′-of-nir, a rooster, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Vīth′-olf, a dwarf (?), 229.

Vith'olf, a dwarf (?), __A_TAG_PLACEHOLDER_0__.

Vith′-rir, Othin, 160, 295.

Vith′-rir, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Vith′-ur, Othin, 104.

Vith′-ur, Odin, __A_TAG_PLACEHOLDER_0__.

Vǭf′-uth, Othin, 105.

Vǭf′-uth, Odin, __A_TAG_PLACEHOLDER_0__.

Vols′-ung, father of Sigmund, 218, 219, 226, 270, 293, 302, 307, 310, 332–334, 366, 421.

Volsung, father of Sigmund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__–334, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__.

Vols″-ung-a-sag′-a, the Saga of the Volsungs, 218, 226, 270, 276, 297, 299, 301, 332–334, 336, 340, 342, 345, 349, 350, 352, 353, 356, 361, 365, 366, 368, 370, 371, 373, 375, 377–379, 381, 383, 386, 391, 395, 396, 399, 400, 402, 403, 405, 407, 410–412, 418, 419, 425, 427, 433, 438, 440, 448, 450, 453, 455–458, 465, 469, 477, 478, 480, 486, 487, 500, 506, 508, 512–514, 518–522, 525–530, 532, 534, 537, 538, 543, 549, 550, 553, 554.

Volsung Saga, the Saga of the Volsungs, 218, 226, 270, 276, 297, 299, 301, 332–334, 336, 340, 342, 345, 349, 350, 352, 353, 356, 361, 365, 366, 368, 370, 371, 373, 375, 377–379, 381, 383, 386, 391, 395, 396, 399, 400, 402, 403, 405, 407, 410–412, 418, 419, 425, 427, 433, 438, 440, 448, 450, 453, 455–458, 465, 469, 477, 478, 480, 486, 487, 500, 506, 508, 512–514, 518–522, 525–530, 532, 534, 537, 538, 543, 549, 550, 553, 554.

Vols′-ungs, descendants of Volsung, 269–272, 290–292, 306–311, 318, 319, 332, 333, 339, 421, 422, 425, 428.

Volsungs, descendants of Volsung, __A_TAG_PLACEHOLDER_0__–272, __A_TAG_PLACEHOLDER_1__–292, __A_TAG_PLACEHOLDER_2__–311, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__.

Völ′-und, a smith, 252–262, 264–268, 527.

Völ′-und, a blacksmith, __A_TAG_PLACEHOLDER_0__–262, __A_TAG_PLACEHOLDER_1__–268, __A_TAG_PLACEHOLDER_2__.

Völ″-und-ar-kvith′-a, the Lay of Völund, 129, 252–268, 296, 303, 319, 437, 443, 444, 471, 485, 493, 527.

Völundarkviða, the Lay of Völund, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__–268, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__.

Vol″-u-spǭ′, the Wise-Woman’s Prophecy, 1–28, 52, 61, 62, 68, 69, 73–75, 77, 78, 80–83, 89–91, 93, 95–97, 99–102, [583]108, 110, 112–115, 129, 136, 140, 145, 146, 152, 154, 156, 160–164, 166, 170, 172–174, 176, 178, 179, 186, 188, 195, 196, 198, 200, 203, 217, 218, 220, 223, 227–232, 236, 242, 243, 245, 247, 254, 276, 291, 293, 296, 314, 319, 359, 360, 375, 393, 394, 416, 444, 508, 542.

Vol″-u-spǭ′, The Wise-Woman’s Prophecy, __A_TAG_PLACEHOLDER_0__–28, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__–75, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__–83, __A_TAG_PLACEHOLDER_10__–91, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–97, __A_TAG_PLACEHOLDER_13__–102, [__A_TAG_PLACEHOLDER_14__]108, __A_TAG_PLACEHOLDER_15__, __A_TAG_PLACEHOLDER_16__–115, __A_TAG_PLACEHOLDER_17__, __A_TAG_PLACEHOLDER_18__, __A_TAG_PLACEHOLDER_19__, __A_TAG_PLACEHOLDER_20__, __A_TAG_PLACEHOLDER_21__, __A_TAG_PLACEHOLDER_22__, __A_TAG_PLACEHOLDER_23__, __A_TAG_PLACEHOLDER_24__, __A_TAG_PLACEHOLDER_25__–164, __A_TAG_PLACEHOLDER_26__, __A_TAG_PLACEHOLDER_27__, __A_TAG_PLACEHOLDER_28__–174, __A_TAG_PLACEHOLDER_29__, __A_TAG_PLACEHOLDER_30__, __A_TAG_PLACEHOLDER_31__, __A_TAG_PLACEHOLDER_32__, __A_TAG_PLACEHOLDER_33__, __A_TAG_PLACEHOLDER_34__, __A_TAG_PLACEHOLDER_35__, __A_TAG_PLACEHOLDER_36__, __A_TAG_PLACEHOLDER_37__, __A_TAG_PLACEHOLDER_38__, __A_TAG_PLACEHOLDER_39__, __A_TAG_PLACEHOLDER_40__, __A_TAG_PLACEHOLDER_41__, __A_TAG_PLACEHOLDER_42__, __A_TAG_PLACEHOLDER_43__–232, __A_TAG_PLACEHOLDER_44__, __A_TAG_PLACEHOLDER_45__, __A_TAG_PLACEHOLDER_46__, __A_TAG_PLACEHOLDER_47__, __A_TAG_PLACEHOLDER_48__, __A_TAG_PLACEHOLDER_49__, __A_TAG_PLACEHOLDER_50__, __A_TAG_PLACEHOLDER_51__, __A_TAG_PLACEHOLDER_52__, __A_TAG_PLACEHOLDER_53__, __A_TAG_PLACEHOLDER_54__, __A_TAG_PLACEHOLDER_55__, __A_TAG_PLACEHOLDER_56__, __A_TAG_PLACEHOLDER_57__, __A_TAG_PLACEHOLDER_58__, __A_TAG_PLACEHOLDER_59__, __A_TAG_PLACEHOLDER_60__, __A_TAG_PLACEHOLDER_61__, __A_TAG_PLACEHOLDER_62__, __A_TAG_PLACEHOLDER_63__, __A_TAG_PLACEHOLDER_64__.

Vǭn, a river, 95.

Vǭn, a river, __A_TAG_PLACEHOLDER_0__.

Vond, a river, 95.

Vond, a river, __A_TAG_PLACEHOLDER_0__.

Vǭr, a goddess, 181.

Vǭr, a goddess, __A_TAG_PLACEHOLDER_0__.

Y′-dal-ir, Ull’s home, 88.

Y'dal-ir, Ull's home, __A_TAG_PLACEHOLDER_0__.

Ygg, Othin, 70, 105, 140, 384.

Ygg, Othin, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__.

Ygg′-dras-il, the world-ash, 1, 3, 4, 9, 12, 17, 20, 27, 60, 62, 81, 94, 96–98, 102, 242, 243.

Yggdrasill, the world tree, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__, __A_TAG_PLACEHOLDER_9__, __A_TAG_PLACEHOLDER_10__, __A_TAG_PLACEHOLDER_11__, __A_TAG_PLACEHOLDER_12__–98, __A_TAG_PLACEHOLDER_13__, __A_TAG_PLACEHOLDER_14__, __A_TAG_PLACEHOLDER_15__.

Ylf′-ings, a Danish race, 221, 291, 292, 301, 305, 307, 311, 313–315, 329.

Ylf'ings, a Danish tribe, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__–315, __A_TAG_PLACEHOLDER_8__.

Ylg, a river, 95.

Ylg, a river, __A_TAG_PLACEHOLDER_0__.

Ym′-ir, a giant, 4, 6, 17, 74, 76, 77, 100, 229, 242.

Ym′-ir, a giant, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__, __A_TAG_PLACEHOLDER_8__.

Yng (or Yng′-vi), son of Halfdan the Old, 221, 307, 308, 364, 365.

Yng (or Yng'-vi), son of Halfdan the Old, 221, 307, 308, 364, 365.

Yng″-ling-a-sag′-a, the Saga of the Ynglings, 160, 163.

Yngling Saga, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.

Yng′-lings, descendants of Yng, 221, 223, 307.

Ynglings, descendants of Yng, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__.

Yng′-vi, a dwarf, 8.

Yng′-vi, a dwarf, __A_TAG_PLACEHOLDER_0__.

Yng′-vi, son of Hring, 306.

Yng′-vi, son of Hring, __A_TAG_PLACEHOLDER_0__.

Yng′-vi, Yng, 221, 307, 308, 364, 365.

Yng′-vi, Yng, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.

Ys′-ja, daughter of Thræll, 207. [585]

Ys′-ja, daughter of Thræll, __A_TAG_PLACEHOLDER_0__. [__A_TAG_PLACEHOLDER_1__]

Colophon

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Metadata

Title: The poetic Edda
Author: Henry Adams Bellows (1885–1939) Info https://viaf.org/viaf/5294877/
File generation date: 2024-05-04 10:27:49 UTC
Language: English
Original publication date: [1923]

Encoding

The foot-notes in the source, which are linked to line-numbers, have been moved to the end of each chapter.

The footnotes in the source, linked to line numbers, have been moved to the end of each chapter.

Revision History

  • 2024-03-18 Started.

Corrections

The following 46 corrections have been applied to the text:

The following 46 corrections have been made to the text:

Page Source Correction Edit distance
N.A., 84, 246, 314, 373, 421, 572 [Not in source] . 1
15, 19 lacunae lacunæ 2
19 Gniparhellir Gnipahellir 1
58 “ [Deleted] 1
84 encyclopedic encyclopædic 1
99, 99 Hlok Hlokk 1
121 stan a stanza 1
129 characterised characterized 1
143 s as 1
216, 324, 429 [Not in source] ” 1
225 Smaland Småland 1 / 0
227 detroyed destroyed 1
253 folk tales folk-tales 1
274 Hjorvath’s Hjorvarth’s 1
291 Hundingbane Hundingsbane 1
306 Spornvitnir Sporvitnir 1
307 Hynduljoth Hyndluljoth 1
310, 559, 560, 572, 572, 577, 579 . , 1
312, 313, 330, 538 , . 1
326 work word 1
359 be he 1
404 vengance vengeance 1
433 vengence vengeance 1
511 ” [Deleted] 1
532 Line 4 may be spurious. [Deleted] 24
568 Haddings -Hero Haddings’-Hero 1
571 Hrīm″-gerth-a-mǭl′ Hrīm″-gerth-ar-mǭl′ 1

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