Though plainly the product of a later age (twelfth century?) than even the preceding poems----as is evidenced by a number of legendary traits which have no parallel elsewhere and must be of the poet's invention, and also by the minor key of a postheroic age----and though by no means among the best lays of the Edda, this poem accomplishes what is manifestly the aim of the preceding lays: the winning of our sympathy for Brynhild. Indeed, it may be styled a biographic justification, in an elegiac strain, against the accusations of the giantess, who represents a hostile world: there has been nothing in her life but woe. After an idyllic and harmless youth at Heimir's court she unwittingly offends Othin by aiding a young hero she loves against an old suitor; the youth is slain (no doubt----by Othin's spear?), and she is doomed to sleep behind the wall of flame until awakened by Sigurth. But here too she is cruelly betrayed and by a remorseless fate compelled to seek the death of the very hero she loves best. To her, it has been a world full of sorrow; but in a future and better life, Sigurth and she shall live together forever-----clearly a Christian thought, foisted on an archheathen theme! (1) The poem is not used in the paraphrase in the Volsunga saga; but is (with one slight omission) cited in full in the Nornagests thattr.

1. But compare the tenlative interpretation of St. 14.

After the death of Brynhild two funeral piles were made, one for Sigurth, and that one was kindled first; but on the other, Brynhild was burned, and she was laid in a wain which was lined with cloth of gold. (2) It is said that Brynhild rode in this wain on her way to Hel. She came to a dwelling place where lived a giantess.

2. As will be seen, these indications differ from those given in the preceding poem. In all likelihood the prose is based on the lay following.

(The giantess said:)

1. "Thy wain halt there! Thy way lies not through

my homestead, standing on stones upraised. (3)

'Twere better for thee in thy bower to weave,

than in Hel to hanker after Guthrun's husband.

3. Her cave: the way to Helgard is conceived as lying through the habitations of the mountain giants.

2. "Why would'st, wayward Welsh (4) fair woman,

e'er drift into my lowly dwelling?

From thy hands hast thou, highborn lady,

washed the blood of warriors many."

4. Here purely honorific.

(Brynhild said:)

3. "Upbraid me not, thou bride of thurses,

that in many frays I fought with heroes; (5)

of us both, I ween, the better am I:

uncouth to mankind thy kin is ever."

5. As a valkyrie. See St. 8.

(The giantess said:)

4. "And thou, Brynhild, Buthli's daughter,

to most woe wast thou of all women born:

to Gjuki's offspring but ill thou broughtest,

and low didst lay their lordly house." (6)

6. She speaks prophetically of the fall of the Gjukungs as though it had already taken place.

(Brynhild said:)

5. "As the wiser one from my wain I shall

tell thee, witless woman, if to wit thee list,

how Gunnar's lies my love did steal,

how the false one's guile faithless made me.

6. "(Was I nursed and raised in noble king's hall,

beloved by most of lieges and thanes.) (7)

But in Hlymdale court was I hight ever

Hild (8) beneath Helm by whoever knew me.

7. Inserted here by the Translator, following Neckel's suggestion, to bridge a lacuna not indicated, on the pattern of "Oddrunargratr," St. 13.

8. "Battle", a valkyrie; see "Voluspa," St. 30. In the paraphrase of "Skaldskaparmal" this is Brynhild-Sigrdrifa's name. According to the Volsunga saga, Chap. 27, and Ragnars saga lodhbrokar, Hlymdales is the seat of her foster father, Heimir, where Sigurth stays as guest and meets her and is betrothed to her. (See "Gripisspa," Sts. 19, 29, 31). In the original, St. 6 follows St. 7.

7. "The fearless king (9) our feather coat took----(10)

eight sisters we---- an oak beneath.

Was I winters twelve, if to wit thee list,

when to Agnar I dear oaths did swear.

9. Agnar. We may suppose the loss of a stanza here, explaining how Hild and her sisters fought in the wars as valkyries; see "Grottasongr," Sts. 13 ff. Her oaths may refer only to the protection of Agnar in battle (in return for his releasing her?).

10. Just as Volund and his brothers gain possession of the three swan-maidens ("Volundarkvidha," Introductory Prose).

8. "To Hel I sent Hjalmgunnar old, (11)

the Gothic (12) king, all gashed with wounds,

but bestowed victory on stouthearted Agnar;

then Othin wreakedq his wrath on me.

11. For a fuller account, see "Sigrdrifumal," Sts. 4 ff.

12. Purely honorific here.

9. "With shields he screened me in Skatalund; (13)

a ring he raised of red ones and white ones. (14)

and bade my sleep be sundered by him

who naught would fear, nor be faint of heart;

13. "Grove of Heroes" (?). It corresponds to the Hindar Fell of "Sigrdrifumal."

14. Ordinarily, a white shield is a sign of peaceful intentions, a red shield, of war. Do they here symbolize the red and white flames?

10. "Made the waster-of-wood, (15) as the welkin high,

burn all about my bower to southward;

bade him only over it ride

who would fetch me the gold on which Fafnir lay.

15. Kenning for "fire."

11. "The giver-of-gold (16) rode Grani then

where my foster father his folk-land ruled;

did Sigurth seem, the sea king of Danes, (17)

among weapon-wielders worthiest of all.

16. Kenning for "prince"; here, Sigurth.

17. Here, an honorific epithet.

12. "'Neath linen we twain did lie together,

as though born we were brother and sister:

in nights full eight neither of us

his hands did lay in love on the other.

13. "Yet Guthrun said, Gjuki's daughter,

that I had slept in Sigurth's arms;

then grew I aware, as I would not, rather,

how they beguiled me Gunnar to wed.

14. "Women and men to the world are born,

their lives to live in longing and sorrow;

our lives we should not have lived apart, (18)

Sigurth and I---- sink now, (19) thurs-bride!"

18. For this interpretation, see Scandinavian Studies XXII (1950), 166 ff. The line is generally interpreted "we shall live our lives together."

19. That is, "Avaunt!" See Note 96 on the last line of "Voluspa."

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