Poetic EddaNorse MythologyAncient Myth / ComparativeOld NorseSharePoetic Edda 42Bellows - EnglishMoreVersion - 1 availableBellowsLanguageEnglishEspañol‹Poetic Edda 1Poetic Edda 2Poetic Edda 3Poetic Edda 4Poetic Edda 5Poetic Edda 6Poetic Edda 7Poetic Edda 8Poetic Edda 9Poetic Edda 10Poetic Edda 11Poetic Edda 12Poetic Edda 13Poetic Edda 14Poetic Edda 15Poetic Edda 16Poetic Edda 17Poetic Edda 18Poetic Edda 19Poetic Edda 20Poetic Edda 21Poetic Edda 22Poetic Edda 23Poetic Edda 24Poetic Edda 25Poetic Edda 26Poetic Edda 27Poetic Edda 28Poetic Edda 29Poetic Edda 30Poetic Edda 31Poetic Edda 32Poetic Edda 33Poetic Edda 34Poetic Edda 35Poetic Edda 36Poetic Edda 37Poetic Edda 38Poetic Edda 39Poetic Edda 40Poetic Edda 41Poetic Edda 42Poetic Edda 43Poetic Edda 44Poetic Edda 45Poetic Edda 46Poetic Edda 47Poetic Edda 48Poetic Edda 49Poetic Edda 50Poetic Edda 51Poetic Edda 52Poetic Edda 53Poetic Edda 54Poetic Edda 55Poetic Edda 56Poetic Edda 57Poetic Edda 58Poetic Edda 59Poetic Edda 60Poetic Edda 61Poetic Edda 62Poetic Edda 63Poetic Edda 64Poetic Edda 65Poetic Edda 66Poetic Edda 67Poetic Edda 68Poetic Edda 69Poetic Edda 70Poetic Edda 71Poetic Edda 72Poetic Edda 73Poetic Edda 74Poetic Edda 75Poetic Edda 76Poetic Edda 77Poetic Edda 78Poetic Edda 79Poetic Edda 80Poetic Edda 81Poetic Edda 82Poetic Edda 83Poetic Edda 84Poetic Edda 85Poetic Edda 86›Introductory NotePoetic Edda 42ListenPlay this chapter in spoken English.Save chapterListen to chapter1As 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. 2It 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. 3Section 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 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. 4Sijmons 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. 5Were 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. 6King 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 King Sigmund, and each slew the other’s kinsmen. King Sigmund and his family were called Volsungs and Ylfings. 7Helgi 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: 81. “Say to Hæming | that Helgi knows Whom the heroes | in armor hid; A gray wolf had they | within their hall, Whom King Hunding | Hamal thought.” 9Hamal was the name of Hagal’s son. King Hunding 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. 102. Then Blind spake out, | the evil-minded: “Of Hagal’s bond-woman | bright are the eyes; Yon comes not of churls | who stands at the quern; The millstones break, | the boards are shattered. 113. “The hero has | a doom full hard, That barley now | he needs must grind; Better befits | his hand to feel The hilt of the sword | than the millstone’s handle.” 124. “Small is the wonder | if boards are splintered; By a monarch’s daughter | the mill is turned; Once through clouds | she was wont to ride, And battles fought | like fighting men, (Till Helgi a captive | held her fast; Sister she is | of Sigar and Hogni, Thus bright are the eyes | of the Ylfings’ maid.)” 13Helgi escaped and went to a fighting ship. He slew King Hunding, and thenceforth was called Helgi Hundingsbane. ‹Previous chapterPoetic Edda 41Next chapterPoetic Edda 43›Similar passagesBy tradition and source labelFind similarCompare selectedCompare with similarAsk Deep ThoughtSelect passages to search for parallels.Tap any verse to select it, then compare selected passages or ask Deep Thought. Public domain in the United States via Project Gutenberg