I've just read the last section (9) of The Lay of the Volsungs; it's entitled "Strife," and that's an understatement! It begins with the marriage of Brynhild to Gunnar, and all is well because she believes he was the one who rode through the fire to betroth her. But at the wedding feast, Sigurd's "confusion" leaves him and he remembers all that had passed between him and Brynhild--and knows that his impersonating of Gunnar has led to this breaking of vows. He remains silent, though, and determines to make the best of what fate has dealt him.
But Gudrun, who, while she's not a sorceress that I know of, has inherited some of her mother's spiteful and meddlesome nature, exposes the truth to Brynhild; I get the feeling she does this merely to wound Brynhild and gloat over the fact that she has the better husband. This pretty much unhinges Brynhild, who retires to her darkened room to plot vengeance.
She won't listen to Sigurd when he explains how he forgot his vows (the drugged potion he was given) and encourages her to accept her fate and appreciate what she has in Gunnar, a wealthy, powerful Burgundian king. Then she lies to Gunnar, telling him that Sigurd had slept with her when in the guise of Gunnar--and thus has broken his vows of kinship with Gunnar. The only thing that will give her "comfort" is to have Sigurd killed.
Gunnar can't kill him or he would break his vows! So he plots with a younger brother (or half-brother) who has not sworn vows with Sigurd, and he, after living on a diet of snake and wolf meat (!), kills Sigurd. Then Brynhild tells Gunnar the truth--that Sigurd had not broken his vows. And she asks for a sword--on which she falls.
The story ends with a funeral pyre for Sigurd and Brynhild, who arrive to a great welcome in Valhalla, while their spouses are left in life to mourn in shame. Sigurd looks forward to a great battle in which he, the one who has died and can not die, will be victorious; the poet tells us Brynhild will send him to battle, enacting the typical meadhall scene of the cup-bearer.
Christopher Tolkien's notes are helpful in understanding the confusions in the Old Norse texts and his father's choices in the crafting of his own poem. Included here are more of Tolkien's notes, which also shed light on the development of this Lay.
While Brynhild may be seen as a crazed, vengeful woman, Tolkien reminds us that she is really a Valkyrie humanized. She can not live with the knowledge that she has broken her vow to Sigurd or that she has been duped through sorcery into marrying Gunnar, and she can not remain married to Gunnar, having sworn to love only the "World's Chosen." Her actions are both the result of and the fulfillment of Fate.
Showing posts with label Sigurd and Gudrun. Show all posts
Showing posts with label Sigurd and Gudrun. Show all posts
Sunday, January 17, 2010
Friday, January 15, 2010
Brynhild betrayed . . .
In section 8, Svikin Brynhildr, "Brynhild Betrayed," we find Brynhild living in a splendid court; her fame for wealth and beauty has spread far. Many princes have hoped to marry her, but she waits for Sigurd. Odin comes to her and prophecies that she will wed a king; to ensure that this will be Sigurd, he sets a flaming circle around her hall--a flame circle that only the "World's Chosen" can pass.
Meanwhile, Sigurd and Gudrun's wedding is celebrated:
In Gjuki's house
glad the singing.
A feast they fashioned,
far men sought it.
To blissful Gudrun
the bridal drank
there golden Sigurd
glorious shining. (143)
The guests enjoy "mead and ale" and the harper's songs. And Sigurd exchanges oaths of loyalty with Gudrun's brothers.
When the rumors of Brynhild reach the land of the Gjukings, Gundrun's mother desires yet more power for her husband and a good match for her son, Gunnar. So she encourages him to woe Brynhild for his wife. Gunnar agrees and sets out with Sigurd and their retainers on this quest, but first his mother provides Gunnar with magic potions. When they arrive at the fire ring, Gunnar's horse won't go forward, so he borrows Sigmund's, but even with this advantage he can not proceed. Sigmund agrees to go in his stead, drinking the potion which changes him so that he looks like Gunnar. He rides his own horse and takes his own sword, Gram.
Sigurd easily passes through the fire barrier and enters Brynhild's hall, announcing himself as Gunnar come to win her as his bride. Brynhild is confused and doesn't know how to answer him. She believed only Sigurd would be able to pass the fire, but Gunnar has, and her mind is troubled. However, she agrees to follow him to his land and become his wife. Sigurd gives her a ring from the trove of Andvari's gold. And the section ends with Sigurd returning to Gunnar and heading home.
Christopher Tolkien suggests that Brynhild would never have broken her previous oath to Sigurd unless she really believed that Gunnar was the "World's Chosen" as evidenced by his passing the fire wall.
So Gudrun's mother's sorcery once again confounds true love. Sigurd has no memory of his love for and oath to Brynhild, and Brynhild has been tricked into marrying an impostor. Talk about a meddling mother-in-law! Grimhild may be the model for all the mother-in-law stories that followed. But all the others seem tame compared to her!
The poetry in this section seems uneven; there are a few really lovely stanzas--mostly those having to do with Gudrun--but too much of it is heavy with harsh alliteration, and sometimes, I think, Tolkien may have done better to give us more stanzas with more music rather than condense the tale so tightly. I do think he's accomplished an amazing feat--to use the Old Norse form with modern English which in many ways is not suited to such expression. It's just that when he does it really well, I want it to continue in that vein.
Meanwhile, Sigurd and Gudrun's wedding is celebrated:
In Gjuki's house
glad the singing.
A feast they fashioned,
far men sought it.
To blissful Gudrun
the bridal drank
there golden Sigurd
glorious shining. (143)
The guests enjoy "mead and ale" and the harper's songs. And Sigurd exchanges oaths of loyalty with Gudrun's brothers.
When the rumors of Brynhild reach the land of the Gjukings, Gundrun's mother desires yet more power for her husband and a good match for her son, Gunnar. So she encourages him to woe Brynhild for his wife. Gunnar agrees and sets out with Sigurd and their retainers on this quest, but first his mother provides Gunnar with magic potions. When they arrive at the fire ring, Gunnar's horse won't go forward, so he borrows Sigmund's, but even with this advantage he can not proceed. Sigmund agrees to go in his stead, drinking the potion which changes him so that he looks like Gunnar. He rides his own horse and takes his own sword, Gram.
Sigurd easily passes through the fire barrier and enters Brynhild's hall, announcing himself as Gunnar come to win her as his bride. Brynhild is confused and doesn't know how to answer him. She believed only Sigurd would be able to pass the fire, but Gunnar has, and her mind is troubled. However, she agrees to follow him to his land and become his wife. Sigurd gives her a ring from the trove of Andvari's gold. And the section ends with Sigurd returning to Gunnar and heading home.
Christopher Tolkien suggests that Brynhild would never have broken her previous oath to Sigurd unless she really believed that Gunnar was the "World's Chosen" as evidenced by his passing the fire wall.
So Gudrun's mother's sorcery once again confounds true love. Sigurd has no memory of his love for and oath to Brynhild, and Brynhild has been tricked into marrying an impostor. Talk about a meddling mother-in-law! Grimhild may be the model for all the mother-in-law stories that followed. But all the others seem tame compared to her!
The poetry in this section seems uneven; there are a few really lovely stanzas--mostly those having to do with Gudrun--but too much of it is heavy with harsh alliteration, and sometimes, I think, Tolkien may have done better to give us more stanzas with more music rather than condense the tale so tightly. I do think he's accomplished an amazing feat--to use the Old Norse form with modern English which in many ways is not suited to such expression. It's just that when he does it really well, I want it to continue in that vein.
Wednesday, January 13, 2010
Plotting and magic potions . . .
Section 7, "Gudrun," brings Sigurd to the hall of Gjuki, king of the Gjukings and Gudrun's father.
Before his arrival, Gudrun relates a dream to her mother--a disturbing dream foretelling doom; then she sees Sigurd approaching on Grani, his horse, laden with the dragon treasure. He is welcomed to the hall, and Tolkien describes the feast that follows. One of Gudrun's brothers plays a harp and sings of war between the Goths and Huns:
By mighty Mirkwood
on the marches of the East
the great Goth-kings
in glory ruled.
By Danpar-banks
was dread warfare
with the hosts of Hunland,
horsemen countless. (131)
Then Sigurd sings of his slaying of Fafnir and the waking of Brynhild. This is all very well done--Tolkien captures the atmosphere of the mead hall and the mood of the characters.
In the silence following the songs, Sigurd thinks of Brynhild, and Gudrun's brothers think of how they can get him to marry their sister.
Sigurd joins the household and goes to war with the Gjukings, winning great glory. Then his thoughts turn to his own homeland and revenge for his father's death. He fits out a fleet of dragon-prowed ships and sails to his father's land, where he is merciless to his enemies. Yet, even though he has exacted revenge, his father's hall is in ruins and his people all gone. He is now king--but has no subjects or meadhall, so he returns to the Gjuking's land.
Here, in Gjuki's hall, Sigurd fulfills his kingly role as ring-giver, gift-giver, binding his retainers more closely to him:
A king sat Sigurd:
carven silver,
raiment gleaming,
rings and goblets,
dear things dealt he,
doughty-handed,
his friends enriching,
fame upraising. (137)
As Gjuki and his sons seek for a way to marry Gudrun to Sigurd in order to form a more binding alliance, he sits thinking of Brynhild; then Gudrun's mother slips out of the hall and prepares a drugged drink in a rune-carved horn. When she gives it to Sigurd, he drinks it and immediately becomes confused, forgetting Brynhild. At that moment, Gudrun enters the hall:
In came Gudrun
gleaming-robed,
as flower enfolded
fair at morning.
Sigurd wondered,
silent gazing;
his mind was glamoured,
mood confounded. (140)
And here the section ends. What a cliff-hanger! Of course, we know this is the weaving of fate--with a little help from magic potions--but it's sad to think of Gudrun, knowing from her dream that something bad is about to happen, being used as a pawn (the Anglo-Saxon's "peace bride")to help strengthen her father's power.
Before his arrival, Gudrun relates a dream to her mother--a disturbing dream foretelling doom; then she sees Sigurd approaching on Grani, his horse, laden with the dragon treasure. He is welcomed to the hall, and Tolkien describes the feast that follows. One of Gudrun's brothers plays a harp and sings of war between the Goths and Huns:
By mighty Mirkwood
on the marches of the East
the great Goth-kings
in glory ruled.
By Danpar-banks
was dread warfare
with the hosts of Hunland,
horsemen countless. (131)
Then Sigurd sings of his slaying of Fafnir and the waking of Brynhild. This is all very well done--Tolkien captures the atmosphere of the mead hall and the mood of the characters.
In the silence following the songs, Sigurd thinks of Brynhild, and Gudrun's brothers think of how they can get him to marry their sister.
Sigurd joins the household and goes to war with the Gjukings, winning great glory. Then his thoughts turn to his own homeland and revenge for his father's death. He fits out a fleet of dragon-prowed ships and sails to his father's land, where he is merciless to his enemies. Yet, even though he has exacted revenge, his father's hall is in ruins and his people all gone. He is now king--but has no subjects or meadhall, so he returns to the Gjuking's land.
Here, in Gjuki's hall, Sigurd fulfills his kingly role as ring-giver, gift-giver, binding his retainers more closely to him:
A king sat Sigurd:
carven silver,
raiment gleaming,
rings and goblets,
dear things dealt he,
doughty-handed,
his friends enriching,
fame upraising. (137)
As Gjuki and his sons seek for a way to marry Gudrun to Sigurd in order to form a more binding alliance, he sits thinking of Brynhild; then Gudrun's mother slips out of the hall and prepares a drugged drink in a rune-carved horn. When she gives it to Sigurd, he drinks it and immediately becomes confused, forgetting Brynhild. At that moment, Gudrun enters the hall:
In came Gudrun
gleaming-robed,
as flower enfolded
fair at morning.
Sigurd wondered,
silent gazing;
his mind was glamoured,
mood confounded. (140)
And here the section ends. What a cliff-hanger! Of course, we know this is the weaving of fate--with a little help from magic potions--but it's sad to think of Gudrun, knowing from her dream that something bad is about to happen, being used as a pawn (the Anglo-Saxon's "peace bride")to help strengthen her father's power.
a new twist . . .
After reading section 6, "Brynhildr," I had to go back and look at section 5 again. I realize now that the 2 birds at the end of that section are describing 2 women: the Raven describes Brynhild and the story found in section 6, while the Finch describes Gudrun, who lives further along our hero's path:
Green run the roads
to Gjuki's land;
fate leads them on,
who fare that way. (116)
This becomes important at the end of "Brynhildr."
As section 6 opens, our hero, Sigurd, moves on toward Hindarfell:
Ever wide and wild
the wandering path'
long lay the shadow
of lone rider.
Ever high and high
stood Hindarfell,
mountain mighty
from mist rising. (118)
An adventure lies in his path; he leaves the "green road" toward the Gjuki's land--and Gudrun--and climbs Hindarfell, where he sees a ring of flames encircling the mountain top and then a shield wall and a warrior in enchanted sleep. He removes the helmet and discovers it's a woman! He hews off her armor with his now-famous dragon-slaying sword, and the enchantment is broken. The woman awakes and greats him:
Hands of healing,
hear and grant us,
light in darkness,
life and wisdom;
to both give triumph,
truth unfailing,
to both in gladness
glorious meeting! (120)
She then identifies herself as Brynhild, a Valkyrie, enchanted by Odin because she had changed the outcome of a battle. Odin has forbidden the battlefield to her and "doomed" her to marry instead; as a result she has sworn an oath never to marry anyone except "the World's chosen" (121). She tells Sigurd that in Valhalla they wait for the "serpent-slayer" (121); he then reveals his name and that he has indeed slain the dragon.
At this point the two swear faithfulness to each other, and Tolkien includes a cup-bearing ceremony, with Brynhild giving Sigurd the mead cup:
"A beaker I bring thee,
O battle-wielder,
mighty-blended
mead of glory;
brimmed with bounty,
blessed with healing,
and rimmed with runes
of running laughter." (122)
She goes on to prophecy and gives him advice, noting that his life will be short and violent. She sends him on his way, saying she will only wed a king--and he has yet to win his kingdom.
Tolkien captures several elements of Norse tradition in this section, including the shield-maiden, the mead cup, powerful runic inscriptions, and the implacable power of fate:
Faith then they vowed
fast, unyielding,
there each to each
in oaths binding.
Bliss there was born
when Brynhild woke;
yet fate is strong
to find its end. (124)
So, while I wasn't expecting Brynhild, I enjoyed this part of the poem--and it adds a layer of conflict and mystery to the whole story. What happens to Gudrun? Something must since she has, later in this book, her own "Lay." Will our hero be faithful to his betrothed? Will he win his kingdom? Will a Valkyrie be content in marriage? Hmmmmm.
Green run the roads
to Gjuki's land;
fate leads them on,
who fare that way. (116)
This becomes important at the end of "Brynhildr."
As section 6 opens, our hero, Sigurd, moves on toward Hindarfell:
Ever wide and wild
the wandering path'
long lay the shadow
of lone rider.
Ever high and high
stood Hindarfell,
mountain mighty
from mist rising. (118)
An adventure lies in his path; he leaves the "green road" toward the Gjuki's land--and Gudrun--and climbs Hindarfell, where he sees a ring of flames encircling the mountain top and then a shield wall and a warrior in enchanted sleep. He removes the helmet and discovers it's a woman! He hews off her armor with his now-famous dragon-slaying sword, and the enchantment is broken. The woman awakes and greats him:
Hands of healing,
hear and grant us,
light in darkness,
life and wisdom;
to both give triumph,
truth unfailing,
to both in gladness
glorious meeting! (120)
She then identifies herself as Brynhild, a Valkyrie, enchanted by Odin because she had changed the outcome of a battle. Odin has forbidden the battlefield to her and "doomed" her to marry instead; as a result she has sworn an oath never to marry anyone except "the World's chosen" (121). She tells Sigurd that in Valhalla they wait for the "serpent-slayer" (121); he then reveals his name and that he has indeed slain the dragon.
At this point the two swear faithfulness to each other, and Tolkien includes a cup-bearing ceremony, with Brynhild giving Sigurd the mead cup:
"A beaker I bring thee,
O battle-wielder,
mighty-blended
mead of glory;
brimmed with bounty,
blessed with healing,
and rimmed with runes
of running laughter." (122)
She goes on to prophecy and gives him advice, noting that his life will be short and violent. She sends him on his way, saying she will only wed a king--and he has yet to win his kingdom.
Tolkien captures several elements of Norse tradition in this section, including the shield-maiden, the mead cup, powerful runic inscriptions, and the implacable power of fate:
Faith then they vowed
fast, unyielding,
there each to each
in oaths binding.
Bliss there was born
when Brynhild woke;
yet fate is strong
to find its end. (124)
So, while I wasn't expecting Brynhild, I enjoyed this part of the poem--and it adds a layer of conflict and mystery to the whole story. What happens to Gudrun? Something must since she has, later in this book, her own "Lay." Will our hero be faithful to his betrothed? Will he win his kingdom? Will a Valkyrie be content in marriage? Hmmmmm.
Monday, January 11, 2010
Sigurd . . . dragon slayer!
Tonight I read "Regin," one of the longer sections; it's 54 stanzas in 18 pages--with 13 pages of notes. I've only read it once; I usually read the poem, then the notes, and then the poem again. But this section is quite straightforward and has a retelling of an earlier section, so, while I wish I'd had time to re-read, I think I understand most of the stanza--though as usual there are passages so tightly constructed, containing a lot of information and unusual (to me) names that they merit several readings.
We met Regin in section 1, "Andvara-Gull," where he was one of three brothers; Otr was slain by Loki, and Odin gave a trove of weregeld to the father in payment for his son's life. In this section Regin has become a smithy to the king of the "far land," to whom Sigurd's mother is now married. Regin, now the foster-father of Sigurd, re-tells the story to him--with a few changes to cloak the truth of what happened after Odin and his band had left the bereaved father.
In this telling, Regin says that his brother, Fafnir, wanted some of the gold, but their father refused, so Fafnir killed him and threatened Regin, who left to join the king's followers. Fafnir built an underground hall to house his gold; then he turned into a dragon to guard it. Regin tells Sigurd that he wants revenge for his father's death and that, if Sigurd will kill Fafnir, he can have all the "gold and glory." Sigurd is a bit wary but agrees to kill the dragon if Regin will reforge the broken sword of his father, Sigmund.
All goes according to plan--and Tolkien doesn't disappoint in relating the dragon fight. I can tell he really likes this section; he did, after all, once say that when he read the Northern tales as a child, he desired dragons with a "profound desire." (This is somewhere in "On Fairie Stories" but I don't have my copy here.)
However, once the dragon is slain, Regin begins to act a bit strangely; he keeps muttering that he will have revenge for his brother's death. He drinks the blood of the dragon and asks Sigurd to cook the heart for him! Yikes. Luckily (or as fate would have it) when Sigurd does so, he touches the cooking meat and licks his finger--and now the real magic begins! Immediately he can understand the language of the beasts, and he hears two birds talking! They say to each other that a wise man would kill the brother who wants to kill him and have the gold all for himself.
"Who a foe lets free
is fool indeed,
when he was bane of brother!
I alone would be lord
of linked gold,
if my wielded sword had won it." (114)
Sigurd is no fool, so he heeds their advice and kills Regin. He then loads the gold onto his horse (there's also a series of stanzas on the getting of this horse); before he leaves he hears the birds talking about a Hall on Hindarfell, where a beautiful maiden, Gudrun, lives:
"A maid have I seen
as morning fair;
golden-girdled,
garland-crowned" (116)
The section ends with the birds talking about Gudrun and her kin; I'm assuming our hero will set out with his new-found wealth to win the "fair maid." We'll see.
As a side note, the conversations of the birds reminded me of a book I read ages ago, Greenlanders, by Jane Smiley. I was impressed then with the "story-telling" techniques of the Inuit characters; when they wanted to give advice to a young person who was making poor choices, they would sit around the fire in the evening--the whole group--and tell stories. They never pointed out the young person or commented on his or her behavior, but the stories contained a message--and the youngster knew it and, more often than not, heeded the warning or advice. I wonder if Tolkien recognized this mode of communication from his reading of ON and OE texts. Maybe it's a "Northern" thing. Quite effective.
We met Regin in section 1, "Andvara-Gull," where he was one of three brothers; Otr was slain by Loki, and Odin gave a trove of weregeld to the father in payment for his son's life. In this section Regin has become a smithy to the king of the "far land," to whom Sigurd's mother is now married. Regin, now the foster-father of Sigurd, re-tells the story to him--with a few changes to cloak the truth of what happened after Odin and his band had left the bereaved father.
In this telling, Regin says that his brother, Fafnir, wanted some of the gold, but their father refused, so Fafnir killed him and threatened Regin, who left to join the king's followers. Fafnir built an underground hall to house his gold; then he turned into a dragon to guard it. Regin tells Sigurd that he wants revenge for his father's death and that, if Sigurd will kill Fafnir, he can have all the "gold and glory." Sigurd is a bit wary but agrees to kill the dragon if Regin will reforge the broken sword of his father, Sigmund.
All goes according to plan--and Tolkien doesn't disappoint in relating the dragon fight. I can tell he really likes this section; he did, after all, once say that when he read the Northern tales as a child, he desired dragons with a "profound desire." (This is somewhere in "On Fairie Stories" but I don't have my copy here.)
However, once the dragon is slain, Regin begins to act a bit strangely; he keeps muttering that he will have revenge for his brother's death. He drinks the blood of the dragon and asks Sigurd to cook the heart for him! Yikes. Luckily (or as fate would have it) when Sigurd does so, he touches the cooking meat and licks his finger--and now the real magic begins! Immediately he can understand the language of the beasts, and he hears two birds talking! They say to each other that a wise man would kill the brother who wants to kill him and have the gold all for himself.
"Who a foe lets free
is fool indeed,
when he was bane of brother!
I alone would be lord
of linked gold,
if my wielded sword had won it." (114)
Sigurd is no fool, so he heeds their advice and kills Regin. He then loads the gold onto his horse (there's also a series of stanzas on the getting of this horse); before he leaves he hears the birds talking about a Hall on Hindarfell, where a beautiful maiden, Gudrun, lives:
"A maid have I seen
as morning fair;
golden-girdled,
garland-crowned" (116)
The section ends with the birds talking about Gudrun and her kin; I'm assuming our hero will set out with his new-found wealth to win the "fair maid." We'll see.
As a side note, the conversations of the birds reminded me of a book I read ages ago, Greenlanders, by Jane Smiley. I was impressed then with the "story-telling" techniques of the Inuit characters; when they wanted to give advice to a young person who was making poor choices, they would sit around the fire in the evening--the whole group--and tell stories. They never pointed out the young person or commented on his or her behavior, but the stories contained a message--and the youngster knew it and, more often than not, heeded the warning or advice. I wonder if Tolkien recognized this mode of communication from his reading of ON and OE texts. Maybe it's a "Northern" thing. Quite effective.
Saturday, January 9, 2010
Our hero is born . . .
Section 4, FOEDDR SIGURDE, or "Sigurd Born," tells of Sigmund taking a young beautiful wife, Sigrlinn; he asks her,
"Say me, Sigrlinn,
sweeter were it
young king to wed
and yellow-bearded,
or wife of a Volsung,
the World's chosen
in my bed to bear,
bride of Odin?"
She had been wooed by seven princes, and, while the poem says "Sigmund took her" (93), she appears to love him.
Tolkien describes the battle in typical Old Norse or Anglo-Saxon style:
High sang the horns,
helms were gleaming,
shafts were shaken,
shields them answered.
Vikings' standards,
Volsung's banner
on strand were streaming;
stern the onslaught. (94)
Sigmund is unstoppable on the battle field; and it's really gory. In stanza 7 Tolkien describes him--fearless and covered in blood:
Fate him fended
fearless striding
with dew of battle
dyed to shoulder. (94)
But one "warrior strange" (94) appears (Christopher Tolkien's note identified him as Odin himself); Sigmund is no match for him and is cut down. Here we see Sigrlinn's attachment to Sigmund, when she addresses him as "my lord beloved, last of Volsungs" (95). As he dies, Sigmund tells her she will bear the World's Chosen and that she must collect the shards of his shattered sword and have them reforged for their son (96). Reminds us of "The sword that was broken . . . " in LOTR.
The Vikings now returning in victory, Sigrlinn disguises herself as a servant-girl and is carried off to a "far country," where in due time she gives birth to a son: "Sigurd golden as a sun shining" (97). When a wise woman learns that he is the son of Sigmund, she prophesies:
"Fair shall be fostered
that father's child;
his mother be mated
to a might king." (98)
This section contains several tropes of ON and OE poetry and saga; we see the hero in battle, driven by fate and unconquerable by men; we see his overthrow by divine intervention and his sword broken; we see the fate of women--taken in battle or enslaved by victors in war; we see the acceptance of fate or destiny--the gods' will--in both good and bad circumstances; we see the practice of fostering; and we see the prophetess, proclaiming the reversal of fortune for the son--and his mother.
Now we'll have to wait to see how this is worked out.
"Say me, Sigrlinn,
sweeter were it
young king to wed
and yellow-bearded,
or wife of a Volsung,
the World's chosen
in my bed to bear,
bride of Odin?"
She had been wooed by seven princes, and, while the poem says "Sigmund took her" (93), she appears to love him.
Tolkien describes the battle in typical Old Norse or Anglo-Saxon style:
High sang the horns,
helms were gleaming,
shafts were shaken,
shields them answered.
Vikings' standards,
Volsung's banner
on strand were streaming;
stern the onslaught. (94)
Sigmund is unstoppable on the battle field; and it's really gory. In stanza 7 Tolkien describes him--fearless and covered in blood:
Fate him fended
fearless striding
with dew of battle
dyed to shoulder. (94)
But one "warrior strange" (94) appears (Christopher Tolkien's note identified him as Odin himself); Sigmund is no match for him and is cut down. Here we see Sigrlinn's attachment to Sigmund, when she addresses him as "my lord beloved, last of Volsungs" (95). As he dies, Sigmund tells her she will bear the World's Chosen and that she must collect the shards of his shattered sword and have them reforged for their son (96). Reminds us of "The sword that was broken . . . " in LOTR.
The Vikings now returning in victory, Sigrlinn disguises herself as a servant-girl and is carried off to a "far country," where in due time she gives birth to a son: "Sigurd golden as a sun shining" (97). When a wise woman learns that he is the son of Sigmund, she prophesies:
"Fair shall be fostered
that father's child;
his mother be mated
to a might king." (98)
This section contains several tropes of ON and OE poetry and saga; we see the hero in battle, driven by fate and unconquerable by men; we see his overthrow by divine intervention and his sword broken; we see the fate of women--taken in battle or enslaved by victors in war; we see the acceptance of fate or destiny--the gods' will--in both good and bad circumstances; we see the practice of fostering; and we see the prophetess, proclaiming the reversal of fortune for the son--and his mother.
Now we'll have to wait to see how this is worked out.
Wednesday, January 6, 2010
The Death of Sinfjotla . . .
The poetry in Section 3, "The Death of Sinfjotla," is more in line with that in the Introductory Section; it's evocative of Norse or Anglo-Saxon war culture. Sigmund, with his son, Sinfjotla, as a second in command, rules his people through war and peace. There are fine depictions of Norse ships and armor, as well as feasting in the hall. Though, unfortunately for Sinfjotla, his father's wife, the queen, is out for revenge because Sinfjotla had killed her father--apparently during battle. She seems to have been taken by Sigmund as a spoil of war. At any rate, she manages to poison Sinfjotla during a banquet in the hall. This bit is very well told by T; it is formulaic, building suspense--though the original hearers of the tale would have known the outcome beforehand. This kind of telling allows for a satisfying sort of relish, watching the story unfold, all the while knowing what's to come. In the end, Sinfjotla dies, and (C T tells us in the notes) the queen is banished and Sigmund takes a new, young, wife. Sigmund sends his son's body on a ship to Valhalla, where Volsung welcomes him but reminds us that they still await the "World's Chosen" (91).
Quite a pleasant read--now we'll have to see what Sigmund's new marriage will add to the story.
Quite a pleasant read--now we'll have to see what Sigmund's new marriage will add to the story.
Tuesday, January 5, 2010
Interview with Christopher Tolkien & video promo of book
Thought you might be interested in this Guardian interview with Christopher Tolkien about Sigurd and Gudrun and numerous other things . . . and a video promo by HM . . .
Monday, January 4, 2010
Andvara-Gull and Signy . . .
I’m making progress, having read sections 1 and 2. I didn’t really enjoy section 1, "Andvara-Gull" (Andvari’s Gold); I read it through and didn’t find it as musical as the introductory section, and I really couldn’t even figure out the story. Even after I read the notes and understood the story, when I re-read the section, I didn’t find it as engaging as the "Beginning." Several of the 8-line stanzas had alliteration that was too monotonous; six of the fifteen stanzas have at least four lines alliterating on the same sound. It seems heavy handed at times. And the story is so truncated that it hardly flows.
Thankfully section 2, "Signy" was a much more pleasant read—-though the story is pretty gruesome. Volsung has 11 children: twins Sigmund and his sister Signy, and 9 other sons. Signy is given in marriage, as a peace-bride, to Siggeir, king of Gautland (the land of the Geats in Beowulf), but she doesn’t love him—and he is power-hungry. So all ends badly: the 9 brothers are killed, Signy orchestrates the deaths of her children by Siggeir, and she bears a child of her brother Sigmund. She visits him in disguise in his hidden cave; the narrator asks:
Answer, earth-dweller [Sigmund],
In thy arms who lies,
Chill, enchanted,
Changed, elfshapen? (83)
What will become of this unnatural child, Sinfjotli? We’ll have to wait and see if he appears in later sections.
This section seems to be more well-crafted; it reads much more effortlessly than section 1. So I’m looking forward to more like this. It is dramatic and easy on the ear. While “Advari’s Gold” showed the Norse and Anglo-Saxon concept of “were-geld,” gold given in recompense for a person’s death, the “person” who died was the son of a god, and the story was riddled with lacunae. In “Signy” the concept of the Peace-Bride is explored in a story that leads to tragedy and the death of the groom, his children, and, finally, the bride herself. The element of “Doom” is clearly depicted here, but I’m not sure if balance has been reestablished.
Thankfully section 2, "Signy" was a much more pleasant read—-though the story is pretty gruesome. Volsung has 11 children: twins Sigmund and his sister Signy, and 9 other sons. Signy is given in marriage, as a peace-bride, to Siggeir, king of Gautland (the land of the Geats in Beowulf), but she doesn’t love him—and he is power-hungry. So all ends badly: the 9 brothers are killed, Signy orchestrates the deaths of her children by Siggeir, and she bears a child of her brother Sigmund. She visits him in disguise in his hidden cave; the narrator asks:
Answer, earth-dweller [Sigmund],
In thy arms who lies,
Chill, enchanted,
Changed, elfshapen? (83)
What will become of this unnatural child, Sinfjotli? We’ll have to wait and see if he appears in later sections.
This section seems to be more well-crafted; it reads much more effortlessly than section 1. So I’m looking forward to more like this. It is dramatic and easy on the ear. While “Advari’s Gold” showed the Norse and Anglo-Saxon concept of “were-geld,” gold given in recompense for a person’s death, the “person” who died was the son of a god, and the story was riddled with lacunae. In “Signy” the concept of the Peace-Bride is explored in a story that leads to tragedy and the death of the groom, his children, and, finally, the bride herself. The element of “Doom” is clearly depicted here, but I’m not sure if balance has been reestablished.
Saturday, January 2, 2010
Upphaf . . .
What a delightful first read! The “UPPHAF” (Beginning) of the poem, the first 8-line stanza:
Of old was an age
when was emptiness,
there was sand nor sea
nor surging waves;
unwrought was Earth,
unroofed was Heaven—
an abyss yawning,
and no blade of grass.
The alliterative stresses are on vowels in the line pairs or on repeated consonants. So you don’t read it like English poetry with iambs or whatever; instead you stress the alliterated sounds, which really adds a great deal of meaning. I read the first section of Volsungakvida en nyja, “Upphaf,” aloud and enjoyed it a great deal. The dog thought I’d lost it.
It’s the beginning, in case you didn’t get that yet, of the tale of the Volsungs. The gods build the earth and all is well until the Giants attack . In response the gods create Thor’s Hammer, with which he scatters the Giants. Then the wise woman prophesies, a rather enigmatic foretelling of Sigurd’s appearing:
If in day of Doom
one deathless stands,
who death hath tasted
and dies no more,
the serpent-slayer,
seed of Odin,
then all shall not end,
nor earth perish. (63)
The section ends with the gods feasting, rather uneasily awaiting the “World’s chosen” (65).
So far Tolkien has captured the Northern “feel” of the tale, and he’s gotten in a lot of the Norse mythology—really packed into the 8-line stanzas: Heimdal, the Sentinel of the gods; the rainbow bridge connecting Asgard and Midgard (Middle-earth); Yggdrasill, the World Tree; Fenrir, the wolf—foe of Odin; Surt, the fire-demon; and the Serpent of Midgard. So the stage is set, Now we await our hero.
Of old was an age
when was emptiness,
there was sand nor sea
nor surging waves;
unwrought was Earth,
unroofed was Heaven—
an abyss yawning,
and no blade of grass.
The alliterative stresses are on vowels in the line pairs or on repeated consonants. So you don’t read it like English poetry with iambs or whatever; instead you stress the alliterated sounds, which really adds a great deal of meaning. I read the first section of Volsungakvida en nyja, “Upphaf,” aloud and enjoyed it a great deal. The dog thought I’d lost it.
It’s the beginning, in case you didn’t get that yet, of the tale of the Volsungs. The gods build the earth and all is well until the Giants attack . In response the gods create Thor’s Hammer, with which he scatters the Giants. Then the wise woman prophesies, a rather enigmatic foretelling of Sigurd’s appearing:
If in day of Doom
one deathless stands,
who death hath tasted
and dies no more,
the serpent-slayer,
seed of Odin,
then all shall not end,
nor earth perish. (63)
The section ends with the gods feasting, rather uneasily awaiting the “World’s chosen” (65).
So far Tolkien has captured the Northern “feel” of the tale, and he’s gotten in a lot of the Norse mythology—really packed into the 8-line stanzas: Heimdal, the Sentinel of the gods; the rainbow bridge connecting Asgard and Midgard (Middle-earth); Yggdrasill, the World Tree; Fenrir, the wolf—foe of Odin; Surt, the fire-demon; and the Serpent of Midgard. So the stage is set, Now we await our hero.
Friday, January 1, 2010
Intro to Sigurd and Gudrun
Tolkien’s Sigurd and Gudrun consists of two long poems: Volsungakvida en nyja, the “New Lay of the Volsungs, and Gudrunarkvida en nyja, the “New Lay of Gudrun.” They are not translations of Old Norse poems or sagas but a re-working of the ancient Norse myths. They are in his words, from a letter to W H Auden, something he did “many years ago when trying to learn the art of writing alliterative poetry: an attempt to unify the lays about the Volsungs from the Elder Edda” (6). They are written in modern English but using the Old Norse alliterative 8-line stanza, a form called “fornyrdislag” (This “d” as those in the titles, ought to be the ON or OE “eth” but I haven’t figured out how to do that in this program yet.) J R R T mentions that he read in William Morris (another of my favorites) that these Northern myths ought to be to the British “what the tale of Troy was to the Greeks” (13). So even here we see T’s interest in providing a myth for his homeland, something some readers believe he attempted in The Lord of the Rings.
This book is edited by T’s son, Christopher Tolkien, who has included several helpful sections that will be of use to readers not familiar with Old Norse poetry. One especially nice surprise is a lecture given by his father on the subject; it is delightful to hear the topic treated in T’s own voice. There is also a substantial commentary on each poem, which I haven’t delved into yet, but these are presented as endnotes, so they don’t interfere with the reading of the poems; however, I’m sure I’ll be using them throughout my reading.
Looking forward to actually getting to the poems now but am thankful for the preparation afforded by the (rather long) Intro.
This book is edited by T’s son, Christopher Tolkien, who has included several helpful sections that will be of use to readers not familiar with Old Norse poetry. One especially nice surprise is a lecture given by his father on the subject; it is delightful to hear the topic treated in T’s own voice. There is also a substantial commentary on each poem, which I haven’t delved into yet, but these are presented as endnotes, so they don’t interfere with the reading of the poems; however, I’m sure I’ll be using them throughout my reading.
Looking forward to actually getting to the poems now but am thankful for the preparation afforded by the (rather long) Intro.
Subscribe to:
Posts (Atom)