Helgakvitha Hundingsbana II: The Second Lay of Helgi Hundingsbane VIII

Anonymous (about 1000), translated by Henry Adams Bellows · 1923

iambic tetrameter · unrhymed · 59 lines · from The Poetic Edda

One of Sigrun’s maidens went one evening to Helgi’s hill, and saw thatHelgi rode to the hill with many men. The maiden said:

“Is this a dream | that methinks I see,Or the doom of the gods, | that dead men ride,And hither spurring | urge your steeds,Or is home-coming now | to the heroes granted?”

“No dream is this | that thou thinkest to see,Nor the end of the world, | though us thou beholdest,And hither spurring | we urge our steeds,Nor is home-coming now | to the heroes granted.”

“Go forth, Sigrun, | from Sevafjoll,If fain the lord | of the folk wouldst find;(The hill is open, | Helgi is come;)The sword-tracks bleed; | the monarch badeThat thou his wounds | shouldst now make well.”

“Now am I glad | of our meeting together,As Othin’s hawks, | so eager for prey,When slaughter and flesh | all warm they scent,Or dew-wet see | the red of day.

“First will I kiss | the lifeless king,Ere off the bloody | byrnie thou cast;With frost thy hair | is heavy, Helgi,And damp thou art | with the dew of death;(Ice-cold hands | has Hogni’s kinsman,What, prince, can I | to bring thee ease?)”

“Thou alone, Sigrun | of Sevafjoll,Art cause that Helgi | with dew is heavy;Gold-decked maid, | thy tears are grievous,(Sun-bright south-maid, | ere thou sleepest;)Each falls like blood | on the hero’s breast,(Burned-out, cold, | and crushed with care.)

“Well shall we drink | a noble draught,Though love and lands | are lost to me;No man a song | of sorrow shall sing,Though bleeding wounds | are on my breast;Now in the hill | our brides we hold,The heroes’ loves, | by their husbands dead.”

“Here a bed | I have made for thee, Helgi,To rest thee from care, | thou kin of the Ylfings;I will make thee sink | to sleep in my arms,As once I lay | with the living king.”

“Now do I say | that in SevafjollAught may happen, | early or late,Since thou sleepest clasped | in a corpse’s arms,So fair in the hill, | the daughter of Hogni!(Living thou comest, | a daughter of kings.)

“Now must I ride | the reddened ways,And my bay steed set | to tread the sky;Westward I go | to wind-helm’s bridges,Ere Salgofnir wakes | the warrior throng.”

“Now were he come, | if come he might,Sigmund’s son, | from Othin’s seat;Hope grows dim | of the hero’s returnWhen eagles sit | on the ash-tree boughs,And men are seeking | the meeting of dreams.”

“Mad thou wouldst seem | alone to seek,Daughter of heroes, | the house of the dead;For mightier now | at night are allThe ghosts of the dead | than when day is bright.”

Words in this poem

went n.
Course; way; path; journey; direction.
rode n.
Redness; complexion. [See Rud.]
methinks v.
It seems to me; I think. See Me. [AS. þyncan to seem, me þynceedh, me þuhte, OE. me thinketh, me thoughte; akin to G. dünken to seem, denken to think, and E. think. See Me, and Think.]
fain v. t.
To be glad ; to wish or desire.
folk n.
In Anglo-Saxon times, the people of a group of townships or villages; a community; a tribe. [AS. folc; akin to D. volk, OS. & OHG. folk, G. volk, Icel. f, Sw. & Dan. folk, Lith. pulkas crowd, and perh. to E. follow.]
bade
A form of the pat tense of Bid.
kinsman n.
A man of the same race or family; one related by blood.
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
aught n.
Property; possession. [AS. , fr. agan to own, p. p. ahte.]
corpse n.
A human body in general, whether living or dead; -- sometimes contemptuosly. [OF. cors (sometimes written corps), F. corps, L. corpus; akin to AS. hrif womb. See Midriff, and cf. Corse, Corselet, Corps, Cuerpo.]
steed n.
A horse, especially a spirited horse for state of war; -- used chiefly in poetry or stately prose. [OE. stede, AS. steda a stud-horse, war horse, fr. stod a stud of breeding steeds; akin to G. stute a mare, Icel. stedda, sto, a stud. *163. See Stud of horses.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Helgakvitha Hundingsbana II: The Second Lay of Helgi Hundingsbane VIII is in the public domain. This text is taken from The Poetic Edda, Project Gutenberg ebook #73533, the Henry Adams Bellows translation; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Anonymous, Helgakvitha Hundingsbana II: The Second Lay of Helgi Hundingsbane VIII, in The Poetic Edda (1923), text of Project Gutenberg ebook #73533, Laurel, https://laurelpoetry.com/poem/poetic-edda/helgakvitha-hundingsbana-ii-the-second-lay-of-helgi-hundings-8.html, id L15737.

Form and metre

Helgakvitha Hundingsbana II: The Second Lay of Helgi Hundingsbane VIII is 59 lines in 13 verse paragraphs. It is unrhymed, as far as the pronouncing dictionary can tell. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 79%). 92% of its stressed syllables fall where the metre puts the beat. The lines average 9.3 syllables. 8 lines end on an unstressed syllable, a feminine ending. 8% of the lines run on without a stop at the line end.

See other poems in iambic tetrameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 2 -A-A see · rideA · steeds · grantedA
  2. 5 -A-A together · preyA · scent · dayA
  3. 7 ---AA- sevafjoll · heavy · grievous · sleepestA · breastA · care
  4. 11 A-A- waysA · sky · bridgesA · throng
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.

LineSyl.Stress
One of Sigrun’s maidens went one evening to Helgi’s hill, and saw that17····/˘··/˘·······
Helgi rode to the hill with many men. The maiden said:14·······/˘··/˘·
“Is this a dream | that methinks I see,9·····˘/··
Or the doom of the gods, | that dead men ride,10··········
And hither spurring | urge your steeds,8·/˘/˘···
Or is home-coming now | to the heroes granted?”12···/˘···/˘/˘
“No dream is this | that thou thinkest to see,10······/˘··
Nor the end of the world, | though us thou beholdest,12·········˘/˘
And hither spurring | we urge our steeds,10·/˘/˘··/˘·
Nor is home-coming now | to the heroes granted.”12···/˘···/˘/˘
“Go forth, Sigrun, | from Sevafjoll,8········
If fain the lord | of the folk wouldst find;9·········
(The hill is open, | Helgi is come;)9···/˘····
The sword-tracks bleed; | the monarch bade8·····/··
That thou his wounds | shouldst now make well.”8········
“Now am I glad | of our meeting together,12·····/˘/˘˘/˘
As Othin’s hawks, | so eager for prey,9·····/˘··
When slaughter and flesh | all warm they scent,9·/˘······
Or dew-wet see | the red of day.8········
“First will I kiss | the lifeless king,8·····/˘·
Ere off the bloody | byrnie thou cast;9···/˘····
With frost thy hair | is heavy, Helgi,9·····/˘··
And damp thou art | with the dew of death;9·········
(Ice-cold hands | has Hogni’s kinsman,8······/·
What, prince, can I | to bring thee ease?)”8········
“Thou alone, Sigrun | of Sevafjoll,9·˘/······
Art cause that Helgi | with dew is heavy;10········/˘
Gold-decked maid, | thy tears are grievous,8······/˘
(Sun-bright south-maid, | ere thou sleepest;)8······/˘
Each falls like blood | on the hero’s breast,9······/˘·
(Burned-out, cold, | and crushed with care.)7·······
“Well shall we drink | a noble draught,8·····/˘·
Though love and lands | are lost to me;8········
No man a song | of sorrow shall sing,9·····/˘··
Though bleeding wounds | are on my breast;8·/˘·····
Now in the hill | our brides we hold,9····/˘···
The heroes’ loves, | by their husbands dead.”9·/˘···/˘·
“Here a bed | I have made for thee, Helgi,10··········
To rest thee from care, | thou kin of the Ylfings;11···········
I will make thee sink | to sleep in my arms,10··········
As once I lay | with the living king.”9······/˘·
“Now do I say | that in Sevafjoll9·········
Aught may happen, | early or late,8··/˘/˘··
Since thou sleepest clasped | in a corpse’s arms,10··/˘···/˘·
So fair in the hill, | the daughter of Hogni!11······/˘···
(Living thou comest, | a daughter of kings.)10/˘····/˘··
“Now must I ride | the reddened ways,8·····/˘·
And my bay steed set | to tread the sky;9·········
Westward I go | to wind-helm’s bridges,9/˘·····/˘
Ere Salgofnir wakes | the warrior throng.”10······/˘˘·
“Now were he come, | if come he might,8········
Sigmund’s son, | from Othin’s seat;7/˘·····
Hope grows dim | of the hero’s return9·····/˘˘/
When eagles sit | on the ash-tree boughs,9·/˘······
And men are seeking | the meeting of dreams.”10···/˘·/˘··
“Mad thou wouldst seem | alone to seek,8····˘/··
Daughter of heroes, | the house of the dead;10/˘·/˘·····
For mightier now | at night are all9·/˘˘·····
The ghosts of the dead | than when day is bright.”10··········

On this poem

INTRODUCTORY 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. 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. Section I (stanzas 1
Notes from the edition 24

Henry Adams Bellows's notes to his translation (1923; Project Gutenberg #73533).

  1. Stanza 1 “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.” Hamal 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.
  2. Stanza 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. Prose. Hagal: Helgi’s foster-father, who naturally protects him.
  3. Stanza 2 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.
  4. Stanza 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.
  5. Stanza 3 “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.” Hagal answered and said:
  6. Stanza 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.
  7. Stanza 4 “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.)” Helgi escaped and went to a fighting ship. He slew King Hunding, and thenceforth was called Helgi Hundingsbane. (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:
  8. Stanza 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 lying, it is useless to test any part of his speech for accuracy. 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 Vigfusson, who thinks this section is also a remnant of the Karuljoth, calls her Kara.
  9. Stanza 5 “Who rules the ship | by the shore so steep? Where is the home | ye warriors have? Why do ye bide | in Brunavagar, Or what the way | that ye wish to try?” Helgi spake:
  10. Stanza 6 “Hamal’s the ship | by the shore so steep, Our home in Hlesey | do we have; For fair wind bide we | in Brunavagar, Eastward the way | that we wish to try.” Sigrun spake:
  11. Stanza 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.
  12. Stanza 7 “Where hast thou, warrior, | battle wakened, Or gorged the birds | of the sisters of Guth? Why is thy byrnie | spattered with blood, Why helmed dost feast | on food uncooked?” Helgi spake:
  13. Stanza 7 Guth: a Valkyrie (cf. Voluspo, 31); the birds of her sisters are the kites and ravens.
  14. Stanza 8 “Latest of all, | the Ylfings’ son On the western sea, | if know thou wilt, Captured bears | in Bragalund, And fed the eagles | with edge of sword. Now is it shown | why our shirts are bloody, And little our food | with fire is cooked.” Sigrun spake:
  15. Stanza 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.
  16. Stanza 9 “Of battle thou tellest, | and there was bent Hunding the king | before Helgi down; There was carnage when thou | didst avenge thy kin, And blood flowed fast | on the blade of the sword.” Helgi spake:
  17. Stanza 10 “How didst thou know | that now our kin, Maiden wise, | we have well avenged? Many there are | of the sons of the mighty Who share alike | our lofty race.” Sigrun spake:
  18. Stanza 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.
  19. Stanza 11 “Not far was I | from the lord of the folk, Yester morn, | when the monarch was slain; Though crafty the son | of Sigmund, methinks, When he speaks of the fight | in slaughter-runes.
  20. Stanza 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.
  21. Stanza 12 “On the long-ship once | I saw thee well, When in the blood-stained | bow thou wast, (And round thee icy | waves were raging;) Now would the hero | hide from me, But to Hogni’s daughter | is Helgi known.” (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:
  22. Stanza 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. note on prose following stanza 4), changes Hogni to Halfdan, father of Kara. 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: 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.
  23. Stanza 13 Sigrun the joyful | chieftain sought, Forthwith Helgi’s | hand she took; She greeted the hero | helmed and kissed him, The warrior’s heart | to the woman turned.
  24. Stanza 13 Some editions combine lines 3–4, or line 4, with part of stanza 14.

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