In the Valkyrie-brides, Brynhild and Sigrun, with their double attributes of fighting and wisdom, there is an evident connexion with the Germanic type of woman preserved in the allusions of Cæsar and Tacitus, which reaches its highest development in the heroines of the Edda. Any mythical or ideal conception of womanhood combines the two primitive instincts, love and fighting, even though the woman may be only the innocent cause of strife, or its passive prize. The peculiarity of the Germanic representation is that the woman is never passive, but is herself the incarnation of both instincts. Even if she is not a Valkyrie, nor taking part herself in the fight, she is ready, like the wives of the Cimbri, to drive the men back to the battle from which they have escaped. Hild and Hervör are at one extreme: war is their spiritual life. Love is in Hild nothing more than instinct; in Hervör it is not even that: she would desire nothing from marriage beyond a son to inherit the sword. At the other extreme is Sigrun, who has the warlike instinct, but is spiritually a lover as completely and essentially as Isolde or Juliet. The interest in Signy lies in the way in which she sacrifices what are usually considered the strongest feminine instincts, without, however, by any means abandoning them, to her uncompromising Page 51revenge and pride of race. Her pride in her son seems to include something of both trains of feeling; and she dies with the husband she detests, simply because he is her husband. Brynhild, lastly, is a highly modern type, as independent in love as in war. It is impossible to imagine Sigrun, or Wagner's Sieglinde, taking her revenge on a faithless lover; from no lack of spirit, but simply because revenge would have given no comfort to either. To Brynhild it is not only a distinct relief, but the only endurable end; she can forgive when she is avenged.
The other motives of these stories may be briefly enumerated. The burning of Brynhild and Signy, and Sigrun's entrance into the howe, are mythical reminiscences of widow-burial. The “sister's son” is preserved in the Sigmund and Sinfjötli tale, which also has a trace of animism in the werwolf episode. The common swanmaid motive occurs in two, the Völund story and the legend of Helgi and Kara; while the first Helgi tale suggests the Levirate in the proposed marriage of Svava to her husband's brother. The waverlowe of the Volsung myth may be traced back to the midsummer fires; the wooing of Brynhild by Sigurd's crossing the fire would thus, like the similar bridal of Menglad and Svipdag and the winning of Gerd for Frey, be based on the marriages which formed a part of agricultural rites.
Bibliographical Notes
To avoid confusion, and in view of the customary loose usage of the word “saga,” it may be as well to state that it is here used only in its technical sense of a prose history.
Dr. Rydberg formulates a theory identifying Völund with Thiazi, the giant who carried off Idunn. It is based chiefly on arguments from names and other philological considerations, and gives perhaps undue weight to the authority of Saxo. It is difficult to see any fundamental likenesses in the stories.
The Old English references to Weland are in the Waldere fragment and the Lament of Deor. For the Franks Casket, see Professor Napier's discussion, with photographs, in the English Miscellany (Oxford, Clarendon Press, 1901). The Thidreks Saga (sometimes called Vilkina Saga), was edited by Unger (Christiania, 1853), and by Hylten-Cavallius (1880). There are two German translations: by Rassmann (Heldensage, (1863), and by Von der Hagen (Nordische Heldenromane, 1873).