TRANSLATORS' PREFACE.
In offering to the reader this translation of the most complete and dramatic form of the great Epic of the North, we lay no claim to special critical insight, nor do we care to deal at all with vexed questions, but are content to abide by existing authorities, doing our utmost to make our rendering close and accurate, and, if it might be so, at the same time, not over prosaic: it is to the lover of poetry and nature, rather than to the student, that we appeal to enjoy and wonder at this great work, now for the first time, strange to say, translated into English: this must be our excuse for speaking here, as briefly as may be, of things that will seem to the student over well known to be worth mentioning, but which may give some ease to the general reader who comes across our book.
The prose of the "Volsunga Saga" was composed probably some time in the twelfth century, from floating traditions no doubt; from songs which, now lost, were then known, at least in fragments, to the Sagaman; and finally from songs, which, written down about his time, are still existing: the greater part of these last the reader will find in this book, some inserted amongst the prose text by the original story-teller, and some by the present translators, and the remainder in the latter part of the book, put together as nearly as may be in the order of the story, and forming a metrical version of the greater portion of it.
These Songs from the Elder Edda we will now briefly compare with the prose of the Volsung Story, premising that these are the only metrical sources existing of those from which the Sagaman told his tale.
Except for the short snatch on p. 24 (1) of our translation, nothing is now left of these till we come to the episode of Helgi Hundings-bane, Sigurd's half-brother; there are two songs left relating to this, from which the prose is put together; to a certain extent they cover the same ground; but the latter half of the second is, wisely as we think, left untouched by the Sagaman, as its interest is of itself too great not to encumber the progress of the main story; for the sake of its wonderful beauty, however, we could not refrain from rendering it, and it will be found first among the metrical translations that form the second part of this book.
Of the next part of the Saga, the deaths of Sinfjotli and Sigmund, and the journey of Queen Hjordis to the court of King Alf, there is no trace left of any metrical origin; but we meet the Edda once more where Regin tells the tale of his kin to Sigurd, and where Sigurd defeats and slays the sons of Hunding: this lay is known as the "Lay of Regin".
The short chap. xvi. is abbreviated from a long poem called the "Prophecy of Gripir" (the Grifir of the Saga), where the whole story to come is told with some detail, and which certainly, if drawn out at length into the prose, would have forestalled the interest of the tale.
In the slaying of the Dragon the Saga adheres very closely to the "Lay of Fafnir"; for the insertion of the song of the birds to Sigurd the present translators are responsible.
Then comes the waking of Brynhild, and her wise redes to Sigurd, taken from the Lay of Sigrdrifa, the greater part of which, in its metrical form, is inserted by the Sagaman into his prose; but the stanza relating Brynhild's awaking we have inserted into the text; the latter part, omitted in the prose, we have translated for the second part of our book.
Of Sigurd at Hlymdale, of Gudrun's dream, the magic potion of Grimhild, the wedding of Sigurd consequent on that potion; of the wooing of Brynhild for Gunnar, her marriage to him, of the quarrel of the Queens, the brooding grief and wrath of Brynhild, and the interview of Sigurd with her—of all this, the most dramatic and best-considered parts of the tale, there is now no more left that retains its metrical form than the few snatches preserved by the Sagaman, though many of the incidents are alluded to in other poems.