These fragments, though their evidence tells little regarding epic scale or proportions, are, at least, illustrations of the nature of the stories chosen for epic narrative. The character of Hedin, his folly and magnanimity, is in strong contrast to that of Dag, the brother of Sigrun, who makes mischief in the other poem. The character of Swava is a fainter repetition of Sigrun.
Nothing very definite can be made out of any of the Helgi poems with regard to the conventions of scale in narrative; except that the collector of the poems was himself in difficulties in this part of his work, and that he knew he had no complete poem to offer his readers, except perhaps the Helgakviða.
The poem named by the Oxford editors "The Long Lay of Brunhild" (i. p. 293) is headed in the manuscript "Qviða Sigurþar," Lay of Sigurd, and referred to, in the prose gloss of Codex Regius, as "The Short Lay of Sigurd."[26] This is one of the most important of the Northern heroic lays, in every respect; and, among other reasons, as an example of definite artistic calculation and study, a finished piece of work. It shows the difference between the Northern and the Western standards of epic measurement. The poem is one that gives the whole of the tragedy in no longer space than is used in the poem of Maldon for the adventures of a few hours of battle. There are 288 lines, not all complete.
There are many various modes of representation in the poem. The beginning tells the earlier story of Sigurd and Brynhild in twenty lines:—
It was in the days of old that Sigurd, the young Volsung, the slayer of Fafni, came to the house of Giuki. He took the troth-plight of two brothers; the doughty heroes gave oaths one to another. They offered him the maid Gudrun, Giuki's daughter, and store of treasure; they drank and took counsel together many a day, Child Sigurd and the sons of Giuki; until they went to woo Brynhild, and Sigurd the Volsung rode in their company; he was to win her if he could get her. The Southern hero laid a naked sword, a falchion graven, between them twain; nor did the Hunnish king ever kiss her, neither take her into his arms; he handed the young maiden over to Giuki's son.
She knew no guilt in her life, nor was any evil found in her when she died, no blame in deed or thought. The grim Fates came between.[27]
"It was the Fates that worked them ill." This sententious close of the prologue introduces the main story, chiefly dramatic in form, in which Brynhild persuades Gunnar to plan the death of Sigurd, and Gunnar persuades Hogni. It is love for Sigurd, and jealousy of Gudrun, that form the motive of Brynhild. Gunnar's conduct is barely intelligible; there is no explanation of his compliance with Brynhild, except the mere strength of her importunity. Hogni is reluctant, and remembers the oaths sworn to Sigurd. Gothorm, their younger brother, is made their instrument,—he was "outside the oaths." The slaying of Sigurd by Gothorm, and Sigurd's dying stroke that cuts his slayer in two, are told in the brief manner of the prologue to the poem; likewise the grief of Gudrun. Then comes Sigurd's speech to Gudrun before his death.
The principal part of the poem, from line 118 to the end, is filled by the storm in the mind of Brynhild: her laughter at the grief of Gudrun, her confession of her own sorrows, and her preparation for death; the expostulations of Gunnar, the bitter speech of Hogni,—"Let no man stay her from her long journey"; the stroke of the sword with which Brynhild gives herself the death-wound; her dying prophecy. In this last speech of Brynhild, with all its vehemence, there is manifest care on the part of the author to bring out clearly his knowledge of the later fortunes of Gudrun and Gunnar. The prophecy includes the birth of Swanhild, the marriage of Attila and Gudrun, the death of Gunnar at the hands of Attila, by reason of the love between Gudrun and Oddrun; the vengeance of Gudrun on Attila, the third marriage of Gudrun, the death of Swanhild among the Goths. With all this, and carrying all this burden of history, there is the passion of Brynhild, not wholly obscured or quenched by the rhetorical ingenuity of the poet. For it is plain that the poet was an artist capable of more than one thing at a time. He was stirred by the tragic personage of Brynhild; he was also pleased, intellectually and dispassionately, with his design of grouping together in one composition all the events of the tragic history.
The poem is followed by the short separate Lay (forty-four lines) of the Hell-ride of Brynhild, which looks as if it might have been composed by the same or another poet, to supply some of the history wanting at the beginning of the Lay of Brynhild. Brynhild, riding Hell-ward with Sigurd, from the funeral pile where she and Sigurd had been laid by the Giuking lords, is encountered by a giantess who forbids her to pass through her "rock-built courts," and cries shame upon her for her guilt. Brynhild answers with the story of her evil fate, how she was a Valkyria, punished by Odin for disobedience, set in the ring of flame, to be released by none but the slayer of Fafni; how she had been beguiled in Gunnar's wooing, and how Gudrun cast it in her teeth. This supplies the motive for the anger of Brynhild against Sigurd, not clearly expressed in the Lay, and also for Gunnar's compliance with her jealous appeal, and Hogni's consent to the death of Sigurd. While, in the same manner as in the Lay, the formalism and pedantry of the historical poet are burnt up in the passion of the heroine. "Sorrow is the portion of the life of all men and women born: we two, I and Sigurd, shall be parted no more for ever." The latter part of the Lay, the long monologue of Brynhild, is in form like the Lamentation of Oddrun and the idyll of Gudrun and Theodoric; though, unlike those poems, it has a fuller narrative introduction: the monologue does not begin until the situation has been explained.
On the same subject, but in strong contrast with the Lay of Brynhild, is the poem that has lost its beginning in the great gap in Codex Regius. It is commonly referred to in the editions as the Fragmentary Lay of Sigurd ("Brot af Sigurðarkviðu"); in the Oxford edition it is styled the "Fragment of a short Brunhild Lay." There are seventy-six lines (incomplete) beginning with the colloquy of Gunnar and Hogni. Here also the character of Brynhild is the inspiration of the poet. But there does not seem to have been in his mind anything like the historical anxiety of the other poet to account for every incident, or at least to show that, if he wished, he could account for every incident, in the whole story. It is much stronger in expression, and the conception of Brynhild is more dramatic and more imaginative, though less eloquent, than in the longer poem. The phrasing is short and emphatic:—