The Story of Siegfried

Right gladly did Siegfried agree to sail with Bragi over the sea; for he wot that the bright Asa-god would be a very different guide from the cunning, evil-eyed Regin. So he went on board with Bragi, and the gleaming Greyfell followed them, and the sailors sat at their oars. And Bragi stood in the prow, and touched the strings of his harp. And, as the music arose, the white sails leaped up the masts, and a warm south breeze began to blow; and the little vessel, wafted by sweet sounds and the incense of spring, sped gladly away over the sea.

Adventure V. In AEgir’s Kingdom

The vessel in which Siegfried sailed was soon far out at sea; for the balmy south wind, and the songs of the birds, and the music from Bragi’s harp, all urged it cheerily on. And Siegfried sat at the helm, and guided it in its course. By and by they lost all sight of land, and the sailors wist not where they were; but they knew that Bragi, the Wise, would bring them safely into some haven whenever it should so please him, and they felt no fear. And the fishes leaped up out of the water as the white ship sped by on woven wings; and the monsters of the deep paused, and listened to the sweet music which floated down from above. After a time the vessel began to meet great ice-mountains in the sea,—mountains which the Reifriesen, and old Hoder, the King of the winter months, had sent drifting down from the frozen land of the north. But these melted at the sound of Bragi’s music and at the sight of Siegfried’s radiant armor. And the cold breath of the Frost-giants, which had driven them in their course, turned, and became the ally of the south wind.

At length they came in sight of a dark shore, which stretched on either hand, north and south, as far as the eye could reach; and as they drew nearer they saw a line of huge mountains, rising, as it were, out of the water, and stretching their gray heads far above the clouds. And the overhanging cliffs seemed to look down, half in anger, half in pity, upon the little white winged vessel which had dared thus to sail through these unknown waters. But the surface of the sea was smooth as glass; and the gentle breeze drove the ship slowly forwards through the calm water, and along the rock-bound coast, and within the dark shadows of the mountain-peaks. Long ago the Frost-giants had piled great heaps of snow upon these peaks, and built huge fortresses of ice between, and sought, indeed, to clasp in their cold embrace the whole of the Norwegian land. But the breezes of the South-land that came with Bragi’s ship now played among the rocky steeps, and swept over the frozen slopes above, and melted the snow and ice; and thousands of rivulets of half-frozen water ran down the mountain-sides, and tumbled into rocky gorges, or plunged into the sea. And the grass began to grow on the sunny slopes, and the flowers peeped up through the half-melted snow, and the music of spring was heard on every side. Now and then the little vessel passed by deep, dark inlets enclosed between high mountain-walls, and reaching many leagues far into land. But the sailors steered clear of these shadowy fjords; for they said that Ran, the dread Ocean-queen, lived there, and spread her nets in the deep green waters to entangle unwary seafaring men. And the sound of Bragi’s harp awakened all sleeping things; and it was carried from rock to rock, and from mountain-height to valley, and was borne on the breeze far up the fjords, and all over the land.

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1

Siegfried’s Boyhood.

“All men agree that Siegfried was a king’s son. He was born, as we here have good reason to know, ‘at Santen in Netherland,’ of Siegmund and the fair Siegelinde; yet by some family misfortune or discord, of which the accounts are very various, he came into singular straits during boyhood, having passed that happy period of life, not under the canopies of costly state, but by the sooty stithy, in one Mimer, a blacksmith’s shop.”—Thomas Carlyle, The Nibelungen Lied.

The older versions of this story represent Siegfried, under the name of Sigurd, as being brought up at the court of the Danish King Hialprek; his own father Sigmund having been slain in battle, as related in this chapter. He was early placed under the tuition of Regin, or Regino, an elf, who instructed his pupil in draughts, runes, languages, and various other accomplishments.—See Preface to Vollmer’s Nibelunge Not, also the Song of Sigurd Fafnisbane, in the Elder Edda, and the Icelandic Volsunga Saga.

2

The Sword.

“By this sword Balmung also hangs a tale. Doubtless it was one of those invaluable weapons sometimes fabricated by the old Northern smiths, compared with which our modern Foxes and Ferraras and Toledos are mere leaden tools. Von der Hagen seems to think it simply the sword Mimung under another name; in which case, Siegfried’s old master, Mimer, had been the maker of it, and called it after himself, as if it had been his son.”—Carlyle, on the Nibelungen Lied, note.

In Scandinavian legends, the story of Mimer and Amilias is given, differing but slightly from the rendering in this chapter.—See Weber and Jamieson’s Illustrations of Northern Antiquities.

In the older versions of the myth, the sword is called Gram, or the Wrath. It was wrought from the shards, or broken pieces, of Sigmund’s sword, the gift of Odin. It was made by Regin for Sigurd’s (Siegfried’s) use, and its temper was tested as here described.

3

Sigmund The Volsung.

Sigmund the Volsung, in the Volsunga Saga, is represented as the father of Sigurd (Siegfried); but there is such a marked contrast between him, and the wise, home-abiding King Siegmund of the later stories, that I have thought proper to speak of them here as two different individuals. The word “Sigmund,” or “Siegmund,” means literally the mouth of victory. The story of the Volsungs, as here supposed to be related by Mimer, is derived mainly from the Volsunga Saga.

4

The Idea of Fatality.

Throughout the story of the Nibelungs and Volsungs, of Sigurd and of Siegfried,—whether we follow the older versions or the mote recent renderings,—there is, as it were, an ever-present but indefinable shadow of coming fate, “a low, inarticulate voice of Doom,” foretelling the inevitable. This is but in consonance with the general ideas of our Northern ancestors regarding the fatality which shapes and controls every man’s life. These ideas are embodied in more than one ancient legend. We find them in the old Anglo-Saxon poem of Beowulf. “To us,” cries Beowulf in his last fight, “to us it shall be as our Weird betides,—that Weird that is every man’s lord!” “Each man of us shall abide the end of his life-work; let him that may work, work his doomed deeds ere death comes!” Similar ideas prevailed among the Greeks. Read, for example, that passage in the Iliad describing the parting of Hector and Andromache, and notice the deeper meaning of Hector’s words.

5

Mimer.

“The Vilkinasaga brings before us yet another smith, Mimer, by whom not only is Velint instructed in his art, but Sigfrit (Siegfried) is brought up,—another smith’s apprentice. He is occasionally mentioned in the later poem of Biterolf, as Mime the Old. The old name of Munster in Westphalia was Mimigardiford; the Westphalian Minden was originally Mimidun; and Memleben on the Unstrut, Mimileba.. .. The elder Norse tradition names him just as often, and in several different connections. In one place, a Mimingus, a wood-satyr, and possessor of a sword and jewels, is interwoven into the myth of Balder and Hoder. The Edda gives a higher position to its Mimer. He has a fountain, in which wisdom and understanding lie hidden: drinking of it every morning, he is the wisest, most intelligent, of men. To Mimer’s fountain came Odin, and desired a drink, but did not receive it till he had given one of his eyes in pledge, and hidden it in the fountain: this accounts for Odin being one-eyed.... Mimer is no Asa, but an exalted being with whom the Asas hold converse, of whom they make use,—the sum total of wisdom, possibly an older Nature-god. Later fables degraded him into a wood-sprite, or clever smith.”—Grimm’s Deutsche Mythologie, I. p. 379.

Concerning the Mimer of the Eddas, Professor Anderson says, “The name Mimer means the knowing. The Giants, being older than the Asas, looked deeper than the latter into the darkness of the past. They had witnessed the birth of the gods and the beginning of the world, and they foresaw their downfall. Concerning both these events, the gods had to go to them for knowledge. It is this wisdom that Mimer keeps in his fountain.”—Norse Mythology, p 209.

In the older versions of the legend, the smith who cared for Siegfried (Sigurd) is called, as we have before noticed, Regin. He is thus described by Morris:—

     “The lore of all men he knew,

     And was deft in every cunning, save the dealings of the     sword.     So sweet was his tongue-speech fashioned, that men     trowed his every word.     His hand with the harp-strings blended was the mingler     of delight     With the latter days of sorrow: all tales he told     aright.     The Master of the Masters in the smithying craft was     he;     And he dealt with the wind and the weather and the     stilling of the sea;     Nor might any learn him leech-craft, for before that     race was made,     And that man-folk’s generation, all their life-days had     he weighed.”     Sigurd the Volsung, Bk. II.

6

Siegfried’s Journey Into The Forest.

“In the shop of Mimer, Siegfried was nowise in his proper element, ever quarrelling with his fellow-apprentices, nay, as some say, breaking the hardest anvils into shivers by his too stout hammering; so that Mimer, otherwise a first-rate smith, could by no means do with him there. He sends him, accordingly, to the neighboring forest to fetch charcoal, well aware that a monstrous dragon, one Regin, the smith’s own brother, would meet him, and devour him. But far otherwise it proved.”—Carlyle, on The Nibelungen Lied.

7

The Norns.

The Norns are the Fates, which watch over man through life. They are Urd the Past, Verdande the Present, and Skuld the Future. They approach every new-born child, and utter his doom. They are represented as spinning the thread of fate, one end of which is hidden by Urd in the far east, the other by Verdande in the far west. Skuld stands ready to rend it in pieces. —See Grimm’s Teutonic Mythology, p. 405, also Anderson’s Norse Mythology, p. 209.

The three weird women in Shakespeare’s Tragedy of Macbeth represent a later conception of the three Norns, now degraded to mere witches.

Compare the Norns with the Fates of the Greek Mythology. These, also, are three in number. They sit clothed in white, and garlanded, singing of destiny. Clotho, the Past, spins; Lachesis, the Present, divides; and Atropos, the Future, stands ready with her shears to cut the thread.

8

Regin.

As we have already observed, the older versions of this myth called Siegfried’s master and teacher Regin, while the more recent versions call him Mimer. We have here endeavored to harmonize the two versions by representing Mimer as being merely Regin in disguise.

9

Gripir.

“A man of few words was Gripir; but he knew of all deeds that had been; And times there came upon him, when the deeds to be were seen: No sword had he held in his hand since his father fell to field, And against the life of the slayer he bore undinted shield: Yet no fear in his heart abided, nor desired he aught at all: But he noted the deeds that had been, and looked for what should befall.” Morris’s Sigurd the Volsung, Bk. II.

10

The Hoard.

This story is found in both the Elder and the Younger Eddas, and is really the basis upon which the entire plot of the legend of Sigurd, or Siegfried, is constructed. See also.

11

The Norns.

The Norns are the Fates, which watch over man through life. They are Urd the Past, Verdande the Present, and Skuld the Future. They approach every new-born child, and utter his doom. They are represented as spinning the thread of fate, one end of which is hidden by Urd in the far east, the other by Verdande in the far west. Skuld stands ready to rend it in pieces. —See Grimm’s Teutonic Mythology, p. 405, also Anderson’s Norse Mythology, p. 209.

The three weird women in Shakespeare’s Tragedy of Macbeth represent a later conception of the three Norns, now degraded to mere witches.

Compare the Norns with the Fates of the Greek Mythology. These, also, are three in number. They sit clothed in white, and garlanded, singing of destiny. Clotho, the Past, spins; Lachesis, the Present, divides; and Atropos, the Future, stands ready with her shears to cut the thread.

12

The Idea of Fatality.

Throughout the story of the Nibelungs and Volsungs, of Sigurd and of Siegfried,—whether we follow the older versions or the mote recent renderings,—there is, as it were, an ever-present but indefinable shadow of coming fate, “a low, inarticulate voice of Doom,” foretelling the inevitable. This is but in consonance with the general ideas of our Northern ancestors regarding the fatality which shapes and controls every man’s life. These ideas are embodied in more than one ancient legend. We find them in the old Anglo-Saxon poem of Beowulf. “To us,” cries Beowulf in his last fight, “to us it shall be as our Weird betides,—that Weird that is every man’s lord!” “Each man of us shall abide the end of his life-work; let him that may work, work his doomed deeds ere death comes!” Similar ideas prevailed among the Greeks. Read, for example, that passage in the Iliad describing the parting of Hector and Andromache, and notice the deeper meaning of Hector’s words.

13

The Dragon.

The oldest form of this story is the Song of Sigurd Fafnisbane, in the Elder Edda. The English legend of St. George and the Dragon was probably derived from the same original sources. A similar myth may be found among all Aryan peoples. Sometimes it is a treasure, sometimes a beautiful maiden, that the monster guards, or attempts to destroy. Its first meaning was probably this: The maiden, or the treasure, is the earth in its beauty and fertility. “The monster is the storm-cloud. The hero who fights it is the sun, with his glorious sword, the lightning-flash. By his victory the earth is relieved from her peril. The fable has been varied to suit the atmospheric peculiarities of different climes in which the Aryans found themselves.... In Northern mythology the serpent is probably the winter cloud, which broods over and keeps from mortals the gold of the sun’s light and heat, till in the spring the bright orb overcomes the powers of darkness and tempest, and scatters his gold over the face of the earth.” This myth appears in a great variety of forms among the Scandinavian and German nations. In the Eddas, Sigurd (Siegfried) is represented as roasting the heart of Fafnir, and touching it to his lips. We have ventured to present a less revolting version.—See Baring-Gould’s Curious Myths of the Middle Ages.

“The slaying of the dragon Fafnir reminds us of Python, whom Apollo overcame; and, as Python guarded the Delphic Oracle, the dying Fafnir prophesies.”—Jacob Grimm.

14

In order to harmonize subsequent passages in the story as related in different versions, we here represent Siegfried as turning his back upon the Glittering Heath, and leaving the Hoard to some other hero or discoverer. In the Younger Edda, Siegfried (Sigurd) rides onward until he comes to Fafnir’s bed, from which “he took out all the gold, packed it in two bags, and laid it on Grane’s (Greyfell’s) back, then got on himself and rode away.”

15

Of Siegfried, but is here introduced in order to acquaint you with some of the older myths of our ancestors. Bragi was the impersonation of music and eloquence, and here represents the music of Nature,—the glad songs and sounds of the spring-time. “Above any other god,” says Grimm, “one would like to see a more general veneration of Bragi revived, in whom was vested the gift of poetry and eloquence.... He appears to have stood in pretty close relation to AEgir.”