XIX. GUDRUN

A ballad epic of the Lowlands, in which ancient viking tales of bride-stealing and sea-fighting have been worked over under the influence of Christianity and chivalry. Although the only extant manuscript dates from the early years of the 16th century, the poem was probably composed about 1200,—not long 74 after the Nibelungenlied, the style of which it to some extent imitates. There are in all 1705 four-line strophes. The strophe is like that of the Nibelungenlied save that the rimes bb are feminine, and the final half-line has five accents. This last feature gives to the verse a dragging effect which is unpleasant to the modern ear.

The locus of the poem is the coast of the North Sea from Jutland to Normandy. The story consists of a Hilde-saga and a Gudrun-saga, the whole being preceded by an introductory account of Hilde’s lineage. She is the daughter of ‘wild Hagen,’ King of Ireland, and is abducted, not much against her will, by envoys of Hetel, King of the Hegelings. Gudrun is the daughter of Hetel and Hilde. She betroths herself to Herwig of Seeland, but is violently abducted, during the absence of her father’s fighting men, by Hartmut of Normandy. The Hegelings pursue, and a great fight takes place on the Wülpensand (near the mouth of the Scheldt). King Hetel and many of his men are killed, and the Normans sneak away in the night with the captured women. For fourteen years (while a new generation of Hegelings is growing up) Gudrun lives as exile in Normandy, faithful to her absent lover Herwig, and cruelly treated by the fiendish mother of Hartmut because she refuses to take the Norman for a husband. Then come rescue and revenge.

There are several translations, the most popular being, again, that of Simrock. To illustrate the meter the first of the selections below is given in Simrock’s rendering; the others are in the smoother translation of Löschhorn, who ruthlessly amputates the two extra feet in the last half-line.