In the following year appeared Sigurd the Volsung, a version full of heroic vigour, movement and vitality, but somewhat too lengthy and incoherent in design to preserve the epic interest intact to the British taste.
(a) The Helgi trilogy (last third lost save a few verses, but preserved in prose in Hromund Gripsson's Saga), the Raising of Anganty and Death of Ilialmar (in Hervarar Saga), the fragments of a Volsung Lay (Volsungakiraoa) (part interpolated in earlier poems, part underlying the prose in Volsunga Saga), all by one poet, to whom Dr Vigfusson would also ascribe Voluspd, Vegtamskv15a, prymskvit'a, Grotta Song and Volundarkvioa.
The frequent intermarriages which mingled the best families of either race are sufficient proof of the close communion of Northmen and Celts in the 9th and 10th centuries, while there are in the poems themselves traces of Celtic mythology, language and manners.1 When one turns to the early poetry of the Scandinavian continent, preserved in the rune-staves on the memorial stones of Sweden, Norway and Denmark, in the didactic Havamal, the Great Volsung Lay (i.e.
Thidrek's Saga, a late version of the VOlsung story, is of Norse composition (c. 1230), from North German sources.
To Regin, a notable smith, was sent Sigurd - son of the slain hero Sigmundr the Volsung and his wife Hiortis, now wife of the Danish king Alf - to be trained in his craft.
For, as in the legend of Sigurd the Volsung, the plot had turned upon the love and vengeance of Brunhild, so in the song of the Nibelungs it is the love and vengeance of Kriemhild, the Gudrun of the northern saga, that forms the backbone of the story and gives it from first to last an artistic unity which the V olsungasaga lacks.