—Friedrich Hebbel's Die Nibelungen, Richard Wagner's Ring der Nibelungen, &c. The poet's actual indebtedness to the Volsung-Saga is well summarised by Henrik Jæger in his "Life of Ibsen": "Like Sigurd Fafnir's-bane," he says, "Sigurd Viking has achieved the deed which Hiördis (Brynhild) demands of the man who shall wed her; and, again like his heroic namesake, he has renounced her in favour of his foster-brother, Gunnar, himself taking another to wife. This other woman reveals the secret in the course of an altercation with Hiördis (Brynhild), who, in consequence of this discovery, brings about Sigurd's death and her own. The reader will observe that we must keep to very general terms if they are to fit both the saga and the drama. Are there any further coincidences? Yes, one. After Gudrun has betrayed the secret, there comes a scene in which she seeks to appease Brynhild, and begs her to think no more of it; then follows a scene in which Sigurd explains to Brynhild how it all happened; and finally a scene in which Brynhild goads Gunnar to kill Sigurd. All these scenes have their parallels in the third act of The Vikings; but their order is different, and none of their wording has been adopted." From the family-sagas, again, not only the stature of the characters, so to speak, but several details of incident and dialogue are borrowed. The boasting-match at Gunnar's feast, which, as we have seen, was one of the first elements of the story to present itself to Ibsen's mind, has many analogies in Icelandic lore. Örnulf's questions as to how Thorolf fell are borrowed from Egils Saga, and so is the idea of his "drapa," or funeral chant over his dead sons. Sigurd and Hiördis are, perhaps, almost as closely related to Kiartan and Gudrun in the Laxdæla Saga as to Sigurd Fafnir's-
