to Faðir and Moðir, to whom he gave Jarl, the first of free men, whom he himself brought up, teaching him to shoot and snare, and to use the sword and runes. It is much to be lamented that of this most characteristic and picturesque poem we possess only a fragment. In _Hyndluljóð_, the Lay of Hyndla, the goddess Freyia rides to question the völva Hyndla with regard to the ancestry of her young paramour Ottar; a very fine quarrel ensues between the prophetess and her visitor. With this poem, the first or wholly mythological portion of the collection closes. What follows is heroic and pseudo-historic. The _Völundarkviða_, or Song of Völundr, is engaged with the adventures of Völundr, the smith-king, during his stay with Nidud, king of Sweden. Völundr, identical with the Anglo-Saxon Wêland and the German Wieland (O.H.G. _Wiolant_), is sometimes confused with Odin, the master-smith. This poem contains the beautiful figure of Svanhvít, the swan-maiden, who stays seven winters with Völundr, and then, yearning for her fatherland, flies away home through the dark forest. _Helgakviða, Hiörvarðs sonar_, the Song of Helgi, the Son of Hiörvarð, which is largely in prose, celebrates the wooing by Helgi of Svava, who, like Atalanta, ends by loving the man with whom she has fought in battle. Two Songs of Helgi the Hunding's Bane, _Helgakviða Hundingsbana_, open the long and very important series of lays relating to the two heroic families of the Völsungs and the Niblungs. Including the poems just mentioned, there are about twenty distinct pieces in the poetic _Edda_ which deal more or less directly with this chain of stories. It is hardly necessary to give the titles of these poems here in detail, especially as they are, in their present form, manifestly only fragments of a great poetic saga, possibly the earliest coherent form of the story so universal among the Teutonic peoples. We happily possess a somewhat later prose version of this lost poem in the _Völsungasaga_, where the story is completely worked out. In many places the prose of the _Völsungasaga_ follows the verse of the Eddaic fragments with the greatest precision, often making use of the very same expressions. At the same time there are poems in the _Edda_ which the author of the saga does not seem to have seen. But if we compare the central portions of the myth, namely Sigurd's conversation with Fafnir, the death of Regin, the speech of the birds and the meeting with the Valkyrje, we are struck with the extreme fidelity of the prose romancer to his poetic precursors in the _Sigurðarkviða Fafnisbana_; in passing on to the death of Sigurd, we perceive that the version in the _Völsungasaga_ must be based upon a poem now entirely lost. Of the origin of the myth and its independent development in medieval Germany, this is not the place for discussion (see NIBELUNGENLIED). Suffice to say that in no modernized or Germanized form does the legend attain such an exquisite colouring of heroic poetry