ABSTRACT
The great Gothic Epos has at last obtained incorporation into the literature of the only important nation of Gothic origin from which it was absent, and in a form which, in spite of many shortcomings, will doubtless be accepted as worthy of the subject and of the artist. Avowedly or otherwise, we English are apt to entertain a decided conviction that in our sub-branch of the family the finest qualities of the Germanic and Scandinavian branches are united with the smallest share of their defects, and it must flatter our national pride to find that Mr. Morris has observed a similar proportion in framing this version of a myth which may be regarded as common property. He has selected as the ground-plot ofhis work up to a certain point the rendering of the Volsunga Saga, with which the translation issued by Mr. Magnusson and himself some years ago has already familiarised many ofhis readers. As earlier in date than the Teutonic version, it embodies more of the purely mythical element, and is unencumbered by the quasi-historical legendary matter which has been blended with it in the Nibelungenlied. Some of the more repulsive and unnatural features found in the Saga have been judiciously omitted by Mr. Morris as incapable of poetic treatment, while he has heightened the dramatic effect by the introduction of certain fragments of the myth preserved in the Elder Edda. At the culminating crisis of the tragedy, however, he has suddenly deserted his Scandinavian sources; and, for the motives of action therein held adequate to bring about the catastrophe, has substituted those of the Teutonic version. These modifications, if
attended with some advantages, involve corresponding sacrifices, and it nlay be interesting to dwell upon both a little in detail.
