Kin-slaying in the "Poetic Edda": The End of the World?

Author(s): David Clark

Source: Viking and Medieval Scandinavia , 2007, Vol. 3 (2007), pp. 21-41
Published by: Brepols

Stable URL: https://www.jstor.org/stable/45019134

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 Kin-slaying in the Poetic Edda:
The End of the World?

David Clark

TT 'Y^vam^ advises one not to trust 'Bróãurbana sínom, ķott á brauto mœti'
Ē m (st. 89) (A brother's killer, though one meet him on the road), and
JL JL Vçluspá even links fratricide with Ragnarçk, prophesying 'BroeÒr muno
beriaz oc at bçnom veròaz' (st. 45) (Brothers will fight each other and become one
another's slayer).1 However, kin-slaying and especially fratricide constitute crucial
factors in the history of both gods and men, recurring throughout the Codex Regius,
but particularly prominent in Vqluspá and HamÒismâl , respectively the first and last
poems of the compilation.2 In this article I first explore the treatment of these themes
in the two texts and the way in both that these themes interact with the use of cer-
tain shared motifs, and follow it with an exploration of the references to Ragnarçk
and these same motifs in the heroic poems, in particular the poems of Sigurär's
youth. In Vqluspá , these motifs are all linked with Ragnarçk, the doom of the gods,
and the end of the world; in HamÒismâl they are linked with the end of a human
dynasty. I argue that the poet of the latter may have been alluding to the cosmic
struggle as a means of warning his contemporaries of the dire consequences of kin-
slaying, but that within the context of the compilation we are encouraged to ex-
tend this to the consequences of strife within the community in general.

1 For consistency, poems are cited from Neckel and Kuhn (1962-68); emendations adopted
from Dronke (1969 and 1997) are indicated where appropriate. All translations are my own. I
would like to thank the following scholars for commenting on this article in earlier forms: Heather
O'Donoghue, Carl Phelpstead, Carolyne Larrington, and Judy Quinn. I benefitted greatly from
their comments and those of the anonymous reviewer of VMS. What faults remain are my own.

2 For a detailed account of the Codex Regius, see Lindblad (1954); for a facsimile with full
description, see Wimmer and Finnur Jónsson (1891).

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22 David Clark

As Dronke rem
rial with much
to make defini
tained in the l
Regius was not
the manuscrip
piler was work
lynchpin of th
tion took its c
1270, and it h
poems must ha
that the lost e
unlikely to hav
composition o
teenth century
and the copy t
the present fo
the poems' lost
the compilatio
tions, and the

Ragnarçk in

In Vqluspâ 3 1-
gods in Vçlusp

3 Compare the r

AM 748 I 4to co
drawn ar, and pa
Jónsson ( 1 896) f

5 See further D
6 For a lucid acco
see Millett (1994

7 The allusions a
Sn^rri Sturluson
the extant eddic
thirteenth-centu

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KIN-SLAYING IN THE POETIC EDDA 23

question of who is to be punished f

immediate killer, his brother HçÒr, is
with which he shoots Baldr is made ou
which can harm his otherwise invulne
is Loki, who has planned and instigate
and indeed he is punished, by being b
35 describes. Nonetheless, Óôinn cl
directly, since he immediately begets
Hçòr at one night old ( Vqluspá 32-3
ever, these actions clearly do not reso
It is clear that Válťs vengeance fo
fratricidal cycle, since Hçâr is Válťs b
the ultimate culprit Loki, as we know
and thus Ódinn's involvement in his
fratricidal cycle continues when Loki
it is his progeny who battle Oöinn an
kills Oöinn and is killed in turn by
but is killed in the process (sts 53-5
The apocalypse is followed by the re
of a new world, where all is put to ri
One might interpret this as a sign tha
at an end; indeed, this is precisely the
stanza, when he claims, 'This is indeed
geance have been put aside' (1997, 17
Baldr could equally well be seen as an o
new world, given their designation as
given the characteristic longevity of

perhaps even derived from Snorri. Therefore

the Codex Regius, what I consider to be unc

8 A very similar story of accidental killing

the emphasis is on the fact that, because the s
The possible relation of the two stories is
9 See also Lindow (1994). In context, Lindo
he connects to the Vqluspá stanza the end of V
VíÔarr and Váli (Óclinn's sons) will live tog
I>órr's hammer Miçllnir for strength in batt
systematized version, where all six gods sit d
Váli the avenger, and the other three, all of

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24 David Clark

in Norse (and Ol
over periods of
ished but lurkin
at the end of th
tance of fratric
themes in the f
HamÒismãl com
Vçlsung dynast
Helgi Hundings
are followed by
rise to fame, an
Brynhildr and G
ing poems largel
by her second
children, and th
It is thus alread
ated with venge
concerns come
compilation - fo
GuÒrúnarhvQt.
could thus serve
to end her life o
a satisfying tra
is surely theref
themes. I have
where, in an ar
Guòrún and her
However, I want
The plot essen
Guòrún incites h
whom he had m
GuÒrúnarhvqt i
vér to have had
Svanhildr in thi

10 It seems likely
term systor son 'si
Randvér's stepmot

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KIN-SLAYING IN THE POETIC EDDA 25

has not brought her happiness in the p

brothers, and children (sts 6-8). Sçrli r
as they leave for certain death (sts 9-10
brother Erpr who offers them help
insult and for which they kill him (sts
that they have diminished their streng
brothers reach Içrmunrekkr's hall, kill
they have done. They cut off iQrmunr
to tell his men to stone them, since th
24-25). HamcSir and Sçrli recognize tha
off Içrmunrekkr's head (st. 28), then su
the Vçlsung dynasty.
Even from this bare-bones account, th
to the poem is evident. Within this bas
brotherhood together with tree and wo
of revenge. Brodeur and Brady's insigh
mœdri , brœdra sammœÔra , and bróòir
of these terms parallels Hamdir and Sçr
tion to Erpr, progressing from initial h
of his blood-tie with them (Brodeur an
I would argue that we need to widen ou
in general, since kinship terms (includi
employed in fifteen of the thirty-one
their denial) are crucial elements thr
19, 24-26, 28). We can see this throug
imagery, which is inextricably linke
perception of them.
The first explicit mention of trees in
three similes in stanza 5 to emphasiz
deprived ofkinsmen: she is 'Einstω [. .
in the wood); Tallin at frcendom | sem f
of branches); and Vaâin at vilia | sem vi
of leaves).1 1 At the end of the poem, h
corpses 'sem ernir á qvisti' (st. 30) (as

1 1 The start of the poem perhaps also evokes

says that grievous deeds sprutto â tdi (spran
178-79).

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26 David Clark

undercuts the
foregrounding
inevitably still
One might co
grœnlenzku , w
has all the pow

í kné gengr hn
tré tccr at hn

(The trunk goes t

the root from un

This translatio
commentary (
'king-piece' in t
the expression
game, speculati
hence familiarl
a rare sense wo
(1969, 134). Us
itself was origi
some other par
both meanings
í kné gengr hn
have been trac
stanza. Secondly
Guäriin's iron
position, but of
pieces' fall. One
gaming pieces w
of their tragic
The irony of
avenged herself
flesh and drink
doubly ironic,
killed her sons

12 To this lament
lauf sé' (as little as

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 KIN-SLAYING IN THE POETIC EDDA 27

to HamÒismdl after these two poems, the reader is

associations of tree imagery with destructive fam
The tree imagery in HamÒismdl is also picked u
Randvér is said to swing on the vargtré vindkqld
vargr has the meaning 'thief, outlaw* and hence va
(the 'tree' of the outlaw), its primary meaning is
grounding a further kin-slaying, this stanza in
picked up at the end of the poem. One of the b
script) calls for the two of them to eschew úlfa d
urges that they should not fight

sem grey noma, ķau er gráÒug ero

í auÒn um alin. (. HamÒismdl 29)

(like the dogs of the Norns, which, greedy, are reared in

In conjunction with the poem's final, apparently u

brothers lay apart in death, the poet may be
loneliness of revenge at the end of his work, and
community bonds, rather than the 'wilderness' cr
vengeance.13
HamÒismdl can thus clearly be seen as echoi
destructive results of vengeance and kin-slaying. H
and the other heroic poems even more explicitl
mythological lays. Caroline Brady argues that, in
threat to hang Hamôir and Sçrli, Içrmunrekkr
strates his affiliation to Óòinn (god and epony
associated with hanged human and animal sacrifice
conjunction with the poems' otherwise obscure ref
(sts 28-30), as an indication to the alert reader to
exclusively human and heroic, context.

13 Clark (2005, 180). HelgakviÒa Hundingsbana I also ass

with wolf-imagery. GuÖmundr accuses Sinfjçtli during their
hefìr etnar úlfa krásir ļ oc broeÖr ķinom at bana orčiiť (st.
and been your brother's slayer).

14 Brady (1940, 918-19). Her argument that it is ÓÒinn

order to stone the brothers does not fit the extant versio
progression of the narrative logically indicates that it is Içr
cut off.

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28 David Clark

The events o
Rather than Vq
culminates in
destroys the c
human level ho
tives of a dyn
avenge their si
involved in the
seems consume
erally consume
her sons off to
is burnt out by
might even b
Ragnarçk ( Vql
be linked to th
and branch im
might also com
tletoe from wh
to the tree (pr
in Hávamál 1 3
in HamÒismál
qnnor 12, whe
it would be bet
viď (st. 12) (des
The idea that
be seen as in so
support in Grí

Ascr Yggdrasi
enn ScíÒblacJ
Óčlinn ása, en
Bilrçst brúa,
Hábróc hauca

(The ash Yggdras

Sleipnir of horse
dogs.)

15 Compare also Hãvamãl 85, Reginsmál 22, and the remarks immediately below.

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KIN-SLAYING IN THE POETIC EDDA 29

If these things are the best of their ki

Fenrir as worst of wolves, Miôgarôsor
wolves, trees, eagles, and serpents of
allude to their cosmic doubles in the m
ises to repay further study. However,
of the Codex Regius are not merely
logical references.

Ragnarçk in the Heroic Poems: T

In addition to the explicit reference

Grímnismdly HymiskviÒa , and Lokasen
the heroic poems: in HelgakviÒa Hund
14-15, and Sigrdrífumal 19.16 In H
maid sees Helgi riding into his grave-

Hvárt ero ļ>at svic ein, er ec siá ķic

eÖa ragna rçc, ríčta menn dauÔir?

(Is it a trick, when it seems to me I see dead

Helgi replies in almost the same word

trick, but rather than repeating ragn
which thus equates these phrases. This
be returned to later, but here it seem
discussion of HamÒismdl that this i
Dagr, who has killed Helgi with a sp
father, and Sigrun, who curses her br
ploys wolf, tree, and eagle imagery, in
her brother in stanza 33 that ťI>á vaer
viòom úti' (Helgťs death would be av
out in the wood).17 She also claims th
paär ascr af 1>yrnť (st. 38) (like the g
bush), and at the end of the poem,

16 The mythological references are Vqlusp

mál 4, 17, 23; compare HymiskviÒa 23-24
17 The translation wolf may perhaps be pre
erence to feasting on corpses; compare the r

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30 David Clark

mound, Sigrún
(st. 50) (where
these images a
of revenge.
Just as in the
situation (Helg
22, as Hallberg
destruction o
dreams of Gun
Atli:

Gçrvan hugda
aeti ļ>ic orma
gorÕiz rçc ra

(I thought I saw
you from life -

The Ragnarçk
of hanging on
ormar can allu
but also perhap
battle ( Vqlus
Haraldur Bess
ing that by th
argues could 'f

intended to ma
ragnarök [. . .]
Gudrún's reven

If this is the c
author o îAtla
earlier Atlakvi
In Fáfriismál
many element
explored wha
motiver' (1981
in Fáfriismál

18 Hallberg does

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KIN-SLAYING IN THE POETIC EDDA 31

eschatological events of Ragnarçk and

obvious, however, but lies 'i de underlig
forbindelser som bestar mellom den
(1981, 26) (in the underlying motif-h
which exist between the mythological p
wary of Kragerud's assertions of a dire
religion (1981, 42), but I now want to e
ful link between Sigurôr's life and the e
youth, ending with a contextualized
Ragnarçk in Sigrdrífumál 19.

Kin-slaying in the Poems of Sigurôr

Baldr's death is a pivotal moment in th

seen above. As represented by the myth
obsessed by his fate and that of the go
and ending his wisdom contests with
whispered into his dead son's ear as Bald
was an exemplary figure; his loss devast
hall BreiÔablik is 'a ķvi landi, er ec liggi
I know the fewest treachery-runes [i.e.
his character, as with the other gods' ha
Baldr as the god of pre-eminent goodn
ginning^ has Hár state:

Annarr son Ó dins er Baldr, ok er frá honum

Hann er svá fagr álitum ok bjartr svá at lýsir
til Baldrs brár. í>at er allra grasa hvítast, ok ķar
á liki. Hann er vitrastr Ásanna ok fegrst tal

(The second son of ÓÔinn is Baldr, and ther

all praise him. He is so fair of countenance
certain plant is so white that it is likened to B
by this you may mark the beauty both of his
and fairest spoken and most merciful.)

19 Vqluspd , H dv am dl , and VajprúÒnism

VajprúÒnismdl 54; compare HeiÒreks saga ch.

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32 David Clark

Although it is
elaboration, n
Sigurör's dea
remainder of
of Gudrun an
Baldr, Sigurär
ļ oc haestr bo
highest born
Grípisspã, rem

Sigmundr oc all
alla atgervi. Sig
menn fram oc

(Sigmundr and a
and all accomp
ancient traditio

Similar expres
I would argue
parallel murd
tions and far-
his life and ad
birds and shap
viour of gods
Ódinn and Lo
with treacher

20 On Loki and
Snorri's Gylfag
21 In GuÒrúnar
Brynhildr); GuÒ

22 In view of t
above, one migh
warrior and her
38 and GuÒrúna
no room for a de

23 Edgar Haimer
century poetic u
Here I treat the

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KIN-SLAYING IN THE POETIC EDDA 33

In the prose preceding Reginsmdl, Re

Loki had been fishing, and Loki killed O
of an otter. When the gods showed the
the flayed skin of the otter - unawar
father - he made them ransom their li
outside with gold, revenge here warded
the beginning of the poem itself, where
nets a dwarf in the form of a pike, an
for his life (sts 1-4). The dwarf wants
with self-replicating powers), and when
curses the gold:

Pat seal gull, er Gustr átti,

brœcirom tveim at bana verčía,
oc pčílingom átta at rógi;
m un mins fiár mangi nióta. (Regins

(That gold which Gustr had will be the death

for eight noblemen; none shall enjoy my we

The gods spread the gold over the ot

uncovered, and thus they must in turn
which Loki reveals, warning that 'ķat v
the slayer of you both), and again t
(unending strife among kinsmen).24
One can trace the effects of this curs
follow in the Poetic Edda , but the im
before stanza 10, Hreiômarr refuses to
and Reginn, so the former kills his fath
Reginn incites Siguròr to kill his broth
motivation is to avenge his father or gr
has done as Reginn wants him to, the d
be Siguròr s death (sts 9 and 20); he als
boy he has brought up as his foster-son
nuthatch warns that Reginn 'vili [. . .]
his brother), and Siguròr takes the
crucially, even before the cycle of reve
Brynhildr and Guõrún begins, his yout

24 Taking Dronke's emendation of um nept

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 34 David Clark

name is associat
Moreover, all th
of Loki.
Sigrdrífumâl a
as the reason wh
Although a valk
order to prote
ļ>ess' (prose bef
curses her to sl
married. Altho
Sigrdrífumâl a
action is at lea
liaisons, provid
The poem also
deeply ironic in

I>at raed cc 1>ér

vammalauss ve
síÒr 1>ú hefnir
ķat qvcda daud

(I advise you this

though they give

Moreover, Sigr
brother or fath
for Sigurôr, bec
Sigrdrífumâl th
kinsmen by m
erence, in Sigrd
advice.26
Sigrdrifa has been revealing wisdom to Siguròr, beginning stanzas 6 to 7 and 9
to 13 with a different type of rune, followed by what the runes are useful for.

25 This phrase is from later paper manuscripts, for the Codex Regius lacuna begins at st. 29, line
1. However, there seems no reason to doubt its authenticity.

26 These are interrupted at number six by the lacuna. Thus, the exact progression from Sigrdrí-
fumâl to the following poem is unclear, and one can never be certain how or whether the betrothal
to Sigrdrifa is reconciled with the subsequent betrothal to Brynhildr. However, it is possible that
intervening prose might explain it with some device similar to the reincarnation motif of the Helgi
poems.

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KIN-SLAYING IN THE POETIC EDDA 3 5

Although there are many enigmati

of elements seem striking. Stanza
used to heal wounds and must be
branches or limar 'limbs' face ea
with bodies and limbs bears an int
family tree image.27 Stanza 12 g
with the idea of preventing reven
runes' if one wishes that no one
injury] with hatred [or feud]); t
courts. The final runes listed are h
wiser than any other man ('ef ļ>u
told how Hroptr (a pseudonym for
on various liminal or mythic place
norns, sts 1 5- 1 7) . Sigrdrifa then
they are present among the JEsir,
able to those who know how to m
Sigurâr: 'nióttu, efļ>u namt, ļ unz
until the gods are torn apart).
Whilst conceding the obscurity o
tenuous to see the runes, particula
power of language used wisely to p
law and reason (st. 12). If so, the
doom of the gods with destructi
Christian audience that wise speec
gods meaning the doom of human
that takes on greater force only w
the compilation.

Ragnarçk and its Place in the

Ragnarçk was clearly a resonant an

several Norse writers; it certainly
much of the Poetic Edda. We have

27 Other uses of family-tree imagery

SigrdrifumaU there is some notion of '
branches, then the similar limbs of the b

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36 David Clark

some of the h
mythological po
the eponymous
Skírnismdl can
has no sword a
how Snorri inte
52 if one under
embedded episo
the giant Hymi
serpent kill eac
them with hav
Ragnarçk. As U
from seeing it
the tradition o
PrymskviÒa exp
links to Ragnar
according to th
protagonists die
Klingenberg 1
One can take t
that, as a contes
narok' (1996, 39
HymiskviÒa , a
predicated on c
gods, in this ca
leads to the de
between Óâinn
explores divine
power struggle
strife or conf
heritage. And f
The heroic poem
ticularly kin-sl

28 As Dronke (19
above in HamÖism
(taming-wand, st.
st. 32); an eagle re

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KIN-SLAYING IN THE POETIC EDDA 37

themes together running through a

Given the recurrent preoccupation wi
the compiler of the Codex Regius pick
construed the events of the heroic poe
ing of patterns laid down on a cosmic
his compilation in such a way as to att
posal was made in 1974 by Heinz K
himself composed HelgakviÒa Hunding
heroic poems, in a compilation ordere
within one's kinship group, and de
frequently speculative arguments did
that he resorts in part to special plead
represents an unduly harsh review). N
Klingenberg makes some valuable poin
the manuscript as a whole should en
of the Codex Regius (Harris 1985, 78).
not dependent on the authorship of H
Klingenberg devotes six of nine chapt
clearly some effort on the part of th
similarity between individual poems,
may have invented. For instance, t
GuÒrúnarkviÒa in Jyrsta ) emphasizes
Siguròr's death, they are all unanimou
betrayed. Similarly, the prose on th e
the kinship between Helgi and Siguròr
vida Hundingsbana //, and many of t
because of the love of or revenge b
brother and his stepmother Borghild
of his father Sigmundr); Sigmundr is
particular cycle of revenge, but his so
these ideas must await fuller analysis
be drawn here in the hope of stimulat

29 As noted earlier, the evidence of AM 748

note 4 above.

30 Klingenberg (1974, [il], 37-133); see p

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38 David Clark

Conclusion

I have argued h
dismal, functi
mythological t
Ragnarçk in fo
Baldr, and the
revenge, is thus
to be consistent
pendence, and w
1 2 may even h
and control ret
on the implica
porary context.
The first is th
the compilatio
poems it contai
most vexed pro
provide suppor
as extant) belon
remain contro
The second is t
compilation, ale
allusion to Ragn
as an indictmen
ciple to the wid
family, so the k
sion in a commu
without its bra
so is GuÒrún w
without the com
friendship. Ki
revenge is self
saga , which w
Regius in the th
also have been e
might well hav
future vengea

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KIN-SLAYING IN THE POETIC EDDA 39

nevertheless seems rewarding to consid

to forestall destructive social trends wh
lead to a human Ragnarçk. Its emphatic
several other poems in our main man
thirteenth-century compiler of the Co

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40 David Clark

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