Will appeal strongly to readers already haunted by the deeper, more sombre musics of Middle-earth.
The Legend of Sigurd and Gudr�n contains 800 narrative verses adapted from Old Norse by Tolkien when he was professor of Anglo-Saxon at Oxford University during the 1920s. The text was hidden away for years but has been released by the writer's reclusive 84-year-old son Christopher, who has edited the book and written a foreword from his home in France.
The world first publication of a previously unknown work by J.R.R. Tolkien, which tells the epic story of the Norse hero, Sigurd, the dragon-slayer, the revenge of his wife, Gudr�n, and the Fall of the Nibelungs.
�Many years ago, J.R.R. Tolkien composed his own version, now published for the first time, of the great legend of Northern antiquity, in two closely related poems to which he gave the titles The New Lay of the V�lsungs and The New Lay of Gudr�n.
�In the Lay of the V�lsungs is told the ancestry of the great hero Sigurd, the slayer of F�fnir most celebrated of dragons, whose treasure he took for his own; of his awakening of the Valkyrie Brynhild who slept surrounded by a wall of fire, and of their betrothal; and of his coming to the court of the great princes who were named the Niflungs (or Nibelungs), with whom he entered into blood-brotherhood. In that court there sprang great love but also great hate, brought about by the power of the enchantress, mother of the Niflungs, skilled in the arts of magic, of shape-changing and potions of forgetfulness.
�In scenes of dramatic intensity, of confusion of identity, thwarted passion, jealousy and bitter strife, the tragedy of Sigurd and Brynhild, of Gunnar the Niflung and Gudr�n his sister, mounts to its end in the murder of Sigurd at the hands of his blood-brothers, the suicide of Brynhild, and the despair of Gudr�n. In the Lay of Gudr�n her fate after the death of Sigurd is told, her marriage against her will to the mighty Atli, ruler of the Huns (the Attila of history), his murder of her brothers the Niflung lords, and her hideous revenge.
�Deriving his version primarily from his close study of the ancient poetry of Norway and Iceland known as the Poetic Edda (and where no old poetry exists, from the later prose work the V�lsunga Saga), J.R.R. Tolkien employed a verse-form of short stanzas whose lines embody in English the exacting alliterative rhythms and the concentrated energy of the poems of the Edda.�
Review by Floresiensis
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