Hafbur and Signe: a ballad — Themes and Context
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This digital edition of Hafbur and Signe: a ballad — Themes and Context is described by source-level measurements including 5,729 words, 25 min estimated reading time, and 1 detected text section.
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Project Gutenberg metadata also associates the work with “Poetry,” connecting these edition facts with the source record’s subject description.
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elighted heart Upon the bed himself has flung; I tell to ye for verity That as he fell his hauberk rung.
Then out and spake proud Signelil, She could not wonder half enough: “Since I’ve been born no maid has worn, That I have known, a sarke so rough.”
Her hand upon young Hafbur’s breast Which shone with ruddy gold she laid: “To me make known why are not grown Your breasts like those of another maid?”
“’Tis custom in my father’s land For maids to mount and ride to fight; My breasts not growing more, is owing Unto the chafe of my hauberk tight.”
And there reclined the night so long The youthful hero and the may; They talking kept and nothing slept, For in their hearts so much there lay.
“Now do thou hear, proud Signild fair, Since all alone ourselves we find, Tell me the truth, who is the youth For whom most stands your maiden mind?”
“O there is none within the world For whom I feel the least inclined, Save Hafbur young, whose deeds are sung, And he for me is not designed.
“Save Hafbur young whom it has been These eyes hard fortune ne’er to see; I’ve heard alone his bugle blown, When to and fro the Ting rides he.”
“And if it is prince Hafbur young Whom them dost hold at heart so dear, Straight turn your face and on him gaze, For he does lie to thee so near.”
“If thou art he, why dost thou seek A princely maiden to inveigle? In manly sort to Siward’s court Why cam’st thou not with hawk and beagle?”
“O maiden, to your father’s house Long since I came with hawk and hound; But my desire he met with ire, Still in my ear his scoffs resound.”
All, all the time that they did talk They thought that quite alone were they; But one stood near, and lent an ear To every word that they did say.
Shame, shame befall the wicked maid, ’Twas she brought much mishap to pass; She sly removed the sword approved Of Hafbur, and the new cuirass.
When she had removed the sword approved, And Hafbur’s good cuirass beside; To the hall away where Sivard lay The wicked maiden swiftly hied.
“Awake, awake, good Sivard King, Too much of sleep is in thy head! Prince Hafbur know is lying now With Signild fair in silken bed.”
“O young Prince Hafbur is not here, And it is false what thou hast told; To the Eastern main his way he’s ta’en, With Russ and Finman fight to hold.
“So hold thy peace, thou wicked wench, Nor lying tongue ’gainst Signe turn; Ere morn shall dye the Eastern sky For thy foul slander thou shalt burn.”
“Now do thou hear, my noble Lord, Believe me all my words are true! For see, I have his polished glaive, And his cuirass of beaming blue.”
So wroth grew Sivard at the sight, And loud around he ’gan to shout: “Upstand ye all my merry men tall, For here is come a Kemp so stout.
“Now take ye brand and shield in hand, And look ye wield them both aright; Unto our home is Hafbur come, Unasked by me, the hard necked wight.”
Upon the door they struck with power, With shield and faulchion struck they hard: “Come out, come out, young Bear,” they shout, “Come out unto the castle yard.”
When that heard she, proud Signelil Her lily hands she fell to wring: “Ah! dost not hear, Prince Hafbur dear, How they for thee are clamouring?”
Praise be to Hafbur, princely youth, Against a host he made a stand; They could not all the youth enthrall Till snapped the bed post in his hand.
They Hafbur took, and him they placed In shackles strong and newly made; But them in twain he burst amain, As had they only been of lead.
Then raised the ancient maid her voice, And cursèd counsel came from her: “Bind yonder Bear with Signe’s hair, And hand or foot he will not stir.
“Sirs, straightway bind ye Hafbur’s hands With one of Signe’s silken hairs; That little hair he will not dare To break, such love for her he bears.”
And they took two of Signild’s hairs, And bound with them his mighty hands; Such love possest the Hero’s breast, He would not burst the tiny bands.
Then out and spake proud Signelil, Adown her cheeks the tears ran fast: “O Hafbur tear the paltry hair, Thy Signe’s free consent thou hast.”
George Borrow's translation of the Danish ballad Hafbur and Signe opens with a stark declaration of enmity between two kings, the feud sparked by the beauty of Signe. The narrative immediately establishes a pattern of direct speech and swift action: within the first stanzas, Hafbur awakens from a prophetic dream, consults his mother, and seeks an elfin maiden to interpret it. The dream—of holding his beloved in heaven before falling through clouds—foreshadows both triumph and death, a duality that drives the poem's tension. Borrow's verse employs a compact, four-line stanza with alternating rhyme, lending a rhythmic urgency that mirrors the hero's haste.
Dreams and Foreboding
The ballad's opening hinges on Hafbur's dream, a device that propels the plot and establishes a fatalistic tone. The dream is recounted twice: first to his court, then to the elfin maiden. The repetition underscores its importance, while the maiden's interpretation—that winning Signe will lead to his death—is met with Hafbur's resigned acceptance: “I’ll ne’er complain if Fate ordain / That afterwards for her I die.” This exchange, rendered in Borrow's plain but rhythmic verse, sets the narrative on a course where prophecy and choice intertwine. The mother's role as the sole attentive listener among the courtiers hints at a private, intimate understanding of fate, contrasting with the public spectacle of the dream.
Disguise and Deception
Hafbur's decision to disguise himself as a woman to gain access to Signe introduces a shift in narrative pace. The description of his preparations—letting his hair grow long, having maiden's clothes made—is economical, yet the journey to King Siward's hall is rendered with deliberate detail: he “smoothed his array” before entering. The disguise allows for a playful yet tense dynamic, as Hafbur, posing as a pupil sent by himself, asks Signe to teach him to braid. The dialogue is formal and courteous, with Signe offering hospitality: “What I can impart of the braiding art / I’ll willingly impart to thee.” This section slows the narrative, focusing on the mechanics of deception and the growing intimacy between the characters.
Borrow's Translational Voice
Borrow's translation is characterized by a deliberate archaism and a strong rhythmic pulse. He employs inversions (“’Twas Signe proud that caused their feud”) and contractions (“Methought,” “’Twas”) to evoke an antique, ballad-like quality. The verse is predominantly iambic tetrameter, with occasional variations that mirror the emotional weight of scenes. The language is concrete and visual: “With his fingers white he thrice tapped light / Upon the mountain’s side so green.” Borrow's choice to retain the ballad's formulaic repetitions—such as the dream's retelling—preserves the oral tradition's structural markers. The translation's brevity (under 6,000 words) and its division into short stanzas create a swift, almost breathless reading experience, punctuated by moments of stillness, like the tapping on the mountain.
Readers approaching Hafbur and Signe should attend to the interplay between the ballad's stark narrative economy and its moments of lyrical intensity. Borrow's translation rewards attention to its rhythmic patterns and the subtle shifts in tone between public declaration and private revelation. The limited length makes it ideal for multiple readings, each revealing new nuances in the dialogue and the unfolding of fate.
Years among the stacks have taught me how a fierce ballad—Hafbur’s grim dream, Signe’s disguise—holds a particular ache. That same stubborn pride lingers in Nothing to Say A Slight Slap at Mobocratic Snobbery, Which Has 'Nothing to Do' with 'Nothing to Wear' — Story, Setting & Ideas, though its quarrel is with frippery, not fate. Both whisper of hearts set on proving something, even unto ruin.
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