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236 NOTES
She and her sister Frakark exerted an evil influence over Haakon Earl,
inciting him among other things to murder his co-ruler and kinsman
Magnus Erlendson. It was believed that Haakon Earl became crazy
when he first saw Helga. This song, which Kaare, one of the Earl’s
men, sings, describes this first meeting and was commonly sung by
Helga’s enemies.
Page 58.
Ivar InGEMuNpDson’s Lay. In the first half of the twelfth century an
Icelandic skald of this name lived and sang at the court of King Eystein
in Norway. He loved a young Icelandic girl, but had not declared his
love. When. his brother was going home to Iceland, Ivar asked him
to tell her of his love and beg her to wait for him. But on his later com-
ing to Iceland, she met him as that brother’s wife. Ivar returned to
Norway and was thereafter always melancholy and thoughtful. When
Harald Gille became King, Ivar lived at his court, but sympathized
warmly with the able and bold Sigurd Slembe, who claimed to be
Magnus Barefoot’s son and Harald Gille’s half-brother. After many
years of hardship Sigurd came to Harald Gille and asked him to rec-
ognize him. Harald was a good-natured, but weak and ignorant man,
entirely controlled by his chieftains, who persuaded him to have Sigurd
imprisoned, with the intention of killing him. Sigurd, however, escaped
and fled.
Page 62.
Macunus THE Biinp. Magnus was born in 1115, and became King in
1130. He had Harald Gille as co-regent. Their agreement was that
Harald could not demand a larger share in the kingdom as long as Mag-
nus lived. But Magnus made himself hated by his own deeds, and in
1131 a breach resulted between the Kings. The chieftains were on Har-
ald’s side. He seized Magnus in 1135, had him blinded and castrated,
and sent him into the monastery at Nidarholm. Sigurd Slembe, who
made war on Harald and conquered him, freed Magnus from the mon-
astery and caused him to fight in his army. He died in the sea-battle
of Holmengraa.
Page 63.
Sin, DeaTu. Written during the latter half of 1862 in Munich, and
possibly, according to an oral statement of Bjérnson’s, under impressions
received from German ecclesiastical art: “It is only natural that in
Munich symbolical poems should present themselves.”
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