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Mariano González Campo, Selim25 (2020): 61–119. 
ISSN 1132-631X / DOI: https://doi.org/10.17811/selim.25.2020.61-120 

 
 
 
 

The Norn Hildina Ballad from the Shetland Islands: 
Scandinavian parallels and attempts at 
reconstruction/translation 
 
 

Mariano González Campo 
St. Paul Gymnas 

 
 
The Shetland Islands, together with the Orkney Islands, were until the nineteenth 
century a remarkable reservoir of the so-called Norn language, an extinct insular variety 
of Old Norse closely related to Icelandic and, specially, Faroese. Norn was preserved in 
these North-Atlantic British islands in form of single words, proverbs, or prayers. 
However, the longest and most complete text in Norn is the Shetlandic Hildina Ballad, 
collected on the small island of Foula in 1774 by George Low and consisting of thirty-
five stanzas. In this article I intend to offer a comparative approach to this Norn oral 
text refering to its Scandinavian parallels and the attempts at reconstruction and 
translation carried out by several scholars such as Marius Hægstad, Sophus Bugge, 
William G. Collinwood, Norah Kershaw, or Eigil Lehmann. 

 
Keywords: Norn language; Old Norse literature; reconstruction; Scandinavian balladry; 
Shetland Islands; translation 

 
Eit lukkeleg tilfelle hev berga for oss den eller den visa 
som elles vilde ha vore burtkomi.  

Knut Liestøl (1937) 

 
 
“Norn ballad deserves recognition, says linguist” stated the newspaper The 
Orcadian on January 3, 2008 (p. 12). This headline was due to the then recent 
publication of Gaeme Davis’ book The Early English Settlement of Orkney and 
Shetland (2007), where this British linguist tried to prove, among other things, 
that there was a Saxon settlement in both the Orkney and Shetland Islands from 
as early as the fourth century AD. According to Davis, this early Saxon 



62 Mariano González Campo 

settlement in the (now) Scottish islands had an important influence on the 
language and culture developed there by Old Norse newcomers, i.e. the speakers 
of what later was to be called Norn, a word which seems to have its origins in 
the adjective norrœnn (Hægstad 1910: 53; Indrebø 1951: 279; Barnes 1984a, 
1984b, 1998, 2004). In his book, Davis devotes some eighteen pages (out of 132) 
to attempting a new approach to a long forgotten, and underrated, product of 
the North Atlantic oral culture: the Hildina Ballad, the Norn ballad which 
“deserves recognition”. 

The Orcadian’s headline is quite striking because it is only now, almost two 
centuries and a half after that Shetlandic ballad was written down, that it has 
attracted some attention. The rather familiar story about an abducted princess 
and the ensuing conflict, although unique in its form and language, had so far 
usually gone quite unnoticed even in specialized academic journals. 

In this article, then, I will try to offer a brief introduction to the Hildina 
Ballad as well as an overview of the Scandinavian parallels and attempts at 
reconstruction and translation that some reputed scholars have tried to make 
since the nineteenth century. Thus, my aim is not only to offer an introduction 
to this Shetlandic oral story, but also to substantiate Davis’ claim that the ballad 
deserves recognition, as well as further research in order to understand better 
both its particular origins and the dynamics of the transmission, composition, 
and interpretation of oral literature within a general folkloric context. 
 
 

1. The Hildina Ballad: Context of discovery 
 
Of the 6,289 islands that form the British archipelago (Moore 2005: 1), only 
one of them enjoyed the privilege of preserving one of the most interesting 
documents for the study of Scandinavian balladry: the island of Foula (from Old 
Norse Fugloy), located twenty miles west off Mainland Shetland and inhabited 
nowadays by some twenty-five people.  

From the point of view of ballad studies, this remote spot in the North 
Atlantic was put on the map in 1774, when a Scottish clergyman named George 
Low1 started a tour around the Orkney and Shetland Islands to collect 
information on several matters related to natural history. However, many other 

                                                 
1 George Low was born in Forfarshire (now Angus, in the east coast of Scotland) in 
1747 and died 49 years later, in 1795. He was appointed reverend in Stromness, in the 
Orkney Islands. 



 The Norn Hildina Ballad  63 

folkloristic, ethnographical, or simply antiquarian issues also attracted Low’s 
restless attention. His four-month long trip (from May 4 to the beginning of 
September) resulted in a posthumous book entitled A Tour through the Islands of 
Orkney and Schetland Containing Hints Relative to their Ancient, Modern and 
Natural History Collected in 1774, edited by John Anderson in Kirkwall in 1879.2 
As Low himself narrates in the part of the book devoted to his visit to the island 
of Foula (Low 1879: 95–117), he arrived there on July 4 and departed on July 
11. During this one-week stay in the so-called “Bird Island”, Low collected most 
of his material regarding the Norn language. This included, for example, a 
version of the Lord’s Prayer (somewhat different to its Orcadian counterpart 
published by James Wallace in A Description of the Isles of Orkney, 1683), a list of 
thirty Norn words with their English translation, and, last but not least, the 
only extant version of the now called Hildina Ballad, which was then titled The 
Earl of Orkney and the King of Norway’s Daughter: A Ballad. Unfortunately, 
George Low did not have any knowledge of the Norn language, so his 
transcription of the ballad has a good amount of misunderstandings and, 
probably, gaps. Moreover, Low was not a trained folklorist and studies in oral 
tradition had not developed yet in his time. Therefore, it would be absurd to 
expect from him a ballad written down or registered following highly skilled 
methods, such as the ones suggested by Ruth Finnegan’s Oral Traditions and 
the Verbal Arts: A Guide to Research Practices (1991). Nevertheless, Low does offer 
us some useful —if scant— glimpses of information concerning the discovery 
of the Hildina Ballad. As he points out: 
 

The following song is the most entire I could find, but the disorder of some 
stanzas will show that it is not wholly so. The subject is the strife between a King 
of Norway and an Earl of Orkney, on account of the hasty marriage of the Earl 
with the King’s daughter in her father’s absence. Here it is worthy to be observed 
that most of the fragments they have are old historical Ballads and Romances, 
this kind of poetry being more greedily swallowed and retentively preserved in 
memory than any others, and most fitted to the genius of the Northerns. In this 
Ballad I cannot answer for the ortography. I wrote it as an old man pronounced 
it; nor could he assist me in this particular. This man (William Henry, a farmer 
in Guttorm, in Foula) has the most knowledge of any I found; he spoke of three 
kinds of poetry used in Norn, and repeated or sung by the old men; the Ballad 
(or Romance, I suppose); the Vysie or Vyse, now commonly sung to dancers; 

                                                 
2 The book was reprinted in 1978 by Melven Press (Inverness) without the original 
introduction. This entailed a remarkable loss of relevant information. 



64 Mariano González Campo 

and the simple Song. By the account he gave of the matter, the first seems to 
have been valued here chiefly for its subject, and was commonly repeated in 
winter by the fire side; the second seems to have been used in publick meetings, 
now only sung to the dance; and the third at both. Let it be remarked that the 
following ballad [i.e. the Hildina Ballad] may be either written in two long line 
or four short line stanzas. (Low 1879: 107) 

 
In this short account, Low does not say a word about the Hildina Ballad’s 
position among the three types of “poetry used in Norn” —or maybe it was 
William Henry who did not provide the information. Was it considered a ballad 
or a romance? Was it considered a vysie or a vyse (cf. Old Norse vísa)? Or was it 
considered a song? On the other hand, his statement —or maybe again William 
Henry’s3— that the Hildina Ballad may be either written in two long-line 
(couplet) or in four short-line (quatrain) stanzas can be quite misleading, as 
couplets and quatrains use different methods of composition concerning rhythm 
and rhyme. It goes without saying that this poses serious problems when one 
tries to reconstruct the Hildina Ballad. Scant as it may be, however, this small 
piece of information is enough to bring the image of Faroese ballads to our 
minds and allow us to make some comparisons with them (cf. Thuren 1902, 
González Campo 2008). 

After the transcription of the ballad, Low (1879: 113–114) gives a summary 
of its contents, something which comes as a useful guideline to any attempt at 
translating and/or reconstructing it: 
 

A literal translation of the above I could not procure, but the substance is this: 
— ‘An Earl of Orkney, in some of his rambles on the coast of Norway,4 saw and 
fell in love with the King’s daughter of the country. As their passion happened 
to be reciprocal, he carried her off in her father’s absence, who was engaged in 
war with some of his distant neighbours. On his return, he followed the fugitives 
to Orkney, accompanied by his army, to revenge on the Earl the rape of his 
daughter. On his arrival there, Hildina (which was her name), first spied him, 

                                                 
3 As Rendboe (1993) remarks, it should be considered that, as stated in the original (not 
John Hunter’s) introduction to A Tour through the Islands of Orkney and Schetland, 
William Henry drank a certain amount of spirits while reciting the ballad. This might 
have affected both the recital and the explanations he gave concerning the oral tradition 
in Foula. 
4 As Hægstad (1900: 31) remarks, in this summary Low gives data that are not in the 
ballad or that are told there differently. 



 The Norn Hildina Ballad  65 

and advised her now husband to go and attempt to pacify the King. He did so, 
and by his appearance and promises brought the King so over as to be satisfied 
with the match. This, however, was of no long standing, for as soon as the Earl’s 
back was turned a courtier, called Hiluge, took great pains to change the King’s 
mind, for it seems Hiluge had formerly hoped to succeed with the daughter 
himself. His project took, and the matter came to blows; the Earl is killed by 
Hiluge, who cut off his head and threw it at his lady, which, she says, vexed her 
even more than his death, that he should add cruelty to revenge. Upon the Earl’s 
death, Hildina is forced to follow her father to Norway, and in a little time 
Hiluge makes his demand to have her in marriage of her father; he consents, and 
takes every method to persuade Hildina, who, with great reluctance, agrees upon 
condition that she is allowed to fill the wine at her wedding. This is easily 
permitted, and Hildina infuses a drug which soon throws the company into a 
dead sleep, and after ordering her father to be removed, set the house on fire. 
The flame soon rouses Hiluge, who piteously cries for mercy, but the taunts he 
had bestowed at the death of the Earl of Orkney are now bitterly returned, and 
he is left to perish in the flames.’ 

Such is the subject of the Ballad, which might have been built on a true 
story, tho’ now lost. It, however, shews the genius of the people, that tho’ they 
were cut off from the rest of the world they had amusements, and these 
correspondent to the manners of the Northerns, among whom nothing was more 
common than the recital of the acts of their fathers. Most or all of their tales are 
relative to the history of Norway; they seem to know little of the rest of Europe 
but by names; Norwegian transactions they have at their fingers’ ends. 

 
The fact that, as Low himself claims, “most or all of their tales are relative to 
the history of Norway” makes us think that the Hildina Ballad might have a 
Norwegian origin. Furthermore, the action taking place in Orkney makes it 
quite feasible that the ballad as we know it nowadays was originally shaped there. 
Orkney was indeed a very productive cultural centre during the Middle Ages, as 
some poems composed by Orcadians —such as Bjarni Kolbeinson’s 
Jómsvikingadrápa, Rögnvaldr Kali and Hallr Þórarinsson’s Háttalykill, and the 
anonymous Málsháttakvæði and Krákumál— show, not to mention the 
Orkneyinga Saga, one of the most important Icelandic documents concerning 
Orcadian history and politics (see, for example, Jesch 2005, 2006b; Renaud 
1988). Its preservation in the Shetlandic isle of Foula might thus be due to 
fortuitous circumstances, not because that island was the original place of 
composition of the ballad —although the local culture might have reshaped or 
influenced it. 



66 Mariano González Campo 

According to its plot and motifs, the Hildina Ballad was included by Jonsson, 
Solheim & Danielson (1978: 239) among the so-called “ballads of champions”, 
representing the “blood revenge” type,5 with the following classification and 
description: 
 

E97 Hildina-kvadet — Woman’s lover killed by rival, and she takes revenge 
Shetl 
The earl of Orkney Islands takes Hildina, a king’s daughter, to his home while 
her father is away. The king returns and pursues them to the Orkneys. Hildina 
advises the earl to become reconciled with her father. The earl tries to, but 
Hiluge, who wants Hildina for himself, prevents reconciliation. Hiluge kills the 
earl, cuts his head off and throws it on Hildina’s lap. He then asks for her hand, 
and the king gives his consent and tries to persuade his daughter. Hildina gives 
in on the condition that she may serve the wine at their wedding. She gives all 
the men a sleeping-draught. They fall asleep, and Hildina has her father carried 
out of the house and then sets fire to it. Hiluge and his men lose their lives. 

 
 

2. The Hildina Ballad: Scandinavian parallels 
 
The fact that the Hildina Ballad was recited and written down in Foula does not 
necessarily mean that it is an original product from that or any of the other 
Shetland Islands. Despite the efforts of Jakob Jakobsen (1897, 1928–1932) and 
Hugh Marwick (1929),6 our data about the Norn language are so scarce that it 
is almost impossible to put the lexicon of the Hildina Ballad within the wider 
context of the set of Western Scandinavian dialects known as Norn, which were 
mainly spoken in the Orkney and Shetland Islands, but also in Caithness 
(Thorsen 1954) and the Hebrides (Christiansen 1938). Be it as it may, it seems 
quite clear that our ballad has a chiefly Scandinavian background concerning not 
only its language but also the plot and most of the motifs it uses. Although 

                                                 
5 The other “blood revenge” types of ballads of champions in The Types of the 
Scandinavian Medieval Ballad are: Ásmundur sterki, Tróndur Jógvansson, Virgar 
Berkilsson, Sjúrður av Nøríki, Svend af Vollersløv, Grimmars kvæði, and Snæúlvs ríma. 
It is interesting to note that, excepting Svend af Vollersløv, which also has Danish, 
Icelandic, and Swedish versions, the rest are only found in the Faroe Islands. 
6 An interesting criticism of the methodology used by Jakobsen in his Etymologisk ordbok 
over det norrøne sprog på Shetland can be found in Bugge (2005). 



 The Norn Hildina Ballad  67 

some continental7 and Celtic8 parallels can be established as well, it is my aim 
here to focus on some of the medieval Scandinavian texts and oral traditions 
that may have helped to shape the Hildina Ballad, a story which, although it 
sounds quite familiar within det norrøne folkeviseumrådet, as Liestøl (1937) 
would put it, it is rather unique as it does not have any close counterpart among 
the 838 types of ballads registered by Jonsson, Solheim & Danielson (1978). 

Three main literary categories can be used here in order to try to establish 
the Nordic parallels of the Hildina Ballad: 

 
a) the fornaldarsögur 
b) Old Norse texts dealing with poetic issues 
c) Scandinavian ballads9 

 
Of course, it would be extremely risky to state that those parallels were actually 
used by the composer/composers of our ballad, as there is no safe way to 
demonstrate it empirically, but at least they might give us a helping hand in 
exploring the Scandinavian background of the ballad and its place within a wider 
Nordic cultural context. If it is true that the Hildina Ballad is unique, it should 
also be crystal clear that unique is not a synonym for rare. 
 

                                                 
7 For example, Kershaw (1921: 219) states that “there can be little doubt that the subject 
of the ballad is the story of Hethin and Högni. After this, however, the narrative deviates 
from any other known version of the story. It would rather seem that —as in the 
German Kudrun— two stories, originally distinct, have been brought together in one 
poem.” 
8 On the Celtic influence in the Hildina Ballad through motifs like “throwing of the 
head” or “king and goddess theme”, see especially Baranauskiené (2007). Grüner-Nielsen 
(1939: 152, 163) also remarks the presence of Celtic elements in the ballad such as the 
theme of the everlasting battle or the use of the word glasburyon, which “synes sproglig 
afhængig af keltisk ‘glastonbury’.” 
9 The Orkneyinga Saga would deserve a chapter of its own as a possible historical source 
for some of the characters that might lie behind the plot of the Hildina Ballad. For 
example, would it be possible to consider Hildr/Ragnhildr —the daughter of king 
Hrólfr nefja of Norway, who married Rögnvaldr Mœrajarl according to Chapter 4 of the 
Orkneyinga Saga— a historical inspiration for the Hildina of the ballad? As the daughter 
of a Norwegian king, the mother of the legendary Göngu-Hrólfr (founder of Normandy) 
and the wife of an influential jarl in Orcadian politics, she had every chance to become 
an interesting character for medieval singers of tales. 



68 Mariano González Campo 

a) Parallels in the fornaldarsögur 
The first scholar who tried to make some sense of the Hildina Ballad was Peter 
Andreas Munch. He did so by translating some words or sentences into Old 
Norse and Danish, as well as by pointing to some Scandinavian parallels back in 
1839, i.e. well before Low’s manuscripts about his tour of the Orkney and 
Shetland Islands were published by Joseph Anderson in 1879.10 Later on, other 
scholars such as Hægstad (1900, 1901), Kerwick (1921), or Grüner-Nielsen 
(1939) also tried to establish some parallels with other Scandinavian stories 
similar to that in the Hildina Ballad. Regarding the texts classified as 
fornaldarsögur, all the aforementioned scholars agree that the story of Högni and 
Heðinn, as it is known from the Heðins saga ok Högna (also called Sörla þáttr11) 
is one of the most obvious parallels with our Shetlandic ballad.12 Chapters 7 and 
8 of Sörla þáttr show very close parallels with an important part of the plot of 
the Hildina Ballad. This is a summary of the story: 
 

There was a king named Hjarrandi, who had a son named Heðinn. This son was 
a great sea-king and he pillaged all over the Mediterranean until twenty kings 
paid tribute to him. One day he met a beautiful woman sitting on a chair who 
called herself Göndul. She told him of Högni, and agitated him to test his 
strength against the northerner. Heðinn took three hundred men, and sailed 
both a summer and a winter until he arrived in Denmark in spring. 

When the two men met they tested each other’s strength and entered sworn 
brotherhood. As Heðinn was unmarried, Högni betrothed him to his daughter 
Hildr, his only child. Hildr’s mother was Hervör. Heðinn soon met the beautiful 
woman again who asked him about what had happened since the last time. She 
gave him a magic potion and told him to crush Högni’s wife with the prow of 
his ship and to kidnap Hildr. He did so and met the beautiful woman again. She 
gave him a new horn to drink and he fell asleep. In his dream, he heard Göndul 
say that she put him, Högni and their men under spells according to the wishes 
of Óðinn. 

Högni hunted Heðinn and found him on an island named Háey (=Hoy, in 
the Orkneys). Heðinn offered to give everything back to Högni and to sail away 

                                                 
10 However, Low’s Hildina Ballad had already been published by James Headrick in 
1808, in the second editon of History of the Orkney Islands by Dr. Barry. This was in fact 
the text used by Munch. 
11 I follow Jónsson’s edition (1954). 
12 At this point, it should be clear that by ‘Shetlandic ballad’ I mean a ballad recited and 
written down in the Shetlands, not necessarily a ballad which was originally composed 
there. 



 The Norn Hildina Ballad  69 

to Serkland and never come back. Högni, however, declared that nothing could 
atone the betrayal that Heðinn had committed. 

The two armies started to fight and even though they cut each other all over, 
they stood still fighting and fighting for 143 years, so strong were the spells of 
Göndul, until Óláfr Tryggvason arrived at the island. 

 
The name Hildr, the kidnapping of Hildr by Heðinn, and the fight between 
Heðinn and the army of Hildr’s father in the Orcadian island of Háey (=Hoy) 
are the most striking parallels between Sörla þáttr and the Hildina Ballad. 

Furthermore, another fornaldarsaga titled Illuga saga Gríðarfóstra displays 
some interesting parallels as well. This is the synopsis of the story:13 
 

The story begins in Denmark where there was a king called Hringr, the son of 
Skjöldr Dagsson. It lauds Hringr’s qualities as well as those of his son Sigurðr. 
The mother was Sigríðr, the daughter of Vilhjálmr of Valland. 

Not far from where they lived there was a farmer called Sviði whose wife was 
Hildr and son Illugi. This Illugi played often with prince Sigurðr. The two boys 
became close friends and swore to avenge one another. However, the king had 
an incompetent advisor named Björn who was treacherous and cunning, but 
skilled in seiðr and a great warrior who ably defended Denmark for the king. 
Björn was jealous that Sigurðr loved Illugi so much, so he slandered Illugi in 
front of the king and the prince, but Sigurðr refused to believe him. 

One summer, Sigurðr, Björn and Illugi went a Viking expedition to Scotland 
and Orkney. The pillaging was good, and in the autumn they steered home to 
Denmark. However, a great storm arose and they were driven away to large bay 
called Gandvík. In the bay it was cold and Björn asked Illugi to cross a fjord to 
fetch firewood. If he succeeded it would prove him a better advisor and he would 
get Björn’s ring. Illugi, however, declined and said that he would go for wood 
anyway. 

When he had crossed the fjord, he found a cave and soon its inhabitant came. 
It was a troll woman named Gríðr. She could not be called beautiful at all. When 
Illugi said that he came searching for fire, she replied that he would get none 
unless he said three truthful words and slept with her daughter. The daughter 
was stunning and Illugi immediately fell in love with her. The truthful words, 
he chose to say were that she was hideous, the hall was beautiful and so was the 
daughter. Gríðr said that since he preferred the daughter to her, he could go to 
bed with the girl. Illugi was surprised that she was not enjoying the act, and soon 
he found out why because Gríðr grabbed him by the hair, put a knife to his 

                                                 
13 According to Jónsson’s edition (1954). 



70 Mariano González Campo 

throat and said that she would kill him for seducing the girl. However, when 
Illugi showed no signs of fear, she asked him to go back to bed remarking that 
she had never met anyone less afraid of dying. Gríðr said that he would have the 
girl whose name was Hildr, and then she told him her story: 

She said that there was a king Áli in Álfheimr whose queen was Álfrún. Their 
daughter’s name was Signý and she was a very able girl. She was married to a 
king named Eiríkr who died during an expedition in the west, leaving her with 
a very beautiful daughter named Hildr. Signý then returned to her father, but 
the mother soon died and the father remarried with a woman named Grímhildr 
who was just as evil as she was beautiful, and so were her daughters that she had 
before marrying king Áli. Rumours began to spread in the kingdom and as soon 
as a man disappeared mysteriously this was attributed to Grímhildr. Grímhildr 
murdered the old king by poison, became the ruler and soon her tyranny had 
laid the whole kingdom waste. She then banished Signý and her daughter Hildr 
from the kingdom putting a curse on them that they had to live alone in a cave. 
All the men who saw Hildr would fall in love with her, but Signý would murder 
them, and every night seven sisters would maim and mutilize her. In this 
condition they would live until she found a man who was not afraid of dying.  

Gríðr said that she was Signý and as he had delivered them from the spell 
after eleven years, Illugi would marry her daughter. Then seven giantesses arrived 
with short swords and attacked Gríðr cutting her in the body and in her heart. 
Illugi threw himself into the fight to defend Gríðr, killed all seven of them and 
burned them in the fire. 

Gríðr gave Illugi gold and he returned to the ships with fire. The other men 
were glad to see him, but Björn slandered Hildr and said that she was an evil 
troll. Sigurðr told Björn to keep quiet. Later at night Björn disappeared and in 
the morning they found him dead hanging from the mast of the ship. This was 
how Gríðr punished him for calling her daughter a troll. 

Sigurðr then sailed back to Denmark with the ships laden with booty. Later, 
king Hringr died by illness and Sigurðr inherited Denmark. 

Signý came to Denmark to join them and was well received by Illugi and 
Hildr. Illugi told Sigurðr everything about Signý and Sigurðr decided to marry 
her. They had many children and lived long. But Illugi lived longest even though 
he and Hildr never had any children.  

 
In this case, the most obvious parallels with the Hildina Ballad are the name 
Illugi, the name of Illugi’s bride (Hildr), and the character of the treacherous 
royal adviser (Björn). However, it is interesting to note here that in the 
Shetlandic ballad Hiluge (=Illugi) takes the role of Björn, while Illuge comes 
closer to the role of the Earl of Orkney.  
 



 The Norn Hildina Ballad  71 

b) Parallels in Old Norse texts dealing with poetic issues 
In this context, I must emphasize the existing relationships between the Hildina 
Ballad and pedagogic or instructional texts such as the Orcadian Háttalykill and 
Snorri Sturluson’s Skáldskaparmál and Háttatal, where allusions to the 
Hjaðningar legend —included in the aforementioned Sörla þáttr as the fight 
ensuing from Hildr’s abduction by Heðinn— can be found (Helgason & 
Hotsmark 1941; Pálsson 1984, 1998; Faulkes 1991, 1998; Jesch 2006b).  

Stanza 23 of Háttalykill enn forni makes the following mention to the 
Hjaðningar legend (Helgason & Holtsmark 1941: 26, not normalized text): 
 

Hver red hilldi at nema? 
Hveir daglæingis bæriast? 
Hværir sijd arla sættast? 
Hværir siolingum atte? 
Hedin red hilldi at næma 
Hiadnengar æ beriast 
Þeir sijd arla sættast 
Saman hilldr lidi atte. 

 
The name of Hildr and the allusion to her abduction by Heðinn are the most 
significative parallels with the Hildina Ballad according to Sörla þáttr’s more 
extended version of the everlasting battle of Hjaðningavíg. As Jesch (2006b: 2) 
points out, “the question-and-answer form of the stanzas (unique in this poem) 
may suggest that some instruction in this myth [i.e. the Hjaðningavíg] was 
needed. There is later evidence, in the form of the Hildina ballad, to support 
the Orkney connection, and indicating that a version of the story was later 
known throughout the Northern Isles.” 

Chapter 50 of Snorri Sturluson’s Skáldskaparmál deals with the Hjaðningavíg, 
first giving a good summary (cf. Sörla þáttr) of the situation that led to the battle 
and proceeding afterwards to reproduce five stanzas from Bragi skáld’s Ragnars 
drápa loðbrókar, where poetry is used to narrate the battle. The third stanza, for 
example, says the following (Faulknes 1998: 73, with minor adaptations): 
 

Letrat lýða stillir 
Landa vanr á sandi 
—þá svall heipt í Högna— 
höð glamma mun stöðva,  
er þrymregin þremja 
þróttig Heðin sóttu 



72 Mariano González Campo 

heldr en Hildar svíra 
hringa þeir of fingu 

 
On the other hand, in stanza 49 of his Háttatal, Snorri Sturluson alludes again 
to the Hjaðningar legend in this way (Faulknes 1991: 23, with minor 
adaptations): 
 

Hjaldrremmir tekr Hildi 
(hringr brestr at gjöf) festa, 
hnígr und Högna meyjar 
hers valdandi tjald; 
Heðins mála býr hvílu 
Hjálmlestanda flestum, 
Morðaukinn þiggr mæki 
Mund Hjaðninga sprund 

 
 
c) Parallels in Scandinavian ballads 
Inspired by Hægstad (1900, 1901) and Grüner-Nielsen (1939), and based on 
Jonsson, Solheim & Danielson’s The Types of the Scandinavian Medieval Ballad 
(1978), I have been able to identify up to fifty-three types of Nordic ballads (out 
of 838) which show several parallels with the Hildina Ballad concerning plot 
and/or motifs.14 Here is a list of those types of ballads together with a brief 
summary, origin, and classification code according to Jonsson, Solheim & 
Danielson’s handbook. A few remarks are also in order. The parallels in plot 
and/or motifs are in bold type:15 
 

                                                 
14 Grüner-Nielsen (1939: 159–165) identified four well-known motifs in the Hildina 
Ballad: Medbejler og ond Raadgiver (rivals and the evil counsellor), det afhuggede Hoved 
(the chopped head), Indebrænding (killing a person burning him inside a house), and 
den evige Kamp (the everlasting battle). 
15 Note on the symbols and abbreviations used in this list: 

+ = a closer relationship to the Hildina Ballad (according to plot and/or motifs) 
- = a more distant relationship to the Hildina Ballad (according to plot and/or 
motifs) 
Var. = variation 
D = Denmark N = Norway 
F = Faroe Islands  S = Sweden 
I = Iceland 



 The Norn Hildina Ballad  73 

(A) Ballads of the Supernatural: 

 
+ A41 Ribold og Guldborg (D, I, N, S): A knight persuades a maid to leave the country 

with him. They are pursued by her family, and a fight ensues during which the knight 

kills her relatives. At this she forgets that he has forbidden her to use her name during 

the fight and calls out to him. He is then mortally wounded. He takes her to his home 

where he dies. She (and his mother) dies from sorrow. 

 

+ A42 Hildebrand og Hilde (D, S): A girl tells the tragic story of her life. She escaped 

from home with a knight. Her relatives pursued them, and the knight requested her 

not to mention him by name during the ensuing fight. When he was about to kill her 

youngest brother she forgot her promise and called his name, whereupon her betrothed 

was killed. She was severely punished by her family. 

 

 

(C) Historical Ballads: 

 

- C10 Herr Lavrents og Bengta Sunesdatter (D): The Swedish judge Lars loves Bengta, 

who has been placed in a convent* by her family. Lars abducts her and takes her to 

Norway where they marry. After some years Lars falls ill. He calls for his wife, and before 

he dies he advises her to return to her brother in Sweden. When Bengta returns her 

brother is very cold towards her at first, but he changes his mind and promises to share 

his estate with her. (Var.: She rejects his offer and enters a convent.) 

 

[*Cf. Hildina Ballad: in a glas buryon.] 

 

- C15 Magnus Algotsøn (D, N, S): Torstein Davidsson arranges for his wedding with 

Ellensborg, who is loved by Folke Algotsson*. Folke rides to her home. His arrival is 

announced by a page-boy. Ellensborg covers her head, but Folke recognizes her by her 

eyes as soon as he enters the room. After a short talk (Var. D, N: in which he reminds 

her that she once promised herself to him) he takes off with her behind him in the 

saddle. The page-boy tells Torstein Davidsson what has happened. D, N: Torstein 

follows Folke with an escort. A fight ensues, and Torstein loses (Var. D: he is killed) 

 

[*Cf. amorous triangle among Hiluge, Hildina, and the Jarl of Orkney in the Hildina Ballad.] 

 

 



74 Mariano González Campo 

(D) Ballads of Chivalry: 

 

- D3 Brud og bejler (D): A maid sees Erik, her suitor, approach and asks her family to 

bid him welcome. They refuse, and she goes out herself and greets him, asks him to 

stay and offers herself in marriage. They get engaged. Var.: Erik has to fight for her. 

 

+ D18 Peder hjemfører sin jomfru (D): Peder breaks into a maid’s bower at night and 

promises her a wonderful existence in the land of bliss, if she will only become 

betrothed to him. Then he takes her to his ship and they sail to his father’s country 

where they celebrate their wedding. 

 

- D27 Klerks kvæði (I): A cleric from the pope’s court travels widely. A king’s daughter 

invites him to her table. When they get into bed she warns him of her father. He then 

persuades her to come with him to his own country. The king and the queen wake up 

late to find their daughter gone. The king writes a letter to the Sarracens’ country 

requesting that they be burnt.  

 

- D35 Morten Venstermand (D): Morten’s betrothed has been taken to a convent by 

her seven brothers in order to prevent her marriage. The king gives Morten permission 

to take her out of the convent*. Morten persuades his uncle to help him**, and together 

they get the girl out. They invite the king to the wedding. 

 

[*Cf. Hildina Ballad: our glas buryon burttaga.] 

[**Cf. Hildina Ballad: for frinda sin spir de ro.] 

 

- D36 Herr Mortens klosterrov (D, I): Morten is sent abroad by his family because he 

wants to marry a penniless girl. When he returns the girl is in a convent. Morten decides 

to get his betrothed out of convent* and asks for help and advice from his brother** 

(I: servants). He pretends to be dead (D: and his brother takes him to the convent where 

the girl is). While his betrothed is supposed to watch over him the body he takes her 

away. All the other nuns wish that such an angel would come for them, too. 

 

[*Cf. Hildina Ballad: our glas buryon burttaga.] 

[**Cf. Hildina Ballad: for frinda sin spir de ro.] 

 

- D37 Herr Karl på ligbåre (D, N, S): Sir Karl asks his mother to advise him on how 

to get the girl he loves (Var. D, N, S: out of the convent). She tells him to pretend to 

be dead and to send for the girl to watch by the corpse. She comes, and in the presence 



 The Norn Hildina Ballad  75 

of what she thinks is a dead man she admits to loving him. At this Karl gets up from 

the bier and gives orders for their wedding to be prepared. (Var. D, S: All the other 

nuns wish that such an angel would come for them, too.) 

 

- D50 Vilgår hertugson (N): Vilgår and Signe have pledged their troth, but Signe’s father 

makes her marry a king. During the wedding Vilgår arrives (Var. and pours out wine 

for all the guests until they get drunk and fall asleep). He then leaves with the bride 

on his horse. 

 

- D59 Riddara kvæði (I): A knight sees a beautiful lady in a tower and goes in to her. 

She tells him not to stay if he wants to keep his life, but he stays anyway and falls asleep 

by her side. He is awakened by the clamour of weapons. With the lady in his arms he 

fights his way out and rides off with her. 

 

- D64 Rige herr Tord (D): Sir Peder and his daughter have a talk, and he asks her to 

stop mentioning Sir Tord. When she disobeys he beats her. The girl sends her brother 

to Tord to return his gifts and to tell him that she is dying. Tord comes over 

immediately and asks her how she wants her father to die. She does not want him 

punished if he will only allow them to get married. Their wedding ceremony takes 

place. 

 

- D65 Riddar feller far til møyi (N): A conversation between two lovers is overheard by 

the girl’s father. She advises her lover to fight, but if possible to save her father’s live. 

After the fight the young couple leaves together. 

 

+ D76 Skógarmanns kvæði (I): An outlawed knight has been on a visit to his betrothed, 

but in the morning they must flee because her father is expected. They take a boat but 

are caught in a storm. They must swim ashore, and he loses his weapons. Three hostile 

knights approach and fight with the man. Armed only with an oaken cudgel he finally 

succumbs. That night the maid kills the three knights in revenge and then enters a 

convent. 

 

+ D78 Herr Hjælmer (D, N, S): Hjælmer has seduced a maid (Var. D, S: She is the 

king’s daughter. Var. D, N, S: He has also killed her father or Var. D: her uncle or 

mother). Hjælmer meets the maid’s brothers who accuse him of seduction (Var. D, N, 

S: and manslaughter). Hjælmer kills all the brothers except one, Ole, who begs for his 

life. Hjælmer spares him, but is treacherously killed by him. Ole takes Hjælmer’s head 



76 Mariano González Campo 

to his sister to show that her lover is dead. She stabs Ole to death (Var. D, N: poisons 

him). (Var. D: Ole gives his sister to Hjælmer in marriage) 

 

- D140 Bejlekunsten [1] (D, S): A young man goes to his foster-mother (Var. S: 

mother) and asks for advice on how to court a maid. His mother tells him to dress 

well and to be polite and attentive to the girls. 

 

- D158 Bóthildar kvæði [1] (I): The farmer Pétur gives a feast for the king and his men. 

Logi, the groom, comes to Pétur and wants his daughter Bóthild. Pétur replies that this 

will not be for as long as he lives. Logi gives Pétur a cut with his sword, and Pétur 

promises him his daughter in marriage. Bóthild wakes up and wonders if no one can 

help her. Then she kills Logi herself. She enters a convent. 

 

+ D159 Bóthildar kvæði [2] (I): The king hears Bóthild sing and sends for her. She 

comes with her brother who is killed when he will not give his sister to the king. 

Bóthild wants to take vengeance. She asks her maidservant (Var. I: foster-mother) to 

mix a poison-draught and makes the king drink her health. He dies and Bóthild enters 

a convent. 

 

- D161 Ridder Stig og skottekongens datter (D): Sir Stig sails to Scotland and stays there 

for some time. One day he sees the king’s daughter on her way to church. He pretends 

to be a poor fisherman and she tells him who she is. He is happy to have found her and 

takes her to his ship. He sails home to Denmark and marries her. 

 

- D163 Palle Bosøns død (D, F, N, S): Palle finds out from a servant that the girl he loves 

is going to church. He stops her carriage and takes her to his home in spite of her 

warnings. Shortly after they have got into bed, her betrothed (Var. F, S: her kinsman, 

the king, Var. N: her father) arrives, and Palle is killed. (Var. N: after having slain his 

bride’s betrothed, Var. N: and father) (Var. F: Before he is killed, Palle asks his bride 

to have the two sons she will bear him take revenge) (Var. D: She marries her betrothed, 

Var. D, N, S: She refuses to marry him and enters a convent.) (Var. D, N: She has a 

child by Palle, Var. N: and dies in child birth) (Var. S: She says that the child she will 

have by Palle will revenge its father. Var. F: Palle’s two sons grow up and revenge him) 

 

- D172 Knud af Borg (D, F, I, N): (N: A maid has two suitors, the king and Knud af 

Borg. She chooses Knud. F: The king hears about Knud’s beautiful wife and goes to 

visit Knud to look at her.) The king goes to Knud’s wedding (D, I: Knud invites the 

king in spite of his bride’s warnings. F Var. N: The king challenges Knud to defend his 



 The Norn Hildina Ballad  77 

bride.) The king kills Knud (D: orders his men to do it). The king takes the bride to 

bed with him, but she makes him promise not to touch her the first few nights. Once 

he falls asleep she kills him. (Var. F: Before going to bed with the king Knud’s widow 

arranges a funeral for her husband. By the grave she kills the king.) (Var. I: She dies 

from sorrow.) 

 

- D222 Brøðurnir (F): Steffan goes to his brother Roland’s house and is met by Roland’s 

wife, Hilda. She says that Roland will be away until Christmas. She and Steffan spend 

the night together. When Steffan wakes up Roland stands by the bed and asks what his 

brother is doing there. Steffan replies that Hilda was as willing as he was. Hilda gives 

Steffan a coat of mail and the two men fight. They are both killed. 

 

- D236 Arne og den untrue bruri hans (N): Arne’s mother tells him that his betrothed 

has a lover, Jonas. In order to find out if this is true Arne says that he is going away. 

His betrothed sends for Jonas at once. Arne surprises them and cuts off Jonas’ head. 

 

- D237 Bonde Høg og hustrus boler (D): Ebi declares his love to Sir Bonde’s wife and 

offers her gold. She is pleased and wishes her husband were dead. Her maidservant 

reproaches her. Bonde listens to all this. Ebi returns from a love-meeting with Bonde’s 

wife and meets the husband, who kills him. Bonde shows his wife her lover’s severed 

head. The he takes the maidservant for his mistress. 

 

- D238 Sigvord kongesøn (D): Sigvord, a king’s son, takes Kirstin out of a convent and 

promises her to be faithful. She warns him that if he fails her it will mean his death. 

She lives with him as his mistress for many years. One day he comes home and tells her 

that he is engaged to a noble-woman. She gives him a beverage made from herbs, and 

he falls ill. He tries to be reconciled to make her save her life, but she lets him die. 

 

- D241 Stolt Elins hævn (D): A knight conducts her bride home. Elin serves the wine 

during the wedding and later she hides in the bridal chamber. She hears the bridegroom 

tell his bride that Elin has been his mistress. The bride tells him he ought to have 

married Elin instead. When the man has fallen asleep Elin stabs him to death. She 

spares the bride and advises her to return to her father. 

 

- D245 Herr Peders slegfred (D, F, N, S): Sir Peder is about to celebrate his wedding. He 

does not want Kirstin to go, but she decides to be there. She wears her best clothes and 

jewellery to the wedding. D, F, Var. S: The bride asks who she is and is told that Kirstin 

was Peder’s mistress. D, F: She says that Peder ought to have married Kirstin instead. 



78 Mariano González Campo 

Var. D: Kirstin steals into the house at night. She stabs the bridegroom to death, but 

she spares the bride because of her kind words. Var. D, F, Var. S: Kirstin hangs herself 

in the orchard, and when Peder hears about this he takes his life. The bride dies from 

sorrow. N, Var. S: Kirstin sets fire to the house and both bride and bridegroom die. 

 

- D247 Hyrde og ridderfrue (D, F, S): Sir Themme hears a shepherd sing a song which 

reveals to him that the shepherd is his wife’s lover. Themme has the shepherd hanged 

at once (F: cuts his head off). D, F: He tells his wife what he has done. D: She gets 

furious and tells him that all her twelve sons are the shepherd’s sons. F: She keeps him 

awake at night by crying over the shepherd. D, F: Themme kills his wife. 

 

- D327 Hertugen af Skare (D): The king’s son Woldemor abducts Hyllegierd from a 

convent and takes her to his country. His mother the queen will not give her approval 

to their marriage, and Woldemor goes away with his betrothed. The queen sends them 

poisoned wine. Woldemor drinks it and dies. The same night Hyllegierd is delivered of 

three children. She dies, and only one of the children survives. 

 

+ D337 Alexanders kvæði (I): Alexander raids King Hringur’s country and abducts his 

daughter. The king comes with his navy to get her back. In the ensuing battle the 

king kills Alexander. When the king is going to take his daughter home she says that 

a young knight will revenge Alexander’s death. 

 

- D350 Magna dans (I): The king of Sweden surprises his daughter with her lover and 

kills him. The daughter gets a son, Magne. When Magne is twelve years old his mother 

tells him of his father’s death and urges him to take revenge. Magne finds his 

grandfather and is refused damages for his father. He kills the king and two of his men. 

His mother summons the people to an assembly. Nobody dares accuse Magne, who 

becomes king after his grandfather. 

 

+/- D352 Liden Engel (D, N, S): (D, N: Engel has eloped with Malfred against her 

family’s will.) Engel and Malfred are told that her brother (S: Engel’s rival for Malfred) 

is approaching. They take refuge in the nearest church, but the brother sets fire to it. 

Malfred gets out, but Engels dies. Var. D, N: Malfred has a son who wants to revenge 

his father’s death. Var. D: He sets fire to his uncle’s house and thus kills him in the 

way his father died. Var. D, N: He kills the uncle with his sword. 

 

- D385 Tistram og jomfru Isolt (D): Var.: Tristran is about to enter the emperor’s service. 

He is warned not to fall in love with Isolt. When he arrives at the court the emperor’s 



 The Norn Hildina Ballad  79 

daughter Isolt sees him and falls in love with him. They meet in secret, and Isolt’s 

mother tries to stop this. (Var.: She intends to poison them, but the lovers refuse to 

drink. Var.: Tristan forces her to drink herself, and she dies). Tristan and Isolt escape 

together and get married. Var.: A woman is told (Var.: dreams) that her son and 

daughter will want to marry each other. She sends her daughter to be brought up by 

the emperor’s wife. When her son Tristan is grown up he enters the emperor’s service, 

but is warned not to fall in love with Isolt. When he meets her they fall in love anyway. 

They are told that they are brother and sister but still want to escape together. The 

emperor builds a tower and puts Isolt in it. When Tristan tries to get her out of there 

the emperor’s wife poisons them, and they die in each others arms. 

 

- D386 Tístrams táttur (F): Tristan and Isolt are in love, but his parents are opposed to 

a marriage between the two. They send their son to the king of Frakkland (France) with 

a letter asking the king to marry his daughter to Tristan, and to kill him if he refuses. 

Tristan has sworn to be faithful to Isolt and rejects the proposal. He is executed. When 

Isolt is told she goes to Frakkland, burns the king in his house, and dies from sorrow 

by Tristan’s body. 

 

 

(E) Heroic Ballads:  

 
- E21 Jallgríms kvæði [2] (F): Jallgrímur wants to try his strength in fight and is told 
about a mountain giant. He goes to find him. They fight, and Jallgrímur saves his life 

only by promising the giant his son when he gets one. The giant spares him and also 

gives him a magic sword which will help him in fights. Jallgrímur goes to Ireland to 

try to get the king’s daughter. His proposal is scornfully rejected by the Irish king. In 

the ensuing fight Jallgrímur kills a number of the king’s men as well as the king himself 

and his son. He marries the king’s daughter. She bears him two sons. When the boys 

are twelve years old Jallgrímur tells them to go from Ireland to his father’s country to 

fight the giant. The boys set out and manage to kill the giant. One of the boys marries 

a girl they find in the giant’s castle. Both become rulers of the country. 

 

- E39 Guttormur í Hattarmóti (F): Margreta marries Guttormur. They are invited to 

Margreta’s parents. They go in spite of suspicions. (Var.: On the way their ship is caught 

in a storm, but Guttormur stops it by means of magic.) When they arrive, Margreta’s 

mother, the queen, has Guttormur killed. Margreta gives birth to a son, whom she 

sends away so that he may be out of the queen’s way. (Var.: She also has a daughter, 

and both Margreta and the daughter are killed by the queen.) The son, Magnus, wants 



80 Mariano González Campo 

to revenge his father’s death. His father’s sister Ata gives him advice, which helps him 

avoid his grandmother’s attempts to poison him. He sets fire to the house, and she is 

burnt to death. Magnus then sets out against his grandfather. Helped by Ata’s advice 

he subdues the wild animals watching his grandfather’s castle, and then he kills him. 

He succeeds his grandfather as king. 

 

- E54 Frændehavn (D): Ellind is married far from home (Var.: to the man who killed 

her father). After eight years she prepares a feast for her brothers. They are well received 

by Ellind’s husband, but at night he kills them all in their sleep and offers Ellind their 

blood to drink. Ellind takes revenge by killing all her husband’s sons (Var.: sisters and 

brothers) and offering him a drink of their blood*. Then she kills him too (Var.: and 

her child by him). 

 

[*Note that Hildina pays Hiluge back in revenge with the same cruelty.] 

 

- E55 Høgna táttur (F): Gudrun gets married to King Artala. She wants to take revenge 

for Sjúrður’s death and invites her brothers to a banquet. Their mother Grimhild warns 

them, and they are also warned by a person they meet on the way, but they do not listen. 

They arrive and are invited to sit down at their sister’s table. She has poisoned their 

drinks, but Høgne discovers this. Gudrun induces her son to strike Høgne, and Høgne 

gets up and kills the boy. Gudrun urges Artala to kill her brothers, she uses magic, and 

everyone is killed except Høgne. A warrior turns himself into a dragon and pours poison 

on Høgne, who feels that he is about to die. He asks an earl’s daughter, Helvík, to sleep 

with him before he dies. He tells her that she will have a son. She must call him Høgne, 

and he will revenge his father’s death. 

 

- E56 Grimilds hævn (D): Lady Kremold sends a message to her brothers and invites 

them to her home. Their mother warns them that Kremold means to betray them, and 

they are also warned by persons they meet on the way, but they do not listen. Kremold 

receives them well, but later she eggs her men on, and the feast ends in a fight. 

 

+/- E80 Rings kvæði (F): Ringur, son of King Valdimann of Girtland, goes to Sjóland to 

propose to the king’s daughter. He is accompanied by Pætur the Dane. The king rejects 

Ringur’s proposal contemptuously and kills some of his men. Finally a fight breaks out, 

and the king is taken prisoner. Ringur lets him go at his daughter’s request, and then 

marries the daughter. Var.: While Ringur is away from home Sjúrður, the emperor of 

Saksland, arrives in Girtland to propose to Kristin, Ringur’s sister. Her father, King 

Valdimann, asks Sjúrður to await Ringur’s return to get his consent. Sjúrður threatens 



 The Norn Hildina Ballad  81 

to take Kristin home as his mistress, and there is a fight. Valdimann is killed. Kristin 

tries to defend herself, sword in hand, but is finally defeated by Sjúrður’s men and taken 

to Saksland. When she meets Sjúrður she falls in love with him, and they are married. 

Ringur returns to Girtland and finds what has happened. He goes to Saksland to take 

revenge for his father’s death. In the ensuing fight Sjúrður is taken prisoner. Pætur the 

Dane wants to kill him, but Ringur prevents this and goes to see his sister. Sjúrður is 

set free, but Ringur takes their newborn son back to Girtland with him. He gives the 

boy the name of Valdimann after his father. 

 

- E92 Ásmundr sterki (F): King Ásmundur goes to Gjøtland to propose to the king’s 

daughter Elin. In the entrance to the castle he kills an ogre and saves its tongue. His 

proposal is accepted by the king, but a rival prince Karvilín of Sweden, arrives and claims 

to have killed the ogre. Ásmundur shows him the tongue. Karvilín challenges him to 

fight, and Ásmundur kills him. Then he goes to see Elin and wants to marry her, but 

she says that he must first defeat Karvilín’s father, King Ranild. Ranild arrives with an 

army. Ásmundur kills nearly all of his men, but Ranild begs for mercy and is spared. 

Ásmundur marries Elin and takes her home. He receives tax from Sweden. 

  

- E93 Tróndur Jógvansson (F): Sjúrður asks the king for his daughter Margreta’s hand, 

but the king does not think him good enough. Sjúrður talks to Margreta herself, and 

she accepts him. Meanwhile another suitor, Tróndur Jógvansson, arrives and is 

accepted by the king, but Margreta does not want him. At the king’s suggestion the 

two rivals fight, and Sjúrður kills Tróndur. Tróndur’s father Jógvan arrives to revenge 

his son. Sjúrður and Margreta both fight him, and finally Sjúrður kills him although he 

begs for mercy. Sjúrður and Margreta are married, and Sjúrður succeeds Jógvan as king. 

 

- E94 Virgar Bekilsson (F): Gyrðilin decides to propose to a duke’s daughter, Hilda, 

although he is told that Virgar Bekilsson has already proposed to her. When Gyrðilin 

arrives he meets Virgar and challenges him to a fight. Virgar kills him and all his men 

except Aðal, who turns out to be Virgar’s brother. Together they go to the duke’s house 

to find Hilda, but she has been carried away by an ogre. Virgar and Aðal go to the 

ogre’s cave. In the ensuing fight Aðal is devoured by the ogre before Virgar manages to 

kill it and save Hilda. He takes her home and marries her. Later Brandur arrives with 

his son to revenge Gyrðilin’s death. After a long and violent fight Virgar kills Brandur, 

his son and all his men.  

 

- E95 Sjúrður av Nøríki (F): Sjúrður, son of the king of Norway, and King Gion of 

Ireland both arrive to propose to the Princess Júli. She prefers Sjúrður, but Gion 



82 Mariano González Campo 

challenges him to a fight. Gion is killed. Sjúrður and Júli are married and return to 

Norway. They have two sons, one of them called Grimmar. Gion’s father, King Ívar, 

goes to Norway to revenge his son. Sjúrður kills Ívar and decides that his son Grimmar 

shall marry Ívar’s daughter Herga. Grimmar proposes to her, and she tells him to get 

the consent of her kinsmen first. While he is away an earl from Sweden proposes to 

Herga and is accepted. Grimmar returns during their wedding, kills the earl and 

marries Herga. The king of Sweden comes to revenge the death of his earl. In the fight 

he kills Grimmar, but the young champion Hilmir kills him. After a year Hilmir marries 

Herga. 

 

- E96 Svend af Vollersløv (D, F, I, S): Svend af Vollersløv wants to marry Lissebet, but 

she chooses to marry Villiam. Svend is very jealous, and shortly after Villiam’s wedding 

to Lissebet he kills him. Lissebet gives birth to a son and names him after his father. 

(Var. D, F, I, S): When young Villiam grows up his mother tells him who killed his 

father. He sends a message to Svend af Vollersløv to meet him at the assembly. Svend 

refuses to give Villiam damages for his father’s death, and Villiam kills Svend. He tells 

his mother that his father is now revenged. (Var. D, F): Villiam seduces Svend’s sister 

(Var. F: wife). Her brother (Var. F: father) arrives to take revenge. Villiam kills him 

(Var. F: spares his life after killing all his men). Villiam marries the woman he seduced.  

 

+/- E98 Grimmars kvæði (F): King Haraldur of Ongland goes to propose to Hilda, 

daughter of King Grimmar of Gardarike. King Grimmar is away at war. Haraldur does 

not wait to get Grimmar’s consent, and he and Hilda return to Ongland and marry. 

Hilda gets three sons. Later Haraldur wants to visit Grimmar. He leaves his youngest 

son Gormundur at home and brings the two others. He helps Grimmar win a war, but 

while he is away Grimmar prepares to take his life. He gives Haraldur so much to drink 

that he falls asleep and then sets fire to the house. Haraldur and his sons are killed. 

Haraldur’s men return to Gormundur and Hilda with the news. Later Hilda marries the 

emperor Sjúrður and gets the son Haraldur by him. Gormundur goes to Gardarike to 

revenge his father’s death on Grimmar. (Var.: Grimmar tries to stop Gormundur’s ship 

by magic). Grimmar and Gormundur fight, and both use magic against the other. Finally 

Gormundur defeats Grimmar but spares his life and sends a message to Hilda. She sends 

her son Haraldur to Gardarike, where he kills Grimmar. Gormundur succeeds Grimmar 

as a king, and Haraldur returns to Ongland.  

 

-/+ E99 Snæúlvs ríma (F): The king of Jorsaland is dying and decides that his younger 

son Magnus will succeed him because Grimmar, the elder, is a bad man. After a quarrel 

Magnus sends Grimmar out of the country. Later the two brothers propose to Svanhild, 



 The Norn Hildina Ballad  83 

daughter of the king of Uppland. She chooses Magnus, and they are married. They 

return to Jorsaland and bring Svanhild’s brother, who marries Magnus’ sister. Grimmar, 

who is still in Uppland, and Svanhild’s father lay plans to kill Magnus. The king invites 

him for Christmas. In spite of Svanhild’s warnings Magnus accepts the invitation and 

goes to Uppland with two of his sons, leaving the third, Sniolvur, behind. Magnus and 

his men are given so much to drink that they fall asleep, and then Grimmar sets fire 

to the house. Magnus and his sons manage to get out of the burning house. They fight 

hard for their lives, but Grimmar kills them with treachery. Svanhild gets the news and 

urges Sniolvur to take revenge. Sniolvur goes to Uppland accompanied by his cousin 

Ringur. When they arrive they meet a man by the name of Harra-Svein who tells them 

that Grimmar celebrates his daughter’s wedding. He helps them join the celebration in 

disguise. They put the lights out and Sniolvur manages to get away with the bride while 

Ringur gets involved in a fight. Sniolvur returns and helps him get out of the house. 

Then he puts fire to the house, and his grandfather, the king of Uppland, is burnt to 

death. Sniolvur and Ringur meet Grimmar and fight with him. Grimmar tries to kill 

Sniolvur by treachery, but Ringur saves him and kills Grimmar. Sniolvur returns to 

Jorsaland, and Ringur becomes king of Uppland.  

 

+/- E140: Herr Hylleland henter sin jomfru (D, F, N):16 The king’s daughter has been 

carried away by an ogress. The king promises to give his daughter to the man who can 

bring her back, and Hylleland volunteers. He goes to the mountain where the ogress 

lives, and she says he may spend one night with the princess, but in the morning he 

must lose his life. Hylleland sleeps with the princess, and in the morning the ogress 

arrives to kill him. Var. N: Hylleland kills the ogress and all her relatives. Var. D: 

Hylleland uses runic magic to make the ogress change her mind, release the princess 

and let them leave with rich gifts. Var. F: The princess and Hylleland make a wooden 

dummy which the ogress tries to kill instead of Hylleland. He laughs at her mistake, 

and this makes her relent. She lets them leave with rich gifts. When the king’s men see 

                                                 
16 It should be noted that this is the Danish version of the Norwegian Kappen Illugjen 
and the Faroese Kappin Illhugi. The name of the princess is Hillelille (little Hild) in the 
Norwegian version and Hilda in the Faroese one. In these ballads Illugjen/Illhugen 
comes close to the role of the Jarl of Orkney in the Hildina Ballad, whereas the king’s 
evil counselor (Björn) plays the role of Hiluge in the Shetlandic ballad. These Danish, 
Norwegian, and Faroese ballads are closely related to Illuga saga Gríðarfóstra (see, for 
example, Liestøl 1915 and Erlingsson 1975, with conflicting interpretations about the 
relationship between this fornaldarsaga and related ballads). 

 



84 Mariano González Campo 

them return they want to attack the ogress, but Hylleland defends her. Var. D, F, N: 

Hylleland and the princess are married.  

 

- E162 (N): Venill fruva og Drembedrosi: A king remarries. His new wife, Drembedrosi, 

is of giant kin, and she wants to marry her brother to her stepdaughter Venill. She 

threatens to turn the girl into a barren tree if she does not accept. Venill is taken into 

the mountain to celebrate her wedding. She tries to postpone the ceremony by various 

means, and when it eventually takes place she pours out mead to the guests until 

everyone falls asleep. She sets fire to the house and escapes. When she gets back home 

she exposes her stepmother to her father the king, who kills Drembedrosi. 

 

-/+ E164 Artal kongur í Atlandi (F): King Artal wants to ravage the country of king 

Gudmund. He learns magic from a witch and marries her. He goes to Gudmund’s 

country, kills him, and returns home. Hákun, foster-son to Gudmund, sets out to get 

revenge. Artal and his wife try to stop him by a storm, but Hákun uses counter-magic 

and gets ashore. He kills Artal and the witch. Ringarálvur, brother of the witch, arrives 

to revenge his sister’s death. He fights with Hákun, but they find out that they are 

brothers and make up. Ringarálvur goes to Atland to propose to Hilda, but she says 

she would rather marry the earl of Langalund. Ringarálvur kills the earl and forces 

Hilda to marry him. Holdi, the earl’s father, wants to revenge the death of his son. In 

the ensuing battle Ringarálvur is victorious and kills Holdi and all his men. After this, 

Ringarálvur goes to a giant’s cave. He fights with the giant, and by magic means 

Ringarálvur wins the fight. He kills the giant and takes his gold. 

 

 

(F) Jocular Ballads: 

 

- F23 Sorte Iver (D, F, N): Iver Black is derided (Var. F: is turned down by the woman 

he proposes to) because he is so black. He asks his mother how he might seduce a 

certain woman*, Kirsten (Var. F: the one who turned him down), and his mother 

advises him to pretend to be the clergyman. Dressed like the clergyman Iver is let into 

Kirsten’s room and spends the night with her. In the morning he tells her who he is. 

Var. D, N: She asks him to stay, for he is not so black after all. 

 

[* Advice from a relative also in the Hildina Ballad.] 

 

- F24 Germand smed og præstens datter (D, I, S): Germand the blacksmith proposes to 

the clergyman’s daughter, but she rejects him spitefully, saying he is too dirty. Germand 



 The Norn Hildina Ballad  85 

asks his mother’s advice*. She tells him to go to the clergyman’s daughter disguised 

(Var. D: as a blind man, Var. I: as an old woman, Var. I, S: as a beggar). In this disguise 

Germand manages to get into the girl’s bed and sleep with her. In the morning he tells 

her who he is. Var. D: She wants to marry him, but he says nobody will want her for a 

wife now. 

 

[* Advice from a relative also in the Hildina Ballad.] 

 
 
 

3. The Hildina Ballad: Attempts at reconstruction 
 
George Low wrote down the Hildina Ballad from William Henry’s lips without 
knowing the Norn language spoken in the Shetlandic island of Foula, nor any 
form of the Norn language for that matter. Moreover, it seems that the ballad 
was quite worn out when Low found it. All this led to several problems, for 
instance: words written down that maybe did not exist in Norn, a deficient 
phonetic transcription of the words pronounced by Henry, or a mistaken 
arrangement of the verses of the ballad. In other words, Low’s —and the 
world’s— only extant version of the Hildina Ballad is not a reliable document. 
For this reason, there were some early attempts to (re)elaborate a version closer 
to a supposed original by scholars such as Svend Grundtvig, Axel Olrik, Moltke 
Moe, or Sophus Bugge with the assistance of Jakob Jakobsen, a Faroese linguist 
specialized in the Norn language of the Shetland Islands.17 However, it was 
Marius Hægstad —the Norwegian author of the influential Vestnorske maalføre 
fyre 1350— who took the lead in 1900 with the, so far, most comprehensive 
linguistic study of the Hildina Ballad, titled Hildinakvadet med utgreiding um det 
norske maal paa Shetland i eldre tid. In his study, Hægstad claimed that Low’s 
main mistakes were: 1) Sometimes he divided one word into two or used 
fragments of a word as if they were independent (e.g. vanna ro instead of vannaro 
= vandaráð? vinaráð?); 2) Sometimes he created a word out of two independent 
words (e.g. elonden instead of e londen = í löndum?); 3) In some cases, he split a 
word in fragments and merged them into other words (e.g. vod lerdin instead of 

                                                 
17 Some interesting letters sent by Bugge either to Jakobsen or to Olrik about his plans 
to publish a more reliable version of the Hildina Ballad can be found in Kruken (2004, 
vol. 1, p. 212; vol. 2, pp. 562, 600, 608; vol. 3, pp. 738, 740, 743. The pages refer to the 
parts of the letters where the Hildina Ballad is explicitly alluded to). 



86 Mariano González Campo 

vodler din = völlr/völlin þinn?); and 4) In many instances, Low arranged the verses 
of the ballad in a wrong way by putting a word in the previous or following verse 
or by putting a verse in the previous or following stanza.  

Although Hægstad managed to produce a linguistically much more reliable 
interpretation of the Hildina Ballad than Low, in 1984 the Norwegian scholar 
Eigil Lehmann tried to go one step further and normalize the ballad, drawing 
inspiration from V. U. Hammershaimb’s etymological approach to the Faroese 
language.18 As Lehmann (1984: 7–8) points out: 
 

So tidleg som 1808 var visa [i.e. Hildina Ballad] prenta av ein James Headrik 
[sic], i 1838 av nordmannen P.A. Munch. Andre som hev arbeidt med kvædet er 
dansken Svend Grundtvig, nordmannen Sophus Bugge, færøyingen Jakob 
Jakobsen, nordmannen Moltke Moe og dansken Axel Olrik. Desse hev mest bala 
med å føra kvædet attende i gamalnorrøn form. Ei “attføring” etter Axel Olrik 
frå 1898 er å finna i ei utgreiding um kvædet av dansken Hakon Grüner-Nielsen 
i heidersskriftet til Gustav Indrebø 1939. Men mætaste arbeidet er gjort av 
normannen Marius Hægstad i boki ‘Hildina-kvædet’, som kom ut år 1900. Han 
hev like vel ikkje gjort nokon freistnad på “attføring” so som hine. 

Ein freistnad som ikkje er gjord, men som me hev teke oss fyre i dette arbeidet, 
er å føra kvædet yver i ei skriftform som knyter til norrøn tradisjon men er serleg 
tilmåta til målføret – i so måte eit sydestykke til det som V.U. Hammershaimb 
gjorde med Færøymålet. 

 
In the following Table 1 we can see a comparison of Hægstad’s and Lehmann’s 
attempts to reconstruct the Hildina Ballad from Low’s original version. 
 

  

                                                 
18 Although Faroese had a rich oral tradition, it lacked a consistent written form —or 
any important form of written language for that matter— until Hammerhaimb, and 
later Jakob Jakobsen, tried to create a normalized written Faroese based on several 
etymological guidelines mainly inspired by Icelandic purism. A couple of interesting 
anthropological approaches to the normalization process of modern Faroese can be 
found in Wylie & Margolin (1981, esp. Chapter 4) and Nauerby (1996). 



 The Norn Hildina Ballad  87 

Table 1. Hildina Ballad: attempts at reconstruction 

 

GEORGE LOW 

(1774) 

MARIUS HÆGSTAD 

(1900) 

EIGIL LEHMANN 

(1984) 

1.  

Da vara Jarlin d’Orkneyar 

For frinda sǐn spur de ro 

Whirdi an skildè meun 

Our glas buryon burtaga. 

1. 

Da vara Iarlin o Orkneyar 

For frinda sǐn spurde ro, 

Whirdì an skildè meun 

Or vannaro eidnar fuo- 

Or glasburyon burtaga 

1. 

Dað var jarlin 'tá 

Orkneyar 

Fyr frænda sín spurdi ráð 

Hvorti hann skuldi 

meyen 

Ó vandaráð hennar fá 

(Ór glasborgin burttaga) 

2. 

Or vanna ro eidnar fuo 

Tega du meun our glas 

buryon 

Kere friendè min yamna 

men 

Eso vrildan stiendi gede 

min vara to din. 

2. 

“Tega du meun our 

glasburyon, 

Kere friendè min, 

Yamna meun eso vrildan 

stiendu, 

Gede min vara to din.” 

 

2.  

Tegur dú meyn ór 

glasborgin 

Kæri frændi mín 

Jamnan me’n hesor 

verilden stendur 

Gedið mun varða til din. 

 

3. 

Yom keimir cullingin 

Fro liene burt 

Asta Vaar hon fruen 

Hildina 

Hemi stu mer stien.  

 

3. 

Yom keimir eullingin 

From liene; 

Burt asta vaar hon fruen 

Hildina, 

Hemi stu-mer stien. 

 

3. 

Eðlingin kemur av leiðing 

heim 

 

Burtu stað var hon frún 

Hildina 

Eyðin stóð meyarstein 

4. 

Whar an yaar elonden 

Ita kan sadnast wo 

An scal vara kundè 

Wo osta tre sin reithin 

ridna dar fro 

4. 

“Whar an yaar e londen 

Ita kan sadnast wo, 

An scal vara heindè wo 

osta tre, 

Sin reithin ridna darfro.” 

4. 

Hvar hann jar í londom 

Hetta kann sannast á 

Hann skal varða heingdur 

á hásta tré 

Sem rédin renna ífrá 



88 Mariano González Campo 

5. 

Kemi to Orkneyar Jarlin 

Vilda mien sante Maunis 

I Orknian u bian sian 

I lian far diar. 

5. 

“Kemi to Orkneyar Iarlin, 

Sante Maunus vilda mien, 

I Orknian u bian sian, 

I lian far di an.” 

6. 

Hann gevur drottningin 

Kinnpustur undir kinn 

Fyr sannu fóru tárir 

Á hennar hvitrani kinn 

6. 

An gevè Drotnign kedn 

puster 

On de kin firsane furu 

Tworare wo eder 

Whitranè kidn. 

 

6.  

An gevè Drotnign 

Kednpuster onde kin; 

Fir sane furu tworone 

Wo edner whitrane kidn. 

 

5. 

Kemur til Orkneyar jarlin 

—sante Mognus vil dað 

mein— 

í Orkneyom ogh býr hann 

síðan 

Í leiðang far dú enn’. 

7. 

In kimerin Jarlin  

U klapasse Hildina 

On de kidn quirto 

Vult doch, fiegan vara 

moch or fly din.  

 

7. 

In kimer in Iarlin 

U klapa se Hildina onde 

kidn; 

“Quirto vult doch fiegan 

vara 

Moch or fy din?” 

7. 

Inn kjemer Orknøy-jarlen 

Og klappar si Hildina 

unde kinn: 

“Kvåre vilde du feigan 

vera 

Meg elder fa’er din? 

8.  

Elde vilda fiegan vara 

Fy min u alt sin 

Ans namnu wo 

So minyach u ere min 

heve Orkneyar kingè ro.  

 

8. 

“Elde vild-a fiegan vara 

Fy min u alt sin ans 

namn u wo; 

So min yach u ere min 

heve 

Orkneyar lingè ro. 

8. 

“Helder vilde eg feigan 

vera 

Får min og alt han å- 

So skal eg og herren min 

Yve Orknøyar lengje rå.” 

 

9. 

Nu di skall taga dor 

yochwo 

And u ria dor to 

strandane nir 

U yilsa fy minu avon 

Blit an ear ne cumi i dora 

band. 

9. 

Nu di skall taga dor yoch 

wo and 

U ria dor nir to strand, 

U yilsa fy minu avon blit; 

An earni cumi i dora 

band.” 

 

9. 

“Nú Dið skal taga Dor 

jog á hand 

Ogh ríða Dor ni’r til 

strand 

Ogh heilsa faðir mínom 

avarblítt 

Han gerni komi á Dora 

band 



 The Norn Hildina Ballad  89 

10. 

Nu Swaran Konign 

So mege gak honon i 

muthi 

Whath ear di ho gane 

mier 

I daute buthe. 

10.  

Nu swara an Konign 

—so mege gak honon i 

muthi—: 

“Whath ear di ho gave 

mier 

I daute-buthe?” 

10. 

Nú svarað ‘om konungin 

—so migið gakk honom í 

móti— 

Hvad eigir Dé að geva 

Mér í dótturbóti? 

 

11. 

Trettì merkè vath ru 

godle 

Da skall yach ger yo 

U all de vara sonna less 

So linge sin yach liva mo. 

 

11. 

“Trettì merkè vath ru 

godle, 

Da skall yach ger yo 

U allde vara sonnaless, 

So linge sin yach liva 

mo.” 

11. 

Trettí merkur ved reuðu 

golli 

Dað skal jag dér ljá 

Ogh aldri að vara 

sonolous 

So leingi sem jag liva má 

12. 

Nu linge stug an konign 

U linge wo a swo  

Wordig vaar dogh mugè 

sonè 

Yacha skier fare moga so 

minde yach angan u frien 

Rost wath comman mier 

to landa. 

12. 

Nu linge stug an Konign, 

U linge wo an swo: 

“Wordig vaar dogh mugè 

sonè; 

Yach askier fare moga so. 

 

12. 

Nú leingi stóð han 

konungin 

Ogh leingi á han sá: 

Verdig jar dog (mugi) 

sonar 

Jag askir fyri mág að sjá. 

 

 12b. 

“So minde yach angan 

ufrien rost, 

Wath com an mier to 

landa.” 

12b. 

So mundi jag engan úfrín 

ráðst 

Hoád komi han mér til 

landa 

13. 

Nu swara Hiluge 

Hera geve honon scam 

Taga di gild firre Hildina 

Sin yach skall liga dor 

fram. 

 

13. 

Nu swara Hiluge 

—hera geve honom 

scam—: 

“Taga di gild firre Hildina 

Sin yach skall lega dor 

fram: 

 

13. 

Nú svarað Illugi 

—Herra gev’ onom 

skamm! 

Tagið Dé geld fyri 

Hildina 

Sem jag vil legga Dor 

fram 



90 Mariano González Campo 

14. 

Estin whaar u feur fetign 

Agonga kadn i sluge 

Feur fetign sin gonga  

Kadn i pluge. 

 

14. 

Estin whaar u feur-fetign 

A gonga kadn i sluge,— 

Estin whaar u feur-fetign 

Sin gonga kadn i pluge.” 

 

14. 

Hestin hvar og 

ferfettingin 

Að ganga kann í slóði 

-----ferfettingin 

sem ganga kann í plógi 

15. 

Nu stienderin Jarlin. 

U linge wo an wo 

Dese mo eke Orknear 

So linge san yach lava 

mo. 

15. 

Nu stiender in Iarlin 

U linge wo an swo: 

“Dese mo eki Orknear, 

So linge san yach lava 

mo.”— 

15. 

Nú stendur han Jarlin 

Ogh leingi á han sá: 

“Dessi má ekki Orkneyar 

So leingi sem jag liva 

má.” 

16. 

Nu eke tegaran san 

Sot Koningn fyrin din 

U alt yach an Hilhugin 

Widn ugare din arar. 

 

16. 

“Nu eke tegar an san sot, 

Koningn fyrin din; 

U alt yach an Hilhugin 

U garedin arar widn.” 

16. 

Nú ekki tegur han 

samsátt 

Konungin faðirin din 

Og helt jag han Illugin 

Á gerðin aðrar vinna 

17. 

Nu swarar an frauna 

Hildina 

U dem san idne i fro 

Di slo dor a bardagana 

Dar comme ov sin mo.  

 

17. 

Nu swarar an frauna 

Hildina, 

U dern san iden i fro: 

“Di slo a bardagana, 

Dar comme ov sin mo!” 

 

17. 

Nú svarar ‘om frúen 

Hildina 

Í deim sama sinni frá: 

“Dé sláið dor í 

bardaganom 

Dar komi áv sem má”. 

18. 

Nu Jarlin an genger 

I vadlin fram 

U kadnar sina mien 

Geven skeger i Orkneyan. 

 

18. 

Nu Iarlin an genger i 

vadlin fram 

U kadnar sìna mien, 

Gever skeger i Orkneyan 

 

18. 

Nú jarlin han gangur á 

vallin 

Fram ogh kannar sína 

menn: 

Gævi skeggir í Orkneyum 

19. 

Han u cummin 

In u vod lerdin 

Fronde fans lever 

Vel burne mun. 

 

19.  

“Han u cummin 

In u vodler din; 

Frinde hans lever 

Velburne mien.” 

 

19. 

“Han er komin (við 

úfriði) 

Inn á vollin din; 

Frændi f(aðir din) s leybir 

Velborni menn.” 



 The Norn Hildina Ballad  91 

20. 

Nu fruna Hildina 

On genger i vadlin fram 

Fy di yera da ov man dum 

Dora di spidlaikì mire 

man. 

 

20. 

Nu fruna Hildina, 

On genger i vadlin fram: 

“Fy di yera da ov 

mandum dora, 

Di spidla ikì mira man.” 

 

20. 

Nú frúen Hildina 

Hon gengur í vollin fram 

“Faðir, Dið gerið dað av 

manndón Dora: 

Dið spillið ekki meiri 

mann.” 

21. 

Nu sware an Hiluge 

Crego gevan a scam 

Gayer an Jarlin frinde 

Din an u fadlin in. 

 

21. 

Nu sware an Hiluge 

—erego gev ana scam—: 

“Yayer an Iarlin frinde din 

An u fadlin in.” 

 

21. 

Nú svarar hann Illugi 

—Herreguð gevi honom 

skamm— 

“Heghar han Jarlin frændi 

din 

Han er fallin han.” 

22. 

Nu fac an Jarlin dahuge 

Dar min de an engine gro 

An east ans huge ei 

Fong ednar u vaxhedne 

more neo. 

 

22. 

Nu fac an Iarlin dahuge 

—dar minde an engin 

gro—. 

An cast ans huge ei fong 

ednar, 

U vaks hedne mere meo. 

 

22. 

Nú fakk 'an jarlin da 

høggið 

Dar mundi han eingin 

grjó 

Han kastað hans huguð í 

fang hennar 

Ogh vaks henni meiri 

mjó. 

23. 

Di lava mir gugna 

Yift bal yagh fur o lande 

Gipt mir nu fruan 

Hildina 

Vath godle u fasta bande. 

23. 

“Di lava mir yugna, 

Yift bal yagh fur o landi; 

Gipt mir un fruan 

Hildina 

Vath godle u fasta 

bande.” 

23. 

“Dé lovað mér hjónagift 

Bel jag fór áv landi 

Gipt mér nú frúen 

Hildina 

Ved golli ogh fastabandi.” 

24. 

Nu bill on heve da yals 

Guadnè borè u da kadn 

Sina kloyn a bera do skall 

Fon fruna Hildina verka 

wo sino chelsina villya. 

 

24. 

“Nu billon heve day alty 

uadn è borè, 

U da kadn sina kloyna 

bera; 

Do skall hon fruna 

Hildina 

24. 

“Nú bel han hevir dað 

jarlsbarn borið 

Ogh dað kann sín kláðin 

bera 

Dá skal hon frúen 

Hildina 

 



92 Mariano González Campo 

Verka wo sino chelsina 

villya.” 

Ad sjalvs sína vilja gera.” 

 

25. 

Hildina liger wo chaldona 

U o dukrar u grothè 

Min du buga till 

bridlevsin 

Bonlother u duka dogha. 

 

25. 

Hildina liger wo chaldona 

Wo dukrar u grothè; 

Min du buga till 

bridlevsin, 

Hon lothir u duka dogha. 

 

25. 

Hildina liggur á 

tjaldenom 

Eughað druknar í grádi 

Me’n dei búga til 

brulleubsins 

Í drekka dágha hon ládur. 

26. 

Nu Hildina on askar 

feyrin 

Sien di gava mier livè 

Ou skinka vin 

Ou guida vin. 

26. 

Nu Hildina on askar 

Feyrin sien: 

“Di gava mier live ou 

skinka vin, 

Ou guida vin.” 

26. 

—Nú---Hildina 

—Askar faðirin sin 

—Dið gevið mér leyvi 

Að skeinka ogh gýda vín. 

 

27. 

Duska skinka vin, u guida 

vin 

Tinka dogh eke wo 

Jarlin an gougha here din. 

27. 

“Du ska skinka vin 

U guida vin; 

Tinka dagh eke wo Iarlin, 

An gougha here din.” 

27. 

“Dú skal--- 

—Skeinka ogh gýda vín; 

Teink dog ekki á jarlin 

Enn góða herri din.” 

28. 

Watha skilde tinka 

Wo Jarlin gouga herè min 

Hien minde yagh inga 

forlskona 

Bera fare kera fyrin min.  

 

28. 

“Wath a skilde tinka wo 

Iarlin 

An gouga herè min, 

Hien mindi yagh inga 

forlskona bera 

Fare kera fyrin min.” 

28. 

“Hóad jag skuldi teinka 

Á jarlin góða herri min 

Hé’n mundi jag einga 

fárskonna bera 

Fyri kæra faðir min.” 

 

29. 

Da gerde on fruna 

Hildina 

On bar se mien ot 

On soverin fest, 

Fysin u quarsin sat. 

 

29. 

Da gerde on fruna 

Hildina, 

On bar se mien ot; 

On sover in fest fysin, 

Fysin u quar sin sat. 

 

29. 

Dað gerdi hon frúen 

Hildina 

Hon bar sé méðin ád 

Hon sávir inn fyst faðir 

sin 

Ogh hvar sem —sad. 

30. 

Da gerde un fruna 

Hildina 

30. 

Da gerde un fruna 

Hildina, 

30. 

Dað gerdi hon frúen 

Hildina 



 The Norn Hildina Ballad  93 

On bard im ur 

Hadlin burt sien on 

laghdè 

Gloug I otsta jatha port.  

 

On bar dim ur hadlin 

burt; 

Sien on laghdè gloug 

I otsta jath a port. 

 

Hon bar deim ór hallin 

burt 

Síðan hon lagdi 

glóðhough 

Í otsta gadaport. 

31. 

Nu iki visti an Hiluge 

Ike ov till do 

Eldin var commin i lut 

U stor u silkè sark ans 

smo. 

31. 

Nu iki visti an Hiluge 

Ike ov till do 

Eldin var commin i 

lutustor 

U sìlkisark ans smo. 

31. 

Nú ekki visti han Illugi 

Ekki áv til dá 

Eldin var komin í 

lopthúsdor 

Ogh silkiserk hans smá. 

32. 

Nu leveren fram 

Hiluge du kereda 

Fraun Hildina du 

Gevemir live u gre 

 

32. 

Nu lever en fram Hiluge 

“Du keresta fraun 

Hildina, 

Du geve mir live u gre.” 

 

32. 

Nú leybur fram han Illugi 

“Dú kæri dað, frúen 

Hildina, 

Dú gevi mér lív ogh 

grið.” 

33. 

So mege u gouga gre 

Skall dogh swo 

Skall lathì min heran 

I bardagana fwo. 

33. 

“So mege u gouga gre 

Skall dogh swo, 

Sin shall lathi min heran  

I bardagana fwo. 

33. 

“So migið ogh góða 

Grið skalt dog s(j)á 

---lad mín herran 

í bardagan fá.” 

34.  

Du tuchtada lide undocht 

yach 

Swo et sa ans bugin bleo 

Dogh casta ans huge 

I mit fung u vexemir mise 

meo. 

34. 

Du tuchta da lide 

undocht yach 

Swo etsa ans bugin bleo; 

Dogh casta ans huge i 

mit fung, 

U vexe mir mire meo.” 

34. 

“Dú tókti dað lídið um 

dótt jag 

Sá hetsa hans búgin bljó; 

Dog kastað hans huguð í 

mitt fang 

Ogh vaks mér meiri mjó.” 

35. 

Nu tachtè on heve 

fwelsko 

Ans bo vad mild u stien 

Dogh skall aidè misè 

Koningnsens 

Vadna vilda mien. 

35. 

Nu tachtè on heve 

fwelsko ans 

Bo vad mild u stien. 

“Dogh skall aldè mirè 

Koningnsens 

Vadne vilda mien.” 

35. 

Nú takti hon yvi følska 

hans 

Bá ved møld og stein: 

“Dog skal aldri meir 

konungsins 

Barni valda mein.” 

 



94 Mariano González Campo 

4.  The Hildina Ballad: Attempts at translation 
 
As mentioned before, the first scholar who tried to make some sense of the 
Hildina Ballad was Peter Andreas Munch in Geographiske og historiske notitser om 
Orknoërne og Hetland (1839), but he only managed to render about half of the 
ballad into Old Norse and Danish. It was not until Hægstad’s study in 1900 that 
a more or less reliable version of the Hildina Ballad became available. As a matter 
of fact, Hægstad’s version has been the main reference for all the translations of 
the ballad into a few modern languanges. So far, there is one German translation 
by J. E. Poestion (1914), two Norwegian (nynorsk) translations by Marius 
Hægstad himself (1901) and Eigil Lehmann (1984), and three renderings into 
English by W. G. Collingwood (1908), Norah Kershaw (1921),19 and Graeme 
Davis (2007).20 In contrast to the German and Norwegian translations, the 
English versions have been published more than once.21 

The three tables below offer a comparison of the ballad’s translations, 
following a chronological order. 
 

  

                                                 
19 However, Kershaw only translated the first twelve stanzas of the ballad. 
20 Davis’s translation can also be considered an attempt at creative reconstruction or 
rewriting, as he offers quite a free version of the ballad. 
21 Apart from more recent online editions, Collingwood’s translation has also been 
published by Graham & Graham (1998), whereas Kershaw’s rendering was published as 
well by Leach (1946) and Davis (2007). Davis’s own version was also published by the 
newspaper The Orcadian on January 3, 2008. Oddly enough, Syndergaard (1995) only 
mentions Leach’s English version, which, as mentioned above, is actually Kershaw’s. 



 The Norn Hildina Ballad  95 

Table 2. Hildina Ballad: attempts at translation (I) 

 

SOPHUS BUGGE 

(c. 1897) 

MARIUS HÆGSTAD 

(1901) 

W. G. COLLINGWOOD 

(1908) 

1. 

Það [sic] var jarlinn af 

Orkneyjum 

Af frænda sína spurði 

ráð: 

Hvert hann skyldi 

meyna or glasborginni 

burttaka 

Eða vinaráð fá. 

1. 

Det var jarlen or 

Orknøyom, 

Han spurde sin frende 

um raad, 

Um han skulde den møyi 

Or vanden hennar faa, — 

      Or glasborgi burt-

taka 

1. 

It was the Earl of Orkney 

Of his friend has taken rede 

Whereby to bring a maiden 

Forth of her perilous need 

— 

From the broch of glass to 

save her. 

 

2. 

“Tekr þú meyna or 

glasborginni, 

Kæri frændi minn, 

Jamnan meðan æ svo 

veröldin stendr 

Getit mun vera til þín.” 

 

2. 

“Teker du møyi or 

glasborgi, 

Kjære venen min, 

So lenge som denne 

verdi stender, 

Skal spyrjast mannskapen 

din.” 

2. 

“Take ye the maid from the 

broch of glass, 

Dearest friend of mine, 

And aye as long as the 

world may stand 

Shall be told this deed of 

thine.” 

3. 

[Her] kemr øðlinginn 

frá leiðinni [heim], 

burt á stað var hon 

frúin Hildina, 

[tómr] stoð 

meyarsteinn. 

 

3. 

Heim kjemer edlingen 

Fraa leiding med sine 

menn. 

Burte og vekk var fru 

Hildina; 

Heime stykmôr stend. 

 

3. 

Homeward comes the noble 

king 

From the hosting as he 

rides, 

But gone is the lady 

Hildina; 

At home her step-dame 

bides. 

4. 

“Hvar hann er í 

landinu, 

Ef þat kann sannast á: 

Hann skal verða hengdr 

á hæsta tré 

Sem rótinn rennr þar 

frá.” 

4. 

“Kvar han er I landi 

Dette kann sannast paa, 

Han skal verta hengd I 

det høgste tre 

Som rotom renner ifraa.” 

 

4. 

“Whoever in all the land be 

he 

Is guilty of this thing, 

He shall be hanged on the 

highest tree 

That forth of root may 

spring!” 



96 Mariano González Campo 

5. 

“Kemr til Orkneya [sic] 

jarlinn, 

—valda man, Sankti 

Magn(u)s— 

Í Orkneyjum þér bíðið 

síðan [bana] 

Í leiðangs-ferð í ár.” 

 

5. 

“Kjemer jarlen til 

Orknøyar, 

St. Magnus kann styra 

det so: 

Han vert der verande all 

si tid; 

Far difor etter han no.” 

 

5. 

“If the earl be come to 

Orkney, 

St. Magnus will keep him 

there, 

For his home is aye in 

Orkney; 

Then forth with thy hosting 

fare.” 

6. 

Hann gefr 

dróttningunni 

Kinnpúst under kinn; 

Fyrsandi fóru tárir 

Á hennar hvítrinni 

kinn. 

 

6. 

Daa gav han dronningi 

Ein kinnhest under kinn; 

Med sanno rann det 

taaror 

Paa hennar kvitare kinn. 

 

6. 

Whereat he gave the queen 

a clout 

On the cheek in wrath and 

spite, 

And O but the tears went 

coursing 

Adown her cheek so white. 

7. 

Inn kemr hann jarlinn 

Ok klappar sær Hildina 

undir kinn: 

“Hvárt vilt þú feigan 

vera 

Mik eða föður [sic] 

þinn?” 

7. 

Inn kjemer den jarlen, 

Klappar Hildina under 

kinn: 

“Kven vil du no feig skal 

vera, 

Eg eller fa’er din?” 

 

7. 

In came the earl and 

fondled 

Hildina’s cheek in glee: — 

“Now whether of us are ye 

fainer of— 

Your father, or of me?” 

 

8. 

“Heldr vilda’k feigan 

vera föður [sic] minn, 

Ok alt sem hans nafn á; 

Svá mun ek ok, herra 

minn, 

Hava Orkneya lengi ráð. 

 

8. 

“Heller vilde eg fâr var 

feig 

Og alt som hans namn er 

paa; 

Daa skulde eg og min 

hæve herre 

Orknøyar lenge raa”. 

8. 

“I would sooner be fain of 

my father 

And of aught that he can 

say, 

So shall I and my lord have 

Orkney 

To rule for many a day. 

9. 

Nú þér skal taka yðr 

hauk á hönd, 

Ok ríða yðr niðr til 

stranda; 

9. 

No skal du taka ein 

gangar fram 

Og rida deg ned til 

strand, 

9. 

“Now shalt thou take thy 

horse in hand 

And down to the water 

wend, 



 The Norn Hildina Ballad  97 

Ok heilsa föður mínum 

afar-blítt 

Hann er nýkominn í 

yðru [l]andi. 

Og helsa fâr min ovende 

blidt; 

Maa henda de semjast 

kann.” 

And greet my father fair and 

blithe; 

He will gladly be thy 

friend.” 

10. 

Nú svarar hann 

konungrinn, 

Svo mikit gekk honum 

í móti: 

“Hvat eruð þit í hugi 

Gefa mér í dóttur-

bótum? 

10. 

No svara konongen 

—so mykje gjekk honom 

imot— 

“Kva hev du aa gjeva meg 

I dotterbot?” 

 

10. 

Then said the king —for a 

many 

Came riding to meet him 

there— 

“What gift hast thou gotten 

to give me 

In fee for my daughter fair?” 

11. 

“Þrjátíu merkr við 

rauðugulli, 

Þat skal ek gera hjá, 

Ok aldri [skaltu] vera 

sonalauss, 

Svá lengi sem ek lifa 

má.” 

11. 

“Tretti merker I 

raudegull, 

Det skal du hjaa meg faa, 

Og aldri vera sonelaus, 

So lenge som eg liva 

maa.” 

 

11. 

Thirty marks of gold so red 

Is the gift that I will give; 

Forbye for a son ye never 

shall lack 

The while that I may live.” 

 

12a. 

Nú lengi stóð hann 

konungrinn, 

Ok lengi á hann sá: 

“Verðugr vart þú mági, 

syni, 

Ek á skarð fyri mága.” 

 

12. 

No lenge stod den 

konongen, 

Og lenge paa honom 

saag: 

“Du er jamgod med 

mange søner, 

Eg ynskjer me semjast 

maa. 

12. 

Now long stood the King 

before him, 

And long on the earl looked 

he:— 

“Well worth many a son art 

thou! 

I would that it so might be! 

 

12b. 

“[Vilduð þér frúna 

Hildina 

Geva mér til handa] 

Svá mundi [o]k engan 

frændorrust 

Þóat koma mér til 

landa.” 

 

13. 

[Og fer det som eg 

ynskjer det, 

At du gjeng meg til 

hande,] 

Daa skulde eg ingen uven 

ræddast, 

Um han kom meg til 

lande.” 

13a. 

[“When Orkney’s earl and 

Norway’s king 

In league together stand 

So need I fear no foe soe’er 

Might come within my 

land.”] 

 



98 Mariano González Campo 

13.  

Nú svaraði Hillugi, 

Herra [Guð] gefi 

honum skamm: 

“Takið þit gjöld fyri 

Hildina 

Sem ek skal leggja yðr 

fram.” 

14. 

No svarar Hilluge 

—Herre, gjev honom 

skam—: 

“Tak vederlag for Hildina 

Som eg vil leggja fram: 

 

13b. 

Then up and spoke Illugi —

The Lord to him give 

shame!— 

“This fee shall ye take for 

Hildina 

As I shall set the same:— 

 

14. 

Hestarnir verða 

fjörutíu, 

Er ganga kann í slóði, 

[Hestarnir verða] 

fjörutíu, 

Sem ganga kann í 

plógi.” 

15. 

Kvar ein hest og 

firføting, 

So før at ei horv han 

drog,— 

Kvar ein hest og firføting 

Som ganga kann for 

plog.” 

14. 

“Every horse and four-foot 

beast 

That trails a load [in snow]; 

Every horse and four-foot 

beast 

That in the plough can go.” 

 

15. 

Nú stendur [sic] hann 

jarlinn, 

Ok lengi á hann sá: 

“Þessi má ekki 

Orkneyjar, 

Svá lengi ek lifa má. 

 

16. 

No stender han, jarlen, 

Og lenge paa honom 

saag: 

“Dette vinn ikkje 

Orknøyar, 

So lenge eg liva maa. 

 

15. 

Then stood the earl before 

him 

And a long look on him 

cast: 

“Never shall Orkney grant 

that gift 

The while my life may last!” 

16. 

Nú ekki tekr hann 

samsátt, 

Konungrinn faðir þinn; 

Ok helt ek hann 

Hillugin 

Vildi ok gerast herra 

þinn.” 

17. 

No tek han ikkje mot 

semja god, 

Konongen fa’er din. 

Eg tenkte meg og at 

Hilluge 

Ber anna uti sitt sinn.” 

 

16. 

“Now never more his troth 

and trust 

Will the king thy father 

yield; 

And sore I doubt me Illugi 

Would plough his 

neighbour’s field.” 

17. 

Nú svarar hon frúin 

Hildina 

Í því sömu [s]inni ífrá:  

 

18. 

No svarar fru Hildina 

Or døri si inne ifraa: 

 

17. 

And the lady Hildina 

answered him, 

As behind the door she sat: 

 



 The Norn Hildina Ballad  99 

“Þit sláið yðr í 

bardagana, 

Þar komi af sem má.” 

 

“So fær de stridast med 

odd og egg, 

Det gange av som det 

maa.” 

“Then meet him in the 

battle, 

And come what will of 

that!” 

18. 

Nú jarlinn hann gengr í 

völlinn fram, 

Ok kannar sína menn: 

“Göfgir skeggjar í 

Orkneyjum, 

[verjast viljum vér 

enn].” 

19. 

No jarlen han gjeng paa 

vollen fram 

Og kannar sine menn, 

Dei gjæve skjeggjar i 

Orknøyom, 

[velborne menn]. 

 

18. 

Forth goes the earl to the 

field of war 

And orders his array— 

The peaceful Orkney-

beardies 

[For the fearsome battle-

play] 

19. 

“Hann er komin [med 

[sic] ófriði] 

In [sic] á völlinn þín; 

Frændi [h]ans hleypir 

Velbornir menn.” 

 

20. 

“Kongen, han er komen; 

Paa vollen din han stend. 

Venen hans driv paa flugt 

Dei velborne menn.” 

 

19. 

“He is marching through 

thy fields, lady, 

[He has broken garth and 

wall,] 

And all his friends are 

following 

And thy noble folk they 

fall!” 

20. 

Nú frúin Hildina 

Hon gengr í völlin 

fram: 

“Faðir, þit gerið þat af 

manndómi yðar, 

Þit spill’ ekki meira 

manna.” 

21. 

No fruva Hildina 

Ho gjenger i vollen fram: 

“Fâr, aa gjer no eit 

manndomsverk, 

Og spill ikkje fleire 

mann!” 

 

20. 

Now lady Hildina hies her 

Forth to the field of 

strife:— 

“Father, for manhood’s sake 

forebear, 

And stay this waste of life!” 

 

21. 

Nú svarar hann Hillugi, 

[H]erra Gúð [sic] gefi 

honom skam [sic]: 

“Þegar hann jarlinn 

frændi þinn, 

Hann er fallin [sic] 

enn.” 

22. 

No svarar han Hilluge 

—Herre gud gjev honom 

skam—: 

“Ja, naar jarlen, venen 

din, 

Ogso er fallen, han.” 

 

21. 

Then up and spoke Illugi — 

The Lord God him 

requite!— 

“No sooner than the earl, 

thy love, 

Has fallen in the fight.”  

 



100 Mariano González Campo 

22. 

Nú fekk hann 

jarlin[um] þat höggit, 

Þar mundi hann enginn 

grœða, 

Hann kasti hans höfði í 

fang hennar, 

Ok vexti henni meiri 

mœði. 

23. 

No fekk jarlen 

daudehogg 

—det saaret kunde ei 

gro— 

Han kasta hans hovud I 

fanget hennar, 

Daa voks det stort 

hennar mod. 

 

22. 

Then gat the earl his death-

stroke— 

No hand could heal him 

more. 

He cast his head into her 

arms, 

And O but her heart was 

sore! 

23. 

“Þit lofaði mér góða 

giftu, 

Bili ek fór ór landi: 

Gipt mér nú frúna 

Hildina 

Við gulli ok festar 

bandi.” 

24. 

“De lova meg gifta, 

Um djerv eg fór or lande. 

Gjev meg no fru Hildina 

Med gull og festebande.” 

 

23. 

“Grant me to be the 

bridegroom, 

So bold have I followed 

thee; 

To the lady Hildina wed me 

now 

With gold and festing-fee.” 

24. 

“Nú bili hon hefir þat 

jarlsbarnit borit, 

Ok þat kann sín klæðin 

at bera, 

Þá skalt [h]on frúna 

Hildina 

Verka á sinum [sic] 

sjálfssína vilja.” 

25. 

“No bidlund have du til 

barn er boret 

Og det kann sine klæde 

bera, 

Daa skal fruva Hildina 

Faa sjølvs sin vilje gjera.” 

 

24. 

“Forbear thou then till the 

bairn be born, 

And fair in swaddling dight; 

Then shall lady Hildina 

order this 

Even as she deemeth right.” 

 

25. 

Hildina liggr á tjaldinu, 

Ok hon hjúfrar ok 

grætr: 

Meðan þeir búa til 

brullaupsins 

Bæði daga ok dökkar 

[n]ætr. 

26. 

Hildina ligger paa tjeldet, 

Og augo dimme ho græt, 

Men daa dei bur til 

brudlaupet, 

Ho daae I drykken læt. 

 

25. 

On tapestry fair Hildina lay, 

Her eye was dim with dole; 

But while they dressed the 

bridal-feast 

She brewed a drowsy bowl. 

 

26. 

Nú [kemr hon] 

Hildina, 

27. 

Ho Hildina ho beder 

Fa’er sin; 

26. 

Then up and spoke Hildina, 



 The Norn Hildina Ballad  101 

Hon æskir föður [sic] 

sinn: 

“Þér gefid [sic] mér leyfi 

At skenkja [mjöð] ok 

gjóta vín?” 

“Du gjeve meg løyve aa 

skenkja vin, 

Aa fylla i vin.” 

 

And prayed her father dear: 

— 

“Now grant me leave to fill 

the cup 

And pour the wine so 

clear.” 

27. 

“Þú skalt [hafa leyfi] 

At skenkja [mjöð] ok 

gjóta vín, 

Þenk þú ekki á jarlinn 

Þann göfga herra þinn. 

 

28. 

“Du skal skenkja vin  

Og fylla i vin; 

Men tenk no ikkje paa 

jarlen, 

Den gode herren din.” 

 

27. 

“And who but thou should 

fill the cup, 

And pour for us the wine? 

But think no more upon 

the earl, 

That worthy lord of thine.” 

28. 

“Hvat skyld ek þenkja á 

jarlinn, 

Göfga herra minn, 

Heðan mundi ek engra 

forlaganna bera 

Fyri kæra föðurinn [sic] 

minn.” 

29. 

“Um eg tenkte paa 

jarlen, 

Den gode herren min, 

Eg vilde daa ingi svik-

kanna bera 

Fram fyre fa’er min.” 

 

28. 

“Upon the earl, my worthy 

lord, 

Though ever should I think, 

Yet shall I bring my father 

dear 

No draught of ill to drink.” 

 

29. 

Þat gerði hon, frúin 

Hildina, 

Hon bar svá mjöðinn 

at; 

Hon svæfir hann fast 

föður [sic] sinn, 

Ok hvern sem [inni] 

sat. 

30. 

Det gjorde fru Hildina, 

Ho fram den mjøden 

bar; 

Ho svæver so fast inn 

fâren, 

Fâren og alle som var. 

 

29. 

Thus wrought the lady 

Hildina— 

She bore the wine around, 

And fast asleep her father 

lay, 

With his folk upon the 

ground. 

 

30. 

Þat gerði hon frúin 

Hildina, 

Hon bar þeim or 

höllinni burt; 

Siðan hon lagði 

glœðurnar 

I [sic] ýtsta gátt á port. 

31. 

Det gjorde Hildina, 

Ho bar deim or halli 

burt; 

Sidan lagde ho eld og 

glod 

I ytste op I port. 

 

30. 

Thus wrought she: —her 

father and all his folk 

Forth of the hall she bore 

Thereafter fire she laid alow 

To the outermost gate of 

the door. 



102 Mariano González Campo 

31. 

Nú ekki vissi hann 

Hillugi 

Ekki af til þá: 

Eldrinn var kominn í 

loft ok stóð 

Á silkiserkinn smá. 

 

32. 

No ikkje visste han 

Hilluge 

Noko av til daa 

Elden var komen i 

lofthusdør 

Og silkeserken hans 

smaa. 

31. 

And nothing Illugi heeded, 

And nought he knew at all, 

Till the fire came in at the 

loft-house door, 

On his silken sark so small. 

 

32. 

Nú hleypr hann fram 

Hillugi 

[Hann vissi sér engi 

lið]: 

“Þú geri þat, frúin 

Hildina, 

Þú gefi mér líf ok grið.” 

33. 

No springer han Hilluge 

fram, 

[stod uti borge-led]: 

“Aa, kjæraste du fru 

Hildina, 

Du gjeve meg liv og 

grid!” 

32. 

Then up Illugi started, 

[And the flame around was 

rife]: 

“Thou dearest lady Hildina, 

O grant me peace and life!” 

 

33. 

“Svá mikinn ok góðan 

grið 

Skalt þú [af mér] sjá: 

Sem þú lét minn herran 

Í bardaganum fá. 

 

34. 

“Like mykje og like god 

grid 

Skal du no sjaa, 

Som du sjølv lét herren 

min 

I striden dykkar faa. 

33. 

“So much of good peace 

shalt thou behold, 

[To ease thee in thy pain;] 

As thou thyself wouldst give 

my lord 

Upon the battle-plain. 

34. 

Þú þóttist þar lítið um, 

þóat ek sá at, 

[Ek] sá hans búkinn 

blœða 

Þú kastaðir hans höfði í 

mitt fang 

Ok vextir mér meira 

mœðu.” 

35. 

Det tyktest deg lite, 

endaa eg 

Saag kroppen hans all i 

blod, 

Du kasta hans hovud i 

mitt fang, 

Daa voks det stort mitt 

mod.” 

34. 

“Little ye recked though 

yonder I looked 

On his body all bloodied 

o’er, 

But cast his head into my 

arms, 

And O but my heart was 

sore!” 

35.  

Nú þakt hon hefir 

fölska hans 

Bæði við mold ok stein: 

 

 

36. 

No tekt ho heve oska 

hans 

Baade med mold og 

stein. 

35. 

And as she took both 

mould and stone 

On the embers for to 

fling:— 



 The Norn Hildina Ballad  103 

“Þú skalt aldri meira 

Konungsins barni valda 

mein.” 

“Du skal aldri meir 

konongsens 

Barn valda mein.” 

“Never now shalt thou work 

thy evil will 

On the daughter of a king!” 

 
 
 
 
Table 3. Hildina Ballad: attempts at translation (II) 

 

J. E. POESTION 

(1914) 

NORAH KERSHAW 

(1921) 

EIGIL LEHMANN 

(1984) 

1. 

Es war ein Jarl auf den 

Orkneys; 

Er holte beim Freund 

Bescheid, 

Ob wohl er aus den Nöten 

Erlösen soll die Maid 

    Und aus der Glasburg 

nehmen. 

1.  

It was the Earl from 

Orkney, 

And counsel of his kin 

sought he, 

Whether he should the 

maiden 

Free from her misery. 

 

1. 

Da va jarlen tå Orknøyar 

Han spurte sin frænde 

um råd 

Korte han skulde møyæ 

Or vandará hennar få — 

       (or glasborgjæ 

henne taka): 

 

2. 

“Nimm, lieber Freund, 

aus der Glasburg 

Die Maid du nur; dann 

geht 

Dein Ruf von Mund zu 

Munde, 

So lange die Welt 

besteht.” 

2.  

“If thou free the maid 

from her gleaming hall, 

O kinsman dear of mine, 

Ever while the world shall 

last 

Thy glory still shall 

shine.” 

 

2. 

“Teker du møyæ or 

glasborgjæ 

Kjære frænde min fræg 

Jamnan med denne 

verdæ ho stender 

Skal gjetord ganga um 

deg.” 

 

3. 

Der König kehrte vom 

Kriege 

Zurück in die Lande sein; 

Verschwunden ist Frau 

Hildina, 

Die Stiefmutter steht 

allein. 

3.  

Home came the king, 

Home from the ship's 

levy 

The lady Hildina she was 

gone, 

And only her stepmother 

there found he. 

 

3. 

Edlingjen kjemer av 

leidang heim 

—tôtte da skamm og 

mein— 

Burte stad var fru 

Hildina 

Øyden stod møyarstein. 

 



104 Mariano González Campo 

4. 

“Wo immer er weilt in 

den Landen, 

—das schwör’ ich! — ihr 

Genoß 

Soll hängen am höchsten 

Baume, 

Der Wurzeln je entsproß.” 

4.  

“Be he in whatever land, 

This will I prove true, 

He shall be hanged from 

the highest tree 

That ever upward grew.” 

 

4. 

“Kvar han er i londom 

—detta kann sananst 

på— 

Han skal verta hengd i 

Da hægsta tre 

Som røter renna ifrå.” 

 

5. 

“Kommt heim der Jarl 

nach Orkney, 

Dann wirkt’s Sankt 

Magnus aus, 

Daß bort er auch immer 

bleibe; 

Drum zieh’ aufs neue zum 

Strauß!” 

5. 

“If the Earl but come to 

Orkney, 

Saint Magnus will be his 

aid, 

And in Orkney ever he 

will remain— 

Haste after him with 

speed.” 

6. 

Alt so gjever han 

dronningjæ 

Kinnpuster unde kinn 

For sanno runno tåror 

På hennar kvitare kinn. 

 

6. 

Der Königin verseßt er 

Hierauf einen 

Backenstreich, 

Daß über die weißen 

Wangen 

Ihr Tränen sließen 

sogleich.— 

6.  

The King he stood before 

his lady, 

And a box on her ear gave 

he,— 

And all adown her lily 

white cheeks 

The tears did flow truly. 

5.  

“Kjemer til Orknøyar 

jarlen 

—sante Magnus valdar 

mein; 

I Orknøyarne då bur han 

sidan 

Du fare i leidang enn’.” 

7. 

Der Jarl tritt zu Hildina 

Und streichelt die Wange 

ihr: 

“Wem wünschest den 

Tod du lieber, 

Dem Vater oder mir?” 

 

7.  

The Earl he stood before 

Hildina, 

And a pat on her cheek 

gave he,— 

“O which of us two 

wouldst thou have lie 

dead, 

Thy father dear of me? 

7. 

Inn kjemer Orknøy-

jarlen 

Og klappar si Hildina 

unde kinn: 

“Kvare vilde du feigan 

vera 

Meg elder fa’er din? 

 

8. 

“Des Todes sei lieber 

mein Vater 

Mit all seiner Sippe dann, 

8.  

“I would rather see my 

father doomed, 

And all his company, 

8. 

“Helder vilde eg feigan 

vera 

Far min og alt han å — 



 The Norn Hildina Ballad  105 

Daß lang ich mit meinem 

Gebieter 

Auf Orkney herrschen 

kann. 

If so my own true lord 

and I 

May long rule in Orkney. 

 

So skal eg og herren min 

Yve Orknøyar lengje rå.” 

 

9. 

Doch nehmet ein Roß 

und reitet 

Zum Strande, damit Ihr 

vielleicht, 

Wenn freundlich Ihr 

grüßt meinen Vater, 

Euch noch miteinander 

vergleicht.” 

9.  

“Now do thou take in 

hand thy steed, 

And ride thou down to 

the strand; 

And do thou greet my 

sire full blithely, 

And gladly will he clasp 

thy hand.” 

9. 

“No skal De taka Dykk 

øyk å hånd 

Og ri’a Dykk ned til 

strand 

Og helsa far minom 

avar-blidt 

Gjedna kjem han i 

Dykkar band.” 

10. 

Dem Jarl entgegnet der 

König 

—er war nicht so hart 

gesinnt—: 

“Was habt Ihr wohl als 

Buße 

Zu geben mir für mein 

Kind?” 

10.  

The King he now made 

answer 

—So sore displeased was 

he— 

“In payment for my 

daughter 

What will thou give to 

me.” 

10. 

Då svara ‘om konungjen 

—so mykje rann honom 

i hug— 

“Kva heve du å gjeva 

meg 

Atter i dotterbot?” 

 

11. 

“Wohl dreizig Mark ich 

Euch gerne 

In rotem Golde geb’; 

Auch sollt einen Sohn Ihr 

niemals 

Vermissen, so lang ich 

leb’.” 

11.  

“Thirty marks of the red 

gold, 

This to thee will I give, 

And never shalt thou lack 

a son 

As long as I may live.” 

 

11. 

“Tretti merker med 

raude gull 

Skal du hjå meg få 

Og aldri å vera sonalaus 

So lengje som eg leva 

må.” 

 

12. 

Gar lange stand der König 

Und lange sah er ihn an. 

“Du wärst schon wert mir 

viel Söhne; 

Drum schlag’ ich ein; 

wohlan!” 

 

12.  

Now long stood the King, 

And long on the Earl 

gazed he:— 

“O thou art worth a host 

of sons; 

Thy boon is granted 

thee.”  

12. 

No lengje sto han 

konungjen 

Og lengje på han såg: 

“Jamgod er du med 

vaksen son 

Og havande mann til 

måg.” 



106 Mariano González Campo 

  12b. 

“Vil du vera i sona-stad 

Og ganga meg til handa, 

Då ræddest eg ingjen 

fiendsmann 

Um han kjøme hjå meg 

til landa.” 

13. 

Hilugi sprach dagegen 

—Schmach ih, daß er es 

tat!—: 

“Nehmt Buße für Hildina 

Nur so, wie ich Euch rat: 

 

 13. 

Då svara han Illugje 

—Herregud gjeve 

honom skamm!— 

“Tak De bot fyre Hildina 

Som eg vil leggja Dykk 

fram. 

14. 

An Pferden und an 

Ochsen, 

Was taugt als 

Pfluggespann, 

An Pferden und an 

Ochsen, 

Was Egge ziehen kann.” 

 14. 

Hesten kvar og 

firføttingjen 

Som ganga kann i slogje, 

Hesten kvar og 

firføttingjen 

Som ganga kann i 

plogje.” 

15. 

Es steht der Jarl gar lange, 

Blickt lang auf den König 

hin: 

“Das können die Orkneys 

nimmer, 

So lang ich am Leben 

bin.” 

 15. 

Stender no lengje jarlen 

Og lengje på han såg: 

“Detta ber ikkje 

Orknøyar 

So lengje som eg leva 

må.” 

 

16. 

“Dein Vater will nichts 

wissen 

Von billigent Vergleich. 

Wie ich’s gedacht hab’, 

spielte 

Hilugi uns diesen 

Streich.” 

 16. 

“No teker’an ikkje ved 

samsått 

Konungjen fa’er din, 

No meinar eg at han 

Illugjen 

På onnorleis åtgjerd 

vinn.” 



 The Norn Hildina Ballad  107 

17. 

Dem Jarl darauf entgegnet 

Hildina aus ihrem Haus: 

“Dann schreitet lieber 

zum Kampfe, 

fällt er wie immer aus!” 

 

 17. 

Då svarar honom fru 

Hildina 

I same sinne som so: 

“Da må de slåst i 

bardagje 

Og koma kva koma må. 

18. 

Der Jarl geht auf den 

Kampfplaß 

Und ordnet seine Schar, 

Die kecken Orkney-

Mannen 

[erprobt in Sturrm und 

Gefahr] 

 18. 

No jarlen gjenger å 

vollen fram 

Og kannar sine menn. 

Gjæve skjeggjar i 

Orknøyom 

Verja seg anna sinn. 

 

19. 

“Es drang in deine Felder 

Der König ein voll 

Wucht, 

Wohledle Männer treibt 

auch 

Sein Freund schon in die 

Flucht.” 

 19. 

“No er Illugjen komen 

Inn på vollen din. 

Frænden hans fa’ er din 

løyper 

Velborne Orknøy-

menn.” 

 

20. 

Hildina geht auf das 

Schlachtfeld, 

Den Vater anzuflehn: 

“Seid menschlich nun und 

laßt nicht 

Mehr Männer zugrunde 

gehn!” 

 20. 

Hildina gjenger i vollen 

fram 

Og talar til fa’eren sin: 

“Fa’er De gjere da åv 

manndom Dykkar 

De spille ‘kje meire 

menn.” 

21. 

Jedoch Hilugi —Schmach 

ihm!— 

Er wendete sogleich ein: 

“Da muß vorerst dein 

Freund noch, 

Der Jarl, gefallen sein.” 

 21. 

No svarar han Illugje 

—Herregu’ gjeve honom 

skamm— 

“Ikkje fyrr jarlen herren 

din 

Fyrst er fallen han.” 



108 Mariano González Campo 

22. 

Er fiel, zu Tod verwundet. 

Den Kopf warf in den 

Schoß 

Hilugi selber Hildinen. 

Da ward ihr Grimm wohl 

groß. 

 

 22. 

So gav han jarlen da 

hoggje 

Som ingjen mann kunde 

grøda, 

Han kasta hans hovud i 

fangje hennar 

Då gjordest for stor 

hennar møda. 

23. 

“Versprech sie mir, dann 

folg ich 

Euch kühn auch außer 

Land. 

Gebt mir Hildina zum 

Weibe 

Und Gold als 

Unterpfand!” 

 23. 

Du heve lova meg 

hjonagift 

Dann tid eg fór åv lande. 

Gjev meg no fruva 

Hildina 

Med gull og med 

festarbande. 

 

24. 

“Geduld, bis das Kind 

geboren 

Und Kleider trägt, mein 

Freund! 

Dann soll Hildina 

handeln, 

Wie ihr’s am besten 

scheint.” 

 24. 

Fyst ho heve da jarlsbarn 

bore 

Å da kann sine klæ’e 

bera 

Då skal ho fruva Hildina 

Åt sjølvs sinom vilja 

gjera. 

 

25. 

Hildina liegt auf dem 

Teppich 

Und weint sich die Augen 

krank; 

Dann mischt sie für die 

Hochzeit 

Schlafkräuter in den 

Trank. 

 

 

 25. 

Hildina ligger på 

bruratjeld 

Auga tårar og græter 

Medan dei bur til 

brudlaupsbord 

I drikka dåe ho læter. 

 



 The Norn Hildina Ballad  109 

26. 

Nun bittet Frau Hildina: 

“O, lieber Vater, mein, 

Erlaub mir einzuschenken 

Und nachzufüllen den 

Wein!” 

 

 26. 

Inn so kjemer ho 

Hildina 

Og skjer Fa’eren sin: 

“Fa’er De gjeve meg 

løyve 

Å skjenkja og bjoda vin.” 

27. 

“Schenk ein den Wein 

und fülle 

Ihn nach auch, willst du’s 

gern; 

Doch denk an den Jarl 

nicht weiter, 

An deinen gütigen 

Herrn!” 

 27. 

Du skal hava løyve mitt 

Te skjenkja og bjoda vin; 

Tenk då ikkje på jarlen 

Dan gode herren din.” 

 

28. 

“Sollt’ an den Jarl ich 

denken, 

An meinen gütigen 

Herrn, 

Liegt schädlichen Trunk 

zu reichen 

Dem Vater mit doch 

fern.” 

 28. 

Um eg so skulde tenkja 

På jarlen, go’ herren min 

So munde eg ingjæ får-

skål bera 

For kjære fa’er min.” 

 

29. 

Dies tat auch Frau 

Hildina; 

Sie trug den Met herein 

Und schläferte fest den 

Vater 

Und all die andern dort 

ein. 

 29. 

Da gjorde ho fruva 

Hildina 

Ho bar dan mjø’en åt 

So svæver ho fyst fa’er 

sin 

Og kvar som inne sat. 

 

30. 

Dann trug sie aus der 

Halle 

Hinaus noch Mann für 

Mann 

 30. 

Da gjorde ho fruva 

Hildina 

Ho bar deim or hallæ 

burt, 



110 Mariano González Campo 

Und legte bei den Tore 

Zuäußert Feuer an. 

Sidan lagde ho glodhaug 

I ytste gateport. 

31. 

Hilugi weiß nichts von 

allem; 

Es kamen des Brandes 

Loh’n 

Zur Bodenhaus-Tür und 

erreichten 

Sein kurzes Seidenhemd 

schon. 

 31. 

Ikkje visste han Illugje 

Åv seg fyrr enn då 

Elden var komen i 

lofthusdør 

Og i silkjeserkjen hans 

små. 

32. 

Da springt empor Hilugi, 

[Sieht sie und spricht zu 

ihr:] 

“O teuerste Frau Hildina, 

Schenk Leben und 

Frieden mir!” 

 

 32. 

No løyper fram han 

Illugje 

Og feller for Hildina 

kne: 

“Du nenne da, fruva 

Hildina, 

Du gjeve meg liv og gre’” 

33. 

“So viel und guter Frieden 

Soll dir gewährt nun sein, 

Wie meinem Herrn in der 

Schlacht du 

Selbst ließest angedeih’n. 

 33. 

“So mykje og godig 

Gre skal du sjå, 

Som du lét min herre 

I bardagen få.” 

 

34. 

Dir schien’s sogar ein 

Geringes, 

Daß ich ihn sah im Blut; 

Du warfst sein Haupt in 

den Schoß mir… 

Da ward mir noch 

schwerer zu Mut.” 

 

 34. 

“Du tôtte da lite då, at 

eg 

Såg istad hans bukjen 

bløda; 

Dei kasta hans hovud i 

mitt fang, 

Da vart meg for stor ei 

møda.” 

35. 

Dann hat sie seine 

Falschheit 

 35. 

So takte ho yve osko 

hans 

 



 The Norn Hildina Ballad  111 

Bedeckt mit Erde und 

Stein. 

“Du sollst einem 

Königskinde 

Nie mehr zum Schaden 

sein!” 

Både med mold og stein: 

“Du skal aldri meir 

konungsens 

dotter valda mein.” 

 

 
 
 
Table 4. Hildina Ballad: attempt at reconstruction/translation 

 

GRAEME DAVIS  

(2007) 

 

Once upon a time the Earl of Orkney asked his brother 

“From out her glass pavilion should I steal our King’s daughter?” 

“My brother if you take this maiden from out her glass pavilion 

Your deed shall be remembered for years a million million.” 

Thus when the King came home from viking voyage a winner 

The step-mother was still at home, but there was no Hildina. 

“I swear by all that’s holy that wherever he may be 

I’ll hang him by his neck from the very highest tree.” 

 

To good St Magnus’ church in Orkney fled the Earl, 

To Orkney sped the King, to save his little girl. 

Meeting the married lady there he boxed her round the ears 

Soon down her white cheeks there flowed a flood of tears. 

The Earl embraced Hildina, and kissed her on the cheek, 

“My darling wife, between us two, whose death would you now seek?” 

“Not to my father but to you I swore my lasting vow, 

And so by that we both may rule, us two in Orkney now.” 

 

“Go to your horse and overtake my father on the beach, 

Greet him kindly, clasp hands, his blessing to beseech.” 

The King made a stern reply, his anger did not falter, 

“I want to know what bride price can you give me for my daughter?” 

“Thirty marks of burnished gold shall I unto you give, 

And you will never lack a son for as long as I may live.” 



112 Mariano González Campo 

Long stood the King, gazed on the Earl for long, 

“You’re worth a thousand sons my man, though what you did was wrong.” 

 

Now among the King’s companions was the swarthy Hilunge, 

To wed the beauteous Hildina his dream for many a day. 

Again and again and craftily Hilunge spoke to the King, 

Again and again the King did listen, once more to this thing. 

Now for a long time the King looked at the Earl standing near 

“You may not Orkney; a long time ago I betrothed my daughter dear.” 

“I will take nothing against his will from the King your father, 

Instead to give Hilunge his rights, that would I rather.” 

 

Hildina looked from the one to the other, turned pale, 

One would die in the fight, that fate would not fail. 

Now the Earl stepped forward onto the duelling ground 

And the King turned his face from Orkney, looked around. 

“Now one of us must die, ‘tis either thee or me,” 

The blows rained down, down fell the Earl Orkney. 

Now Lady Hildina steps on the grass where soon a corpse must lie, 

“Father by all that’s holy do not let a brave man die.” 

 

But Hilunge answered her: “Call Odin’s maidens here, 

For death draws nigh the Earl, this man your husband dear.” 

Now the Earl felt the axe bite through his neck, a clean kill 

Hilunge threw the head into her arms; she grew more angry still. 

“You promised me marriage if I voyaged far from our land 

Now with golden dowry and strong vows give me Hildina’s hand.” 

Now were her eyes downcast as he looked upon the king 

For the lady Hildina against her will must take a golden ring. 

 

Soon that time came, though Hildina wished it never, 

With that man to be joined, husband and wife forever. 

Now Hildina asked her father “May I serve the wine, 

Choose who will get the best, who the worst, when we come to dine?” 

“Both the best and the worst as you rightly think, 

Both earls and freemen this day must drink.” 

A drugged wine she gave them, both to earls and to freemen, 

Their eyes were heavy, sleep came over them. 



 The Norn Hildina Ballad  113 

 

Then the Lady Hildina went in, her face was set, 

She saw her father and the guests asleep, on the benches where they sat. 

Then the Lady Hildina went in, dragged her father across the floor, 

Laid him on the grass outside and fastened close the door. 

Now Hilunge awakes as the fire begins to rage, 

The smoke is black and thick, the banquet hall a cage. 

Now a scream breaks from the throat of Hilunge, 

“Oh Lady Hildina, let me live another day.” 

 

“So may you cry out, now you should believe, 

That same mercy you showed in the battle you shall receive, 

You did not care for him or me, that was clear for all to see, 

That you threw his head at me, that angered me. 

Now receive a heavy fate, for soon to death you yield, 

The king cannot help you now, on this battlefield.” 

All this for once upon a time the Earl of Orkney asked his brother 

“From out her glass pavilion should I steal our King’s daughter?” 

 

 
 
 

5. Some concluding remarks 
 
With two serious attempts at reconstruction —or three, if we also take Davis’s 
version into consideration— and six attempts at translation, the Hildina Ballad 
still remains a text that is chiefly interesting from the linguistic point of view. 
The aim of those translations and reconstructions has been to try to understand 
the original story and, in some instances (Munch, Grundtvig, Olrik, Bugge), to 
get an idea of how it may have sounded in Old Norse. This overlooks the fact 
that the ballad as we know it is just a local Norn product, not necessarily an Old 
Norse relic. That is why, understandably, I have included Sophus Bugge’s Norse 
version among the translations —and not the reconstructions— of the ballad. 
In this sense, the following statement of Grüner-Nielsen (1939: 165) is still 
valid: 
 



114 Mariano González Campo 

Den Omstændighed, at Professor Marius Hægstad o.1900 af Hensyn til en af 
Sophus Bugge bebudet Publikation lod sig nøje med at udgive og vurdere 
Hildinavisen mere som shetlandsk Sprogmindesmærke end som vestnordisk 
Folkevise, har vist bevirket, at Visen siden ligesom er gaaet i Glemme indenfor 
den nordiske Viseforskning, og at man paa Forhaand har betragtet Visen som et 
folkelig Produkt, der højst havde lokal Interesse. 

 
If this piece of Norn oral tradition is to be taken at face value and treated as a 
highly interesting anthropological22 —and not merely linguistic— document, 
then it should be interpreted within the cultural and chronological context in 
which it was discovered and written down, as well as within the wider concept 
of det norrøne folkeviseumrådet, as Liestøl (1937) calls it. As some reputed 
scholars like Lord (2000) or Colbert (1989) state, looking for a supposed original 
when dealing with dynamic, oral compositions is not only a waste of time, but 
also representative of a sort of disdain for the composition to be studied and 
understood. Oral narrative is constitutive of social life itself or, as Niles (1999: 
19) puts it, “the idea of poetry as a voiced social transaction is one of the 
foundational elements of the art of Homo narrans”. Given this, a literary-
anthropological —and not purely linguistic— approach to the Hildina Ballad is 
necessary if we really wish to understand why this ballad was still preserved and 
recited in Norn after centuries of Scottish domination in the Orkney and 
Shetland Islands.  

This literary-anthropological approach would make it possible to unveil the 
issues of cultural identity that might lie behind the Hildina Ballad. As Niles 
(1999: 2) also states, “it is chiefly through storytelling that people possess a 
past”, and the past is one of the main elements used to build up identities. In 
the case of the Hildina Ballad, it seems quite clear that this product of Norn 
oral tradition can be interpreted as a symbol of cultural identity, although we 
have not yet found its actual significance: May the ballad have been used, in the 
ritualized milieu of its recitation, to strengthen cultural links with Scandinavia 
within a context of Scottish rule? In this sense, the study of and quest for Nordic 
analogues of the ballad would be very enlightening as to how Scandinavian that 
late Norn product still was, i.e. how Scandinavian the Shetlandic society of Foula 
still was. On the other hand, the ballad might be also interpreted as a symbol of 

                                                 
22 Note that we use the adjetive anthropological, not ethnographical, as we think that the 
study of the Hildina Ballad poses interesting questions about the dynamics of human 
oral culture and its implications in other areas such as identity or politics, and not only 
questions of mere local nature. 



 The Norn Hildina Ballad  115 

confrontation of the Shetland and Orkney Islands against Norway. The Orcadian 
jarl dying at the hands of the Norwegian counsellor of a Norwegian king after 
abducting a Norwegian princess may symbolize a social vindication of an identity 
that was no longer Norwegian, but neither was it Scottish; it was simply Norn. 
If this was so, we may have here an example of an underlying political conflict 
developing into a love story or a story of revenge, as Solberg (2008: 131) explains 
concerning Medieval Scandinavian ballads in general.  

It is almost impossible to know when the Hildina Ballad was composed for 
the first time. This is, if one can speak of a very “first time” when dealing with 
what is possibly an amalgam of many stories told at different times. The only 
thing we know for sure is that the ballad that was still recited in 1774 was a 
rather worn out version, not only because George Low “could not procure a 
literal translation of the ballad” (Low 1879: 113),23 but also because “the disorder 
of some stanzas” shows that the ballad was no longer complete by the time he 
wrote it down (Low 1879: 107). On the other hand, the fact that it does not 
have any refrains is a typical feature of those ballads which have lost their 
connexion with dancing (Christophersen 1952: 6), and a ballad with no dance 
is somehow just a fossil.24  

Fortunately, we have at least a terminus post quem and a terminus ante quem 
that make it possible to estimate a feasible date of composition for the Hildina 
Ballad as we know it today. As Anderson (1979 [1873]) already pointed out in 
his introduction to the English translation of the Orkneyinga Saga, the mention 
of Saint Magnus of Orkney (sante Maunis) in stanza 5 of the ballad implies that 
it cannot have been composed before Magnús Erlendsson’s canonisation in 
1135. That would be the terminus post quem. On the other hand, the name 
Hildina is a variation of the Old Norse Hildr/Hild, or maybe a form influenced 
by the name Helena, as Hægstad (1900: 85) remarks. However, it should be 
considered that, according to Indrebø (1951: 323), between the years 1530 and 
1800, but especially between 1600 and 1800, there was a stort namne-brot in the 
names of Norwegian origin. One of these changes was the addition of the ending 

                                                 
23 This most likely implies that William Henry could not give him a literal translation 
of the ballad, as he only knew it by heart without understanding it completely. In this 
case, we are facing an example of what language death theories call the ‘folklorization’ 
phase of a language on its way to extinction (Crystal 2000). 
24 That Faroese ballads are still danced is one of the main reasons to explain their 
popularity among folklorists, as they show the literary conditions in the Middle Ages in 
a living way (Müller 1994: 96). 



116 Mariano González Campo 

-ina to many female names (Hansina, Larsina, Bolina, Olina, Malina, Talina, 
Gorina, or Gurina, etc.). Although Indrebø does not mention the name Hildina 
in his examples, it is clear that it belongs to this category. The name Hildina 
would then imply that our ballad may have started to be performed in its current 
form from about 1530 or most likely from 1600, i.e. just 174 years before 
William Henry recited it for George Low. That would be its terminus ante quem. 
Thus, despite the fact that it was not a very old ballad in 1774, it was already 
quite worn out, as mentioned before. A fast process of decay indeed. 

 Can the search for analogues of the Hildina Ballad help us find its moment 
of splendour from a creative point of view and relate it to the social, economical, 
and cultural conditions of the Orkney and Shetland Islands at that time? Would 
it be possible to compare that hypothetical moment of splendour with the socio-
cultural conditions of 1774, when the ballad was written down by George Low? 
If the answer is affirmative, then it could be possible to learn much about the 
relationship between the so-called —from a Scandinavian perspective— 
Western Islands and Scandinavia in the eighteenth century, and how it 
influenced issues of cultural identity. It would allow us to explore to which 
extent oral narrative “is and for a long time has been the chief basis of culture 
itself” (Niles 1999: 2). 
 
 

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Author’s address 
Department of Social Anthropology 
University of Bergen 
Nygårdsgaten 124  
5008 Bergen received: 18 June 2019 
e-mail: marca@stpaulgymnas.no revised version accepted: 17 June 2020