
Sigurd
the Dragon-Slayer is the hero of the anonymous thirteenth-century
Icelandic prose epic Völsungasaga, based on legends of Old
Scandinavian folk culture that survive in the Elder Edda (or
Poetic Edda) and the Younger Edda (or Prose Edda).
The story of Sigurd the Volsung in turn
served as a source for authors from Richard Wagner to William Morris
to J.R.R. Tolkien.
Contemporary with Völsungasaga is another version of the tale, the Middle High German epic the Nibelungenlied. Here the story of the hero (called Siegfried) takes on a High Gothic gloss of knighthood, where Völsungasaga retains the primitive and pagan force of its Eddic precursors.
The nineteenth century saw a real vogue for the saga tales, and the English William Morris and the German Richard Wagner represent the most important resurgence of the Eddic material and spirit ... [Robert W. Gutman, in the Introduction to Volsunga Saga, Collier Books, 1962]
William Morris's 1870 translation of the Volsunga Saga was the crowning achievement of his translations from the Norse sagas, and in turn fathered his lyric poem Sigurd (1877), a retelling of the Saga with elements from the Nibelungenlied contemporaneous with Wagner's Ring cycle. Morris's saga translations also influenced his Tale of the House of the Wolfings, and All the Kindreds of the Mark Written in Prose and in Verse (1889).
When the young J.R.R. Tolkien won the Skeat Prize for English in the spring of 1914, he used the proceeds to purchase copies of Morris's Volsunga Saga and The House of the Wolfings:
In this book Morris had tried to recreate the excitement he himself had found in the pages of early English and Icelandic narratives. The House of the Wolfings is set in a land which is threatened by an invading force of Romans. Written partly in prose and partly in verse, it centres on a House or family-tribe that dwells by a great river in a clearing of the forest named Mirkwood, a name taken from ancient German geography and legend.... Its style is highly idiosyncratic, heavily laden with archaisms and poetic inversions in an attempt to recreate the aura of ancient legend. Clearly Tolkien took note of this, and it would seem that he also appreciated another facet of the writing: Morris's aptitude, despite the vagueness of time and place in which the story is set, for describing with great precision the details of his imagined landscape. [Humphrey Carpenter, Tolkien: A Biography, 1977, p. 70]