KEYKJADAL. 277 on which we were, the nearest being Ingolf’s fjall, where Ingolf, the earliest Norse settler was buried. The Niebelungen story tells that the fire-prison of Brynhild was in Iceland; and the scenery here suggests the wild tramp of Wagner’s “ Bide of the Valkyrs,” and the rocky desert where the armed maiden was left1 to sleep till the coming of the hero. Then we descended into Reykjadal—an uncommon sort of valley, as well as we could make out in the bewildering moonlight. Hot springs Smoked about, and some of the ponies got into literal hot water, to their great irritation; there was also a cold stream, which we rode in to avoid the formidable bog, which at last we had to cross. Our destination, Arnabseli, a mound above the marshes, seemed close by, rising dark against the light sky long before we reached it after nine o’clock. A good house with a church near the broad silvery Olfus river, where we were kindly received by the family of Sira Isleif Gislason, who last year had received me at his former parish of Kirkjubae. After supper we adjourned to the moonlit church, where there was an excellent harmonium, on which Miss Menzies performed till far into the night, to the great delight of the family. Many harmoniums have been imported since my first visit to the country, and considering the difficulty of transport, their presence testifies to a great love for music. We saw one at Reykjavik that had been constructed by an Ice- lander, with no knowledge of the trade except what could be acquired by examining the instruments imported. We stayed next with our kind friends at Litla-hrauni, Thorgrimur’s parents, who had invited us to revisit them. This flat land between the rivers Olfusa and Hvita is called the Floa; and a most romantic early history—the Floamanna Saga—-exists, telling us of its heroes, and especially of the Greenland discovery voyages which 1 Since this was in the press, we have seen with some indignation how Wagner, in his “Niebelungen Ring” Operas, has infused a passionate, immoral element, not found in the original, into the old Norse fable of the “Curse of the Gold.” The giants appear also in these queer operas as if they were injured beings outwitted by the craft of the Asa, instead of merely personified natural forces, especially bad weather, which it is the object of all the useful arts to subdue or circumvent.

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(311) Scale
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