The structure begins with preparation rather than lyric. The opening two minutes build the room, the step, and the listener's bodily agreement before the rune poem enters. This matters formally: the song makes the vessel first, so the later stanzas feel carried by an existing rite instead of introduced as ordinary verses.

At 2:10, the first rune-sequence stanza enters. Around 2:30, the second stanza answers inside the same pace. The form is already clear: compact lyric units placed into a repeated communal step. The section's job is to establish procedure, not contrast.

The next pair begins at 3:18 and 3:38. Structurally, the song does not widen; it proves the catalog by continuing it. Riding, wound, hail, need, and cold images pass through the same vessel, making repetition the organizing force.

At 4:02, the short "Unja" line interrupts the catalog, and the 4:08 response fastens the break. This is the central hinge: the song briefly stops listing signs and names the shared sounding of them. By 4:14, the sequence can resume with a clearer center.

The 4:14 and 4:34 stanzas carry ice, year, sun, and Tyr through the same strict walk. The return at 5:00 compresses the refrain into a repeated act, confirming that the song's form is circular but not static: each return teaches the listener how the rite holds.

At 5:30, the final timed sequence begins, and 5:50 brings the closing water and yew images. The ending does not add a new section so much as empty the circle after the last handled signs. The structure releases by subtraction: the procedure has been completed, so the field can withdraw.