Fe opens both surviving medieval commentaries on the Younger Futhark, the Norwegian Rune Poem, preserved in a seventeenth century copy of an manuscript now lost but generally dated on linguistic grounds to around the thirteenth century, and the Icelandic Rune Poem, recorded in fifteenth century manuscripts, two independent compositions that nonetheless open their sixteen stanza sequences on the same rune with broadly the same subject, wealth, before developing it in rather different directions. The Norwegian poem reads wealth through its social danger, a source of discord among kinsmen, a note of caution that recalls the Old English Feoh stanza's own concern with wealth rightly handled, while the Icelandic poem instead builds the image outward through a chain of kennings, gold called the fire of the sea and the serpent's path, drawing on the wider Old Norse legendary association of dragons as hoard guardians, most famously Fafnir in the Volsung cycle, a specifically Norse literary allusion the Old English tradition has no equivalent for.
Bruce Dickins' 1915 edition, the standard early English translation of both poems together, presents this kind of divergence as typical of the two texts' relationship generally, sharing rune names and a broadly similar subject for each stanza while developing the actual content along genuinely separate literary lines centuries apart in composition.