the latter part of the poem. In the evident pleasure with which the minstrel-knight Volker of the sword-fiddlebow is depicted, as well doubtless as in occasional gleams of broader humor, the hand of the minstrels who wrought on the story in its earlier ballad stages may be seen. And the whole poem, in keeping with its form in an age strongly under church influence, has been tinged with the ideals of Christianity. Not only does the ordinary conversation of all the characters, including even the heathen Etzel, contain a great number of formal imprecations of God, but Christian institutions and Christian ethics come frequently into play. Mass is sung in the minster, baptism, marriage, burial are celebrated in Christian fashion, the devil is mentioned according to the Christian conception, we hear of priest, chaplain, and bishop, Christians are contrasted with heathen, and Kriemhild, in marrying Etzel, has a hope of turning him to Christianity. In Hagen's attempt to drown the chaplain whom the Burgundians have with them as they set out for the land of the Huns we have perhaps an expression of the conflict between the heathen and the Christian elements, possibly also a reflection of the traditional animosity of the spielmann to his clerical rival.
The Nibelungenlied and the Iliad of Homer have often been compared, but after all to no great purpose. The two epics are alike in having their roots deep in national origins, but beyond this we have contrasts rather than resemblances. The Iliad is a more varied and complete picture of the whole Greek world than the Nibelungenlied is of the German, its religious atmosphere has not been disturbed in the same way as that of the saga of early Germanic times projected several centuries into a later Christian age, and it possesses in every way a greater unity of sentiment. In the varied beauty of its language, its wealth of imagery, its depth of feeling and copiousness of incident the Iliad is superior to the Nibelungenlied with its language of simple directness, its few lyrical passages, its expression of feeling by deeds rather than by words. Homer, too, is in general buoyant, the Nibelungenlied is sombre and stern. And in one last respect the two epics differ most of all: the Iliad is essentially narrative and descriptive, a series of episodes; the Nibelungenlied is essentially dramatic, scene following scene of dramatic necessity and pointing steadily to a final and inevitable catastrophe.
4. Later Forms of the Saga
In the Northern Edda and in the German Nibelungenlied the Nibelungen saga found its fullest and most poetic expression. But these were not to be the only literary records of it. Both in Scandinavian lands and in Germany various other monuments, scattered over the intervening centuries, bear witness to the fact that it lived on in more or less divergent forms. The Danish historian Saxo Grammaticus of the latter part of the twelfth century has a reference to the story of Kriemhild's treachery toward her brothers. About the year 1250 an extensive prose narrative, known as the Thidrekssaga, was written by a Norwegian from oral accounts given him by men from Bremen and Münster. This narrative is interesting as showing the form the saga had taken by that date on Low German territory, and holds an important place in the history of the development of the saga. It has much more to say of the early history of Siegfried than we find in the Nibelungenlied, and yet in the main outlines of the story of Kriemhild's revenge it corresponds with the German epic and not with the Northern Edda. A chronicle of the island of Hven in the Sound, dating in its original form from the sixteenth century, as well as Danish ballads on the same island that have lived on into modern times, tell of Sivard (Siegfried), Brynhild, and also of Grimild's (Kriemhild's) revenge. In Norway and Sweden traces of the saga have recently been discovered; while songs that are sung on the Faroe Islands, as an accompaniment to the dance on festive occasions, have been recorded, containing over six hundred strophes in which is related in more or less distorted form the Nibelungen story.
In Germany the two poems known as the Klage and Hürnen Seyfrid are the most noteworthy additional records of the Nibelungen saga, as offering in part at least independent material. The Klage is a poem of over four thousand lines in rhymed couplets, about half of it being an account of the mourning of Etzel, Dietrich, and Hildebrand as they seek out the slain and prepare them for burial, the other half telling of the bringing of the news to Bechlaren, Passau, and Worms. The poem was written evidently very soon after the Nibelungenlied, the substance of which was familiar to the author, though he also draws in part from other sources. Compared with the Nibelungenlied it possesses but little poetic merit and is written with distinctly Christian sentiment which is out of harmony with the ground-tone of the Germanic tragedy.
The Hürnen Seyfrid is a poem of 179 four-lined strophes which is preserved only in a print of the sixteenth century, but at least a portion of whose substance reaches back in its original form to a period preceding the composition of the Nibelungenlied. It is evidently, as we have it, formed by the union of two earlier separate poems, which are indeed to a certain extent contradictory of each other. The first tells of the boyhood of Seyfrid (Siegfried) and his apprenticeship to the smith; how he slew many dragons, burned them, and smeared over his body with the resulting fluid horny substance (hence his name hürnen), which made him invulnerable; how he further found the hoard of the dwarf Nybling, and by service to King Gybich won the latter's daughter for his wife. The second part tells how King Gybich reigned at Worms. He has three sons, Günther, Hagen, Gyrnot, and one daughter, Kriemhild. The latter is borne off by a dragon, but finally rescued by Seyfrid, to whom she is given in marriage. The three brothers are jealous of the might and fame of Seyfrid, and after eight years Hagen slays him beside a cool spring in the Ottenwald.
The poem Biterolf, written soon after the Nibelungenlied, and Rosengarten of perhaps a half-century later, represent Dietrich in conflict with Siegfried at Worms. The famous shoemaker-poet Hans Sachs of Nuremberg in 1557 constructed a tragedy, Der hörnen Sewfriedt, on the story of Siegfried as he knew it from the Hürnen Seyfrid and the Rosengarten. A prose version of the Hürnen Seyfrid, with free additions and alterations, is preserved in the Volksbuch vom gehörnten Sigfrid, the oldest print of which dates from the year 1726. Of the vast number of Fairy Tales, those most genuine creations of the poetic imagination of the people, in which live on, often to be sure in scarcely recognizable form, many of the myths and sagas of the nation's infancy, there are several that may with justice be taken as relics of the Siegfried myth, for instance, The Two Brothers, The Young Giant, The Earth-Manikin, The King of the Golden Mount, The Raven, The Skilled Huntsman, and perhaps also the Golden Bird and The Water of Life;6 though it would seem from recent investigations that Thorn-Rose or the Sleeping Beauty, is no longer to be looked upon as the counterpart of the sleeping Brynhild. Finally, it is probable that several names in Germany and in Northern countries preserve localized memories of the saga.
5. Poem and Saga in Modern Literature
Fundamentally different from the foregoing natural outgrowths of the Nibelungen saga are the modern dramas and poems founded upon it since the time of the romanticists at the beginning of the nineteenth century.7 Nearly all of these have already vanished as so much chaff from the winnowing-mill of time: only two, perhaps, are now considered seriously, namely, Hebbel's Die Nibelungen and Richard Wagner's Ring des Nibelungen. Hebbel in his grandly conceived drama in three parts follows closely the story as we have it in our epic poem the Nibelungenlied, and the skill with which he makes use of its tragic elements shows his dramatic genius at its best. But not even the genius of Hebbel could make these forms of myth and saga live again for us upon a modern stage, and the failure of this work with its wealth of poetic beauty and many scenes of highest dramatic effectiveness to maintain its place as an acting drama is sufficient evidence that the yawning gap that separates the sentiment of the modern world from that of the early centuries in which these sagas grew is not to be bridged over by the drama, however easy and indeed delightful it may be for us to allow ourselves to be transported thither to that romantic land upon the wings of epic story. Wagner in his music-drama in three parts and prelude has followed in the main the saga in its Northern form 8 up to the death of Siegfried and Brunhild, but to the entire exclusion of the latter part of the story in which Atli (Etzel) figures; his work has accordingly hardly any connection with the Nibelungenlied here offered in translation. Only the pious loyalty of national sentiment can assign
