Part 3

Our "Nibelungenlied" knows but little of the adventures of Siegfried's youth as depicted in the Norse versions. The theme of the poem is no longer the love of Sigurd, the homeless wanderer, for the majestic Valkyrie Brunhild, but the love idyll of Siegfried, the son of the king of the Netherlands, and the dainty Burgundian princess Kriemhild. The poem has forgotten Siegfried's connection with Brunhild; it knows nothing of his penetrating the wall of flames to awake and rescue her, nothing of the betrothal of the two. In our poem Siegfried is carefully reared at his father's court in the Netherlands, and sets out with great pomp for the court of the Burgundians. In the Norse version he naturally remains at Gunther's court after his marriage, but in our poem he returns to the Netherlands with his bride. This necessitates the introduction of several new scenes to depict his arrival home, the invitation to the feast at Worms, and the reception of the guests on the part of the Burgundians.

In the "Nibelungenlied" the athletic sports, as an obstacle to the winning of Brunhild, take the place of the wall of flames of the older Norse versions. Siegfried and Gunther no longer change forms, but Siegfried dons the "Tarnkappe", which renders him invisible, so that while Gunther makes the motions, Siegfried really does the work, a thing which is rather difficult to imagine. The quarrel of the two queens is likewise very differently depicted in the "Nibelungenlied" from what it is in the Norse version. In the latter it takes place while the ladies are bathing in the river, and is brought on by the arrogance of Brunhild, who refuses to stand lower down the stream and bathe in the water flowing from Gudrun to her. In the "Thidreksaga" it occurs in the seclusion of the ladies' apartments, but in our poem it culminates in front of the cathedral before the assembled court, and requires as its background all the pomp and splendor of medieval chivalry. With a master hand and a wonderful knowledge of female character, the author depicts the gradual progress of the quarrel until it terminates in a magnificent scene of wounded pride and malignant hatred. Kriemhild, as usual, plays the more important part, and, while standing up for her rights, tries in every way to conciliate Brunhild and not to hurt her feelings. At last, however, stung by the taunts of the latter, she in turn loses her patience, bursts out with the whole story of the twofold deception to which Brunhild has been subjected, and then triumphantly sweeps into the church, leaving her rival stunned and humiliated by the news she has heard. In the Norse tradition the scene serves merely to enlighten Brunhild as to the deception played upon her. In the "Nibelungenlied" it becomes the real cause of Siegfried's death, for Brunhild plans to kill Siegfried to avenge the public slight done to her. She has no other reason, as Siegfried swears that there had been no deception. Brunhild appeals to us much less in the "Nibelungenlied" than in the Norse version. In the latter she feels herself deeply wronged by Siegfried's faithlessness, and resolves on his death because she will not be the wife of two men. In our poem she has no reason for wishing his death except her wounded pride. In the "Nibelungenlied", too, she disappears from view after Siegfried's death, whereas in the Norse tradition she ascends his funeral pyre and dies at his side.

The circumstances of Siegfried's death are likewise totally different in the two versions. In the Norse, as we have seen, he is murdered while asleep in bed, by Gunnar's younger brother Gutthorm. In our poem he is killed by Hagen, while bending over a spring to drink. This is preceded by a scene in which Hagen treacherously induces Kriemhild to mark the one vulnerable spot on Siegfried's body, on the plea of protecting him. This deepens the tragedy, and renders Kriemhild's misery and self-reproaches the greater. After Siegfried's burial his father, who had also come to Worms with his son, vainly endeavors to persuade Kriemhild to return with him to the Netherlands. Her refusal is unnatural in the extreme, for she had reigned there ten years or more with Siegfried, and had left her little son behind, and yet she relinquishes all this and remains with her brothers, whom she knows to be the murderers of her husband. This is evidently a reminiscence of an earlier form in which Siegfried was a homeless adventurer, as in the "Thidreksaga".

The second half of the tale, the destruction of the Nibelungs, is treated of very briefly in the early Norse versions, but the "Nibelungenlied", which knows so little of Siegfried's youth, has developed and enlarged upon the story, until it overshadows the first part in length and importance and gives the name to the whole poem. The main difference between the two versions is that in the older Norse tradition it is Attila who invites the Nibelungs to his court and attacks them in order to gain possession of the treasure, while Gudrun (Kriemhild) first tries to reconcile the warring parties, and, not succeeding in this, snatches up a sword and fights on the side of her brothers and later kills her husband as an act of revenge. In the "Thidreksaga" and the "Nibelungenlied", however, she is the instigator of the fight and the cause of her brothers' death, and finally suffers death herself at the hands of Master Hildebrand, who is furious that such noble heroes should fall at a woman's hand. The second part of the poem is grewsome reading at best, with its weltering corpses and torrents of blood. The horror is relieved only by the grim humor of Hagen and by the charming scene at Rudeger's court, where the young prince Giselher is betrothed to Rudeger's daughter. Rudeger is without doubt the most tragic figure of this part. He is bound on the one hand by his oath of allegiance to Kriemhild and on the other by ties of friendship to the Burgundians. His agony of mind at the dilemma in which Kriemhild's command to attack the Burgundians places him is pitiful. Divided between love and duty, the conviction that he must fulfill his vow, cost what it may, gradually forces itself upon him and he rushes to his death in combat with his dearest friends.

Towering above all others in its gloomy grandeur stands the figure of Hagen, the real hero of the second half of the poem. Fully aware that he is going to his death, he nevertheless scorns to desert his companions-in-arms, and awaits the fate in store for him with a stoicism that would do honor to a Spartan. He calmly accepts the consequences of his crime, and to the last mocks and scoffs at Kriemhild, until her fury knows no bounds. No character shows so little the refining influences of Christianity as does his. In all essential respects he is still the same old gigantic Teuton, who meets us in the earliest forms of the legend.

As to the various minor characters, many of which appear only in the "Nibelungenlied", space will not permit of their discussion here, although they will be treated of briefly in the notes. Suffice it to say, that the "Nibelungenlied" has introduced a number of effective scenes for the purpose of bringing some of them, especially Folker and Dankwart, into prominence. Among the best of these are, first, the night watch, when Folker first plays the Burgundians to sleep with his violin, and then stands guard with Hagen, thus preventing the surprise planned by Kriemhild; further, the visit to the church on the following morning, when the men of both parties clash; and lastly the tournament between the Huns and the Burgundians, which gives the author an excellent chance to show the prowess of the various heroes.

Let us pass now to the consideration of the strophic form of the "Nibelungenlied". The two Danish ballads of "Grimhild's Revenge" ("Grimhild's Haevn"), which are based upon the first combination of the Low German, i.e., Saxon, and the Rhenish traditions, prove that the strophe is considerably older than the preserved redactions of our poem, and that it was probably of Saxon origin. The metrical form goes back most probably to the four-accented verse of the poet Otfrid of the ninth century, although some have thought that Latin hymns, others that the French epic verse, may have been of influence. The direct derivation from Otfrid seems, however, the most plausible, as it accounts for the importance of the caesura, which generally marks a pause in the sense, as well as in the verse, and also for its masculine ending. The "Nibelungen" strophe consists of four long lines separated by a caesura into two distinct halves. The first half of each line contains four accents, the fourth falling upon the last syllable. This last stress, however, is not, as a rule as strong as the others, the effect being somewhat like that of a feminine ending. On this account some speak of three accents in the first half line, with a feminine ending. The fourth stress is, however, too strong to be thus disregarded, but because of its lighter character is best marked with a grave accent. The second half of each line ends in a masculine rhyme. The first three lines have each three stresses in the second half, while the second half of the fourth line has four accents to mark the end of the strophe. This longer fourth line is one of the most marked characteristics of the "Nibelungen" strophe. The rhymes are arranged in the order of "a", "a", "b", "b", though in a few isolated cases near the end of the poem but one rhyme is used throughout the strophe.

The opening lines of the poem may serve to illustrate the strophic form and scansion, and at the same time will give the reader an idea of the Middle High German language in which the poem is written:

Uns ist in alten maeren wunders vil geseit von heleden lobebaeron, von grozer arebeit, von froude und hochgeziten, von weinen und von klagen, von kuener recken striten muget ir nu wunder hoeren sagen.

Ez wuochs in Burgonden ein edel magedin, daz in allen landen niht schoeners mohte sin, Kriemhild geheizen; si wart ein scoene wip, darambe muosen degene vil verliesen den lip.

Der minneclichen meide triuten wol gezam, ir muotten kuene recken, niemen was ir gram, ane ma zen schoene so was ir edel lip; der iunevrouwen tugende zierten anderiu wip.

Ir pflagen drie künege edel unde rich, Gunther unde Gernot, die recken lobelich, und Giselher der iunge, ein uz erwelter degen, diu frouwe was ir swester, die fu'rsten hetens in ir pflegen.

Die herren waren milte, von arde hohe erborn, mit kraft unmazen kuene, die recken uz erkorn, dazen Burgonden so was ir lant genant, si framden starkiu wunder sit in Etzelen lant.

Ze Wormze bidem Rine si wenden mit ir kraft, in diende von ir landen stolziu ritterscaft mit lobelichen eren unz an ir endes zit, sit sturben si inemerliche von zweier edelen frouwen nit.

Some of the final rhymes with proper names, such as "Hagene": "degene" (str. 84) or "Hagene": "tragene" (str. 300) appear to be feminine, but it is really the final "e" that rhymes, and a scansion of the line in question shows that the three accents are not complete without this final "e". In this respect our poem differs from most of the Middle High German poems, as this practice of using the final "e" in rhyme began to die out in the twelfth century, though occasionally found throughout the period. The rhymes are, as a rule, quite exact, the few cases of impure rhymes being mainly those in which short and long vowels are rhymed together, e.g. "mich": "rich" or "man": "han". Caesural rhymes are frequently met with, and were considered by Lachmann to be the marks of interpolated strophes, a view no longer held. A further peculiarity of the "Nibelungen" strophe is the frequent omission of the unaccented syllable in the second half of the last line of the strophe between the second and third stresses. Examples of this will be found in the second, third, and fifth strophes of the passage given above.

The language of the "Nibelungenlied" is the so-called Middle High German, that is, the High German written and spoken in the period between 1100 and 1500, the language of the great romances of chivalry and of the "Minnesingers". More exactly, the poem is written in the Austrian dialect of the close of the twelfth century, but contains many archaisms, which point to the fact of its having undergone a number of revisions.

In closing this brief study of the "Nibelungenlied", just a word or two further with reference to the poem, its character, and its place in German literature. Its theme is the ancient Teutonic ideal of "Treue" (faithfulness or fidelity), which has found here its most magnificent portrayal; faithfulness unto death, the loyalty of the vassal for his lord, as depicted in Hagen, the fidelity of the wife for her husband, as shown by Kriemhild, carried out with unhesitating consistency to the bitter end. This is not the gallantry of medieval chivalry, which colors so largely the opening scenes of the poem, but the heroic valor, the death-despising stoicism of the ancient Germans, before which the masters of the world, the all-conquering Romans, were compelled to bow.

In so far as the "Nibelungenlied" has forgotten most of the history of the youthful Siegfried, and knows nothing of his love for Brunhild, it is a torso, but so grand withal, that one hardly regrets the loss of these integral elements of the old saga. As it is a working over of originally separate lays, it is not entirely homogeneous, and contains not a few contradictions. In spite of these faults, however, which a close study reveals, it is nevertheless the grandest product of Middle High German epic poetry, and deservedly the most popular poem of older German literature. It lacks, to be sure, the grace of diction found in Gottfried von Strassburg's "Tristan und Isolde", the detailed and often magnificent descriptions of armor and dress to be met with in the epics of Hartman von Ouwe; it is wanting in the lofty philosophy of Wolfram von Eschenbach's "Parzival", and does not, as this latter, lead the reader into the realms of religious doubts and struggles. It is imposing through its very simplicity, through the grandeur of the story, which it does not seek to adorn and decorate. It nowhere pauses to analyze motives nor to give us a picture of inner conflict as modern authors are fond of doing. Its characters are impulsive and prompt in action, and when they have once acted, waste no time in useless regret or remorse.

It resembles the older "Spielmannsdichtung", or minstrel poetry, in the terseness and vigor of its language and in the lack of poetic imagery, but it is free from the coarseness and vulgar and grotesque humor of the latter. It approaches the courtly epic in its introduction of the pomp of courtly ceremonial, but this veneer of chivalry is very thin, and beneath the outward polish of form the heart beats as passionately and wildly as in the days of Herman, the Cheruscan chief. There are perhaps greater poems in literature than the "Nibelungenlied", but few so majestic in conception, so sublime in their tragedy, so simple in their execution, and so national in their character, as this great popular epic of German literature.

ENDNOTES: (1) A is a parchment MS. of the second half of the thirteenth century, now found in Munich. It forms the basis of Lachmann's edition. It is a parchment MS. of the middle of the thirteenth century, belonging to the monastery of St. Gall. It has been edited by Bartsch, "Deutsche Klassiker des Mittelalters", vol. 3, and by Piper, "Deutsche National- Literatur", vol. 6. C is a parchment MS., of the thirteenth century, now in the ducal library of Donauesehingen. It is the best written of all the MSS., and has been edited by Zarncke. (2) The "Thidreksaga" differs from the other Norse versions in having "Sigfrod", as he is called here, brought up in ignorance of his parents, a trait which was probably borrowed from the widespread "Genoveva" story, although thought by some to have been an original feature of our legend. (3) The "Thidreksaga", which has forgotten the enmity of the brothers, and calls Sigurd's tutor "Mimr", tells the episode in somewhat different fashion. The brothers plan to kill Sigurd, and the latter is attacked by the dragon, while burning charcoal in the forest. After killing the monster with a firebrand, Sigurd bathes himself in the blood and thus become covered with a horny skin, which renders him invulnerable, save in one place between the shoulder blades, which he could not reach. This bathing in the blood is also related in the Seyfrid ballad and in the "Nibelungenlied", with the difference, that the vulnerable spot is caused by a linden leaf falling upon him. (4) The fact that all but one of these names alliterate, shows that the Norse version is here more original. Gunnar is the same as Gunther (Gundaharius), Hogni as Hagen; Gutthorm (Godomar) appears in the German version as Gernot. In this latter the father is called Dancrat, the mother Uote, and the name Grimhild is transferred from the mother to the daughter. (5) In the prose "Edda", in the water which drips from Gudrun's hair.

THE NIBELUNGENLIED (1)

ADVENTURE I (2)

Full many a wonder is told us in stories old, of heroes worthy of praise, of hardships dire, of joy and feasting, of the fighting of bold warriors, of weeping and of wailing; now ye may hear wonders told.

In Burgundy there grew so noble a maid that in all the lands none fairer might there be. Kriemhild (3) was she called; a comely woman she became, for whose sake many a knight must needs lose his life. Well worth the loving was this winsome maid. Bold knights strove for her, none bare her hate. Her peerless body was beautiful beyond degree; the courtly virtues of this maid of noble birth would have adorned many another woman too.

Three kings, noble and puissant, did nurture her, Gunther (4) and Gernot, (5) warriors worthy of praise, and Giselher, (6) the youth, a chosen knight. This lady was their sister, the princes had her in their care. The lordings were free in giving, of race high-born, passing bold of strength were they, these chosen knights. Their realm hight Burgundy. Great marvels they wrought hereafter in Etzel's (7) land. At Worms (8) upon the Rhine they dwelt with all their power. Proud knights from out their lands served them with honor, until their end was come. Thereafter they died grievously, through the hate of two noble dames.

Their mother, a mighty queen, was called the Lady Uta, (9) their father, Dankrat, (10) who left them the heritage after his life was over; a mighty man of valor that he was, who won thereto in youth worship full great. These kings, as I have said, were of high prowess. To them owed allegiance the best of warriors, of whom tales were ever told, strong and brave, fearless in the sharp strife. Hagen (11) there was of Troneg, thereto his brother Dankwart, (12) the doughty; Ortwin of Metz (13); Gere (14) and Eckewart, (15) the margraves twain; Folker of Alzei, (16) endued with fullness of strength. Rumolt (17) was master of the kitchen, a chosen knight; the lords Sindolt and Hunolt, liegemen of these three kings, had rule of the court and of its honors. Thereto had they many a warrior whose name I cannot tell. Dankwart was marshal; his nephew, Ortwin, seneschal unto the king; Sindolt was cupbearer, a chosen knight; Hunolt served as chamberlain; well they wot how to fill these lofty stations. Of the forces of the court and its far-reaching might, of the high worship (18) and of the chivalry these lords did ply with joy throughout their life, of this forsooth none might relate to you the end.

In the midst of these high honors Kriemhild dreamed a dream, of how she trained a falcon, strong, fair, and wild, which, before her very eyes, two eagles rent to pieces. No greater sorrow might chance to her in all this world. This dream then she told to Uta her mother, who could not unfold it to the dutiful maid in better wise than this: "The falcon which thou trainest, that is a noble man, but thou must needs lose him soon, unless so be that God preserve him."

"Why speakest thou to me of men, dear brother mine? I would fain ever be without a warrior's love. So fair will I remain until my death, that I shall never gain woe from love of man."

"Now forswear this not too roundly," spake the mother in reply. "If ever thou shalt wax glad of heart in this world, that will chance through the love of man. Passing fair wilt thou become, if God grant thee a right worthy knight."

"I pray you leave this speech," spake she, "my lady. Full oft hath it been seen in many a wife, how joy may at last end in sorrow. I shall avoid them both, then can it ne'er go ill with me."

Thus in her heart Kriemhild forsware all love. Many a happy day thereafter the maiden lived without that she wist any whom she would care to love. In after days she became with worship a valiant here's bride. He was the selfsame falcon which she beheld in her dream that her mother unfolded to her. How sorely did she avenge this upon her nearest kin, who slew him after! Through his dying alone there fell full many a mother's son.