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Updated: June 22, 2025
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.
In 1816 he read before the University of Berlin his epoch-making essay upon the original form of the "Nibelungenlied". Believing that the poem was made up of a number of distinct ballads or lays, he sought by means of certain criteria to eliminate all parts which were, as he thought, later interpolations or emendations.
The honor of rediscovering the "Nibelungenlied" and of restoring it to the world of literature belongs to a young physician by the name of J.H. Obereit, who found the manuscript C at the castle of Hohenems in the Tirol on June 29, 1755; but the scientific study of the poem begins with Karl Lachmann, one of the keenest philological critics that Germany has ever produced.
If one of them had dared I wonder whether the blood would have liquefied. Do you remember, in the 'Nibelungenlied, that Hagen is forced to prove his innocence by touching Siegfried's corpse and fails? That is the point he fails. Our own Shakespeare knew the dodge. When Henry VI was being borne to Chertsey in an open coffin, the Lady Anne made Gloster squirm by her cry: "O gentlemen, see, see!
The "Thidreksaga" knows only the dragon fight but not the dwarfs, as is likewise the case with the Seyfrid ballad. Only in the Norse sources do we find a contamination. The story of Hreithmar and his sons, who quarrel about the treasure, resembles that of Schilbung and Nibelung in the "Nibelungenlied", and probably has the same source.
Other Edda songs relate the further adventures of Gudrun, but they do not concern us here, as the "Nibelungenlied" stops with the death of the Nibelungs. This in brief is the story of Siegfried, as it has been handed down to us in the Skandinavian sources.
The feudal relations strongly marked in the German Nibelungenlied have melted away like the distinctions of race: every knight is independent, not a vassal nor a captain, a Volker or Hagen, or Roland or Renaud followed by his men; but an isolated individual, without even a squire, wandering about alone through this hazy land of nowhere.
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.
Both families were of immense antiquity, the Puecklers claiming to trace their descent from Ruediger von Bechlarn, who figures in the Nibelungenlied. Our hero was born at Muskau in October 1785, and spent, according to his own account, a wretched and neglected childhood.
In reading it one looks back to that rudely hewn and extremely obliterated Nibelungenlied, as to something quite astonishingly clear, detailed and strongly marked as to something distinctly artistic.
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