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Updated: June 22, 2025
I learned a good deal of German here, in spite of myself, and above all I became fascinated with the Nibelungenlied. German prose never became really easy to me in the sense that French prose did, but for German poetry I cared as much as for English poetry. Above all, I gained an impression of the German people which I never got over.
The Thirties and the Forties, reincarnated and inspired by his glowing spirit, seemed clad in translucent garments, like the figures in the Nibelungenlied, weird, remote, glorified.
The apartments of state, painted in fresco on the grandest scale, bold in design, splendid in colour, breathe the very Teutonic soul. The subjects are taken from the 'Nibelungenlied, the Gothic epic, and commemorate all the achievements of the heroic Siegfried, and all the adventures of the beautiful Chrimhilde.
Most of the works of our older literatures have gone through a similar trial during the over-hasty superficially critical nineteenth century. The Nibelungenlied has been attributed to two or three writers instead of one. The Cid, the national epic of Spain, and the Arthur Legends, the first British epic, have been at least supposed to be amenable to the same sort of criticism.
She came down from the old race of goddesses of her own Nibelungenlied, whose passions might consume them but had nothing in common with the ebb and flow of mortals.
One point is to be especially observed a point which we have not so far seen noted in a controversy where it would have seemed that every special circumstance had been laboured to the full and that is that, besides mythological matter entering into the original scheme of the Nibelungenlied, a very considerable mass of mythical matter has crystallized around it since it was cast into its first form.
The poems of Apollonius Rhodius, Virgil, Lucan, Camoens, Tasso and Milton are "literary" epics. But such poetry as the Odyssey, the Iliad, Beowulf, the Song of Roland, and the Nibelungenlied, poetry which seems an immediate response to some general and instant need in its surrounding community such poetry is "authentic" epic.
The slackening of the tribal feeling, the idea of fidelity in love and sanctity of marriage belonging to Christianity and feudalism, rendered such a story unintelligible to the Germans of the Othos and Henrys. In the Nibelungenlied, the whole story of the massacre of the brothers is changed.
Among the stories of world-wide renown, not the least stirring are those that have gathered about the names of national heroes. The Æneid, the Nibelungenlied, the Chanson de Roland, the Morte D'Arthur, they are not history, but they have been as National Anthems to the races, and their magic is not yet dead.
Mr. Morris took the form of the story which is most archaic, and bears most birthmarks of its savage origin the version of the "Volsunga," not the German shape of the "Nibelungenlied." He showed extraordinary skill, especially in making human and intelligible the story of Regin, Otter, Fafnir, and the Dwarf Andvari's Hoard.
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