The name of Grimhild is transferred to Gudrun's mother, the "wise wife," a semi-daemonic figure, who brews the potion that makes Sigurd forget his love for Brunhild and his plighted troth.
In the Nibelungenlied King Gunther and Queen Brunhild hold their court at Worms, and Siegfried comes hither to woo Kriemhild.
The heroic deeds of Rustams grandfather were celebrated in the Samnma, which almost equals the Sha/inama in length; those of Rustams two sons, in the Jahagairnama and the Faramurznama; those of his daughter, an amazon, in the Brunhild style of the German Nibelunge, in the Bdn Gus/iaspnama; those of his grandson in the Barsi2nama; those of his great-grandson in the SIia/iriyarnama (ascribed to Mukhtari and dedicated to Masud Shah, who is probably identical with Masd b.
The rider through the fire wins Brunhild but this may belong to another cycle of ideas.
On the summit of a fire-girt hill Sigurd found the Valkyrie Brunhild in an enchanted sleep, and ravished by her beauty awakened her; they plighted their troth to each other and, next morning, Sigurd left her to set out once more on his journey.
Gunnar, on the other hand, wished to make Brunhild his wife, and asked Sigurd to ride with him on this quest, which he consented to do on condition of receiving Gudrun to wife.
So Gunnar and Brunhild were wedded, and Sigurd, resuming his own form, rode back with them to Giuki's court where the double marriage was celebrated.
But Brunhild was moody and suspicious, remembering her troth with Sigurd and believing that he alone could have accomplished the quest.
Brunhild taunted Gudrun with the fact that Sigurd was Gunnar's vassal, whereupon Gudrun retorted by telling her that it was not Gunnar but Sigurd who rode through the flames, and in proof of this held up Brunhild's ring, which Sigurd had given to her.
Then Brunhild "waxed as wan as a dead woman, and spoke no word the day long."
Brunhild, when she heard Gudrun wailing, laughed aloud.
For, as in the legend of Sigurd the Volsung, the plot had turned upon the love and vengeance of Brunhild, so in the song of the Nibelungs it is the love and vengeance of Kriemhild, the Gudrun of the northern saga, that forms the backbone of the story and gives it from first to last an artistic unity which the V olsungasaga lacks.
Iv.), and undertakes, on condition of receiving Kriemhild to wife, to help Gunther to woo Queen Brunhild, who can only be won by the man who can overcome her in three trials of strength (Avent.
Siegfried and Gunther accordingly go together to Brunhild's castle of Isenstein in Iceland, and there the hero, invisible in his tarnkappe, stands beside Gunther, hurling the spear and putting the weight for him, and even leaping, with Gunther in his arms, far beyond the utmost limit that Brunhild can reach (Avent.
Brunhild confesses herself beaten and returns with the others to Worms, where the double marriage is celebrated with great pomp (Avent.
But Brunhild is ill content; though she saw Siegfried do homage to Gunther at Isenstein she is not convinced, and believes that Siegfried should have been her husband; and on the bridal night she vents her ill humour on the hapless Gunther by tying him up in a knot and hanging him on the wall.
He complains to Siegfried next morning; and once more the hero has to intervene; invisible in his tarnkappe he wrestles with Brunhild, and, after a desperate struggle, takes from her her girdle and ring before yielding place to Gunther.
Kriemhild was taunted with being the wife of Gunther's vassal; whereupon, in wrath, she showed Brunhild the ring and the golden girdle taken by Siegfried, proof that Siegfried, not Gunther, had won Brunhild.
Brunhild drops out, becoming a figure altogether subordinate and shadowy.
Mythical elements it certainly contains; and to those figures which - like Siegfried, Brunhild, Hagen and the "good margrave" Ruedeger of Bechlaren - cannot be traced definitively to historical originals, a mythical origin is still provisionally ascribed.
But criticism is still busy attempting to trace these also to historical originals, and Theodor Abeling (Das Nibelungenlied, 1907) makes out a very plausible case for identifying Siegfried with Segeric, son of the Burgundian king Sigimund, Brunhild with the historical Brunichildis, and Hagen with a certain Hagnericus, who, according to the Life of St Columban, guided the saint (the chaplain of the Nibelungenlied), who had incurred the enmity of Brunichildis, safe to the court of her grandson Theuderich, king of the West Franks.