Nibelungenlied Sentence Examples

It contains a valuable library with many incunabula and old manuscripts, amongst which is one of the Nibelungenlied, an astronomical observatory, a collection of antiquities, and a mineral collection.

The epic of Gudrun is not unworthy to stand beside the greater Nibelungenlied, and it has been aptly compared with it as the Odyssey to the Iliad.

Like the Odyssey, Gudrun is an epic of the sea, a story of adventure; it does not turn solely round the conflict of human passions; nor is it built up round one all-absorbing, all-dominating idea like the Nibelungenlied.

It was a severe trial to Wagner not to hear his own work, but he knew that it was in good hands, and he responded to Liszt's appeal for a new creation by studying the Nibelungenlied and gradually shaping it into a gigantic tetralogy.

In his literature it has played a prominent part from the Nibelungenlied to the present day; and its weird and romantic legends have been alternately the awe and the delight of his childhood.

Of the latter the number has tended to diminish in the light of modern scholarship. The fashion during the 19th century set strongly in the other direction, and the " degraded gods " theory was applied not only to such conspicuous heroes as Siegfried, Dietrich and Beowulf, but to a host of minor characters, such as the good marquis Rudeger of the Nibelungenlied and our own Robin Hood (both identified with Woden Hruodperaht).

In the north, indeed, the name Grimhildr continued to have a purely mythical character and to be applied only to daemonic beings; but in Germany, the original home of the Nibelungen myth, it certainly lost all trace of this significance, and in the Nibelungenlied Kriemhild is no more than a beautiful princess, the daughter of King Dancrat and Queen Uote, and sister of the Burgundian kings Gunther, Giselher and Gernot, the masters of the Nibelungen hoard.

In the Nibelungenlied, however, the primitive supremacy of the blood-tie has given place to the more modern idea of the supremacy of the passion of love, and Kriemhild marries Attila (Etzel) in order to compass the death of her brothers, in revenge for the murder of Siegfried.

It is immortalized in the Nibelungenlied in the person of "Volker von Alzeie," the warrior who in the last part of the epic plays a part second only to that of Hagen, and who "was called the minstrel (spilman) because he could fiddle."

Among them are Rodenstein, the reputed home of the wild huntsman, and near Grasellenbach, the spot where Siegfried of the Nibelungenlied is said to have been slain.

Adopting Arianism they came into conflict with the Romans, and under their king Gundahar or Gundicar (the Gunther of the Nibelungenlied) rose in 435 against the Roman governor Aetius, who called in the Huns against them.

The destruction of Worms and the Burgundian kingdom by the Huns in 436 was the subject of heroic legends afterwards incorporated in the Nibelungenlied (q.v.) and the Rosengarten (an epic probably of the late 13th century).

In the Nibelungenlied King Gunther and Queen Brunhild hold their court at Worms, and Siegfried comes hither to woo Kriemhild.

Finally, in the night, she killed Atli himself and burned his hall; then, leaping into the sea, she was carried by the waves to new scenes, where she had adventures not connected with those recorded in the Nibelungenlied.

The origin and nature of the various elements that go to make up the story of the Nibelungenlied have been, and continue to be, the subject of very lively debate.

So early as 1783 Johannes von Muller of Gottingen had called attention to the historical figures appearing in the Nibelungenlied, identifying Etzel as Attila, Dietrich of Bern as Theodoric of Verona, and the Burgundian kings Gunther, Giselher and Gernot as the Gundaharius, Gislaharius and Godomar of the Lex Burgundiorum; in 1820 Julius Leichtlen (Neuaufgefundenes Bruchstick des Nibelungenliedes, Freiburg-im-Breisgau) roundly declared that "the Nibelungenlied rests entirely on a historical foundation, and that any other attempt to explain it must fail."

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.

Hence the two traditions, the German and the Icelandic, of which the latter alone is preserved in something of its primitive form,' though primitive elements survive in the Nibelungenlied.

He applied to the Nibelungenlied the method which Friedrich August Wolf had used to resolve the Iliad and Odyssey into their elements.

This view was adopted by Friedrich Zarncke, who made C the basis of his edition of the Nibelungenlied (Leipzig, 1856).

Anew hypothesis was developed by Karl Bartsch in his Untersuchungen fiber das Nibelungenlied (Leipzig, 1865).

To this view Zarncke was so far converted that in the 1887 edition of his Nibelungenlied he admitted that C shows signs of recension and that the B group is purer in certain details.

Gudrun is composed in stanzas similar to those of the Nibelungenlied, but with the essential difference that the last line of each stanza is identical with the others, and does not contain the extra accented syllable characteristic of the Nibelungen metre.

But people whose love of literature is more independent find it hard to take Wagner's poetry and prose seriously, unless they have already measured him by his music. He effected no reform in literature; his meticulous adherence to the archaic alliteration of the Nibelungenlied is not allied with any sense of beauty in verbal sound or verse-rhythm; and his ways of expressing emotion in language consist chiefly in the piling-up of superlatives.

Under his name of Etzel, Attila plays a great part in Teutonic legend (see Nibelungenlied) and under that of Atli in Scandinavian Saga, but his historic lineaments are greatly obscured in both.