received the Burgundians in his castle on their way to Etzel's Court, had exchanged gifts with them, and betrothed his daughter to the youngest of the three kings. He was as unsuspecting as Etzel of Kriemhild's plot. But in the end Kriemhild forces him, on his fealty as liegeman, to outrage his heart and honour, and attack those whom he had sheltered and guided onward—to their death.
Not much love in this tale, only hate insatiable. But the greatness of hate may show the passional power of the hating soul. The centuries have raised to high relief the elemental Teutonic qualities of hate, greed, courage and devotion, and human personality has enlarged with the heightened power of will. The reader is affected with admiration and sympathy. First he is drawn to Siegfried's bright morning courage, his noble masterfulness—his character appears touched with the ideals of chivalry.[1] After his death the interest turns to Kriemhild planning for revenge. It may be that sympathy is repelled as her hate draws within its tide so much of guiltlessness and honour; and as the doomed Nibelungen heroes show themselves haughty, strong-handed, and stout-hearted to the end, he cheers them on, and most heartily that grim, consistent Hagen in whom the old German troth and treachery for troth's sake are incarnate.
The Kudrun[2] is a happier story, ending in weddings instead of death. There was no licentiousness or infidelity between man and wife in the Nibelungen, and through all its hate and horror no outrage is done to woman's honour. That may be taken as the leading theme of the Kudrun. An ardent wooer, to be sure, may seize and carry off the heroine, and his father drag her by the hair on her refusal to wed his son; but her honour, and the honour of all women
- ↑ The description of Siegfried's love for Kriemhild is just touched by the chivalric love, which exists in Wolfram's Parzival, in Gottfried's Tristan, and of course in their French models. See post, Chapter XXIII. For example, as he first sees her who was to be to him "beide lieb und leit," he becomes "bleich unde rôt"; and at her greeting, his spirit is lifted up: "dô wart im von dem gruoze vil wol gehoehét der muot." And the scene is laid in May (Nibelungenlied, Aventiure V., stanzas 284, 285, 292, 295).
- ↑ A convenient edition of the Kudrun is Pfeiffer's in Deutsche Klassiker des Mittelalters (Leipzig, 1880). Under the name of Gudrun it is translated into modern German by Simrock, and into English by M. P. Nichols (Boston, 1899).
