scenes in a Tragedy. The catastrophe is dimly prophesied from the beginning; and, at every fresh step, rises more and more clearly into view. A shadow of coming Fate, as it were, a low inarticulate voice of Doom falls, from the first, out of that charmed Nibelungen-land; the discord of two women is as a little spark of evil passion, which ere long enlarges itself into a crime; foul murder is done; and now the Sin rolls on like a devouring fire, till the guilty and the innocent are alike encircled with it, and a whole land is ashes, and a whole race is swept away,
Uns ist in alten mæren Wunders vil geseit,
Von helden lobebæren Von grozer chuonheit;
Von vrouden und’ hoch-geziten, Von weinen und von chlagen,
Von chuner rechen striten, Muget ir nu wunder hören sagen.
We find in ancient story Wonders many told,
Of heroes in great glory With spirit free and bold;
Of joyances and high-tides, Of weeping and of woe,
Of noble Recken striving, Mote ye now wonders know.
This is the brief artless Proem; and the promise contained in it proceeds directly towards fulfilment. In the very second stanza we learn:
Es wühs in Burgonden Ein vil edel magedin,
Das in allen landen Niht schoners mochte sin;
Chriemhilt was si geheien, Sie wart ein schone wip;
Darumbe müsen degene Vil verliesen den lip.
A right noble maiden Did grow in Burgundy,
That in all lands of earth Nought fairer mote there be;
Chriemhild of Worms she hight, She was a fairest wife;
For the which must warriors A many lose their life.[1]
- ↑ This is the first of a thousand instances in which the two inseparables, wip and lip, or in modern tongue weib and leib, as mentioned above, appear together. From these two opening stanzas of the “Nibelungen Lied,” in its purest form, the reader may obtain some idea of the versification; it runs on in more or less regular Alexandrines, with a cæsural pause in each, where the capital letters occur; indeed, the lines seem originally to have been divided
