We have now finished our slight analysis of this Poem; and hope that readers who are curious in this matter, and ask themselves, What is the “Nibelungen?” may have here found some outlines of an answer, some help towards farther researches of their own. To such readers another question will suggest itself: Whence this singular production comes to us, When and How it originated? On which point also, what little light our investigation has yielded may be summarily given.
The worthy Von der Hagen, who may well understand the “Nibelungen” better than any other man, having rendered it into the modern tongue, and twice edited it in the original, not without collating some eleven manuscripts, and travelling several thousands of miles to make the last edition perfect,—writes a Book some years ago, rather boldly denominated “The Nibelungen, its Meaning for the present and forever”; wherein, not content with any measurable antiquity of centuries, he would fain claim an antiquity beyond all bounds of dated time. Working his way with feeble mine-lamps of etymology and the like, he traces back the rudiments of his beloved “Nibelungen,” “to which the flower of his whole life has been consecrated,” into the thick darkness of the Scandinavian “Niflheim ” and “Muspelheim,” and the Hindoo Cosmogony; connecting it farther (as already in part we have incidentally pointed out) with the Ship Argo, with Jupiter’s goatskin Ægis, the fire-creed of Zerdusht, and even with the heavenly Constellations. His reasoning is somewhat abstruse; yet an honest zeal, very considerable learning and intellectual force bring him tolerably through. So much he renders plausible or probable: that in the “Nibelungen,” under more or less defacement, lie fragments, scattered like mysterious Runes, yet still in part decipherable, of the earliest Thoughts of men; that the fiction of the Nibelungen was at first a religious or philosophical Mythus; and only in later ages, incorporating itself more or less completely with vague traditions of real events, took the form of a story, or mere Narrative of earthly transactions; in which last form, moreover, our actual “Nibelungen Lied” is nowise the
