great Northern Immigrations, and wars and rumours of war have been; but nowise how and what they have been. Scarcely clearer is the special history of the Fictions themselves; where they were first put together, who have been their successive redactors and new-modellers. Von der Hagen, as we said, supposes that there may have been three several series of such. Two, at all events, are clearly indicated. In their present shape we have internal evidence that none of these poems can be older than the twelfth century; indeed, great part of the “Hero-book” can be proved to be considerably later. With this last it is understood that Wolfram von Eschenbach and Heinrich von Ofterdingen, two singers otherwise noted in that era, were largely concerned; but neither is there any demonstration of this vague belief: while again, in regard to the Author of our actual “Nibelungen,” not so much as a plausible conjecture can be formed.
Some vote for a certain Conrad von Würzburg; others for the above named Eschenbach and Ofterdingen; others again for Klingsohr of Ungerland, a minstrel who once passed for a magician. Against all and each of which hypotheses there are objections; and for none of them the smallest conclusive evidence. Who this gifted singer may have been, only in so far as his Work itself proves that there was but One, and the style points to the latter half of the twelfth century,—remains altogether dark: the unwearied Von der Hagen himself, after fullest investigation, gives for verdict, “we know it not.”[1] Considering the
- ↑ [Bartsch ascribes it with some confidence to a courtly poet or Minnesinger, about 1140, of the family of Kürenberg, settled near Linz on the Danube, and regards him as the inventor of the particular form of strophe that is used in the “Nibelungenlied” as well as in the lyrical poems that are ascribed to the same singer. Simrock, however, makes light of this theory on the ground that it is based solely on a lyrical poem (in the same form of stanza as the “Nibelungenlied ”), in which a knight is described as singing in Kürenberg’s fashion (Weise). This word, he points out, may refer either to the melody or the metre; certainly the passage does not go far to prave that he invented the metre; still less that he was the composer of the Nibelungenlied in its complete form,—Ed.]
