VIII.—The Nibelungenlied and Sage in Modern Poetry

Abstract

In an article, entitled Nibelungensage und Nibelungendichtungen, which appeared in the Preussische Jahrbücher a little over a year ago (October, 1894), Dr. A. Schmidt, after a summary of the entire Nibelungensage and a comparison of this Sage with the form it assumes in the Nibelungenlied, makes the following statement: “Though it would be madness after Homer to reconstruct anew the Iliad and Odyssey in poetic form, after the mediaeval author it is really a religious duty of German poets who have the interests of their nation at heart to recast into higher forms the imperfectly coined Nibelungen treasure.” In these words the essayist expresses not merely a personal opinion, but echoes the sentiments of many other German critics, and above all of over forty authors who, with over fifty different productions in drama and epic poetry, have tried to recast into ‘higher forms’ the Nibelungensage as a whole or in part. This large number of attempts includes three or four dramatic sketches, but does not include the ‘lower forms’ of lyric and ballad poetry, or of prose narrative. After the clear and thorough discussion of Nibelungen dramas by Professor Carl Weitbrecht, it might seem unnecessary to discuss this part of the general subject any further, but there are certain aspects of this question which he has not touched upon which it is the purpose of this paper to consider; and, while there is complete agreement with the views advanced by Prof. Weitbrecht, yet the attempt will be made to show that his conclusions do not warrant the same approval.