The Song of the Nibelungs (Medieval Literature Classic). AnonymousЧитать онлайн книгу.
Fact, too, would soon become mingled with fiction. This new feat was ascribed to Attila himself, already too well known as the scourge of Europe and the subduer of so many German tribes. A very few years later, however, fate was to subdue the mighty conqueror himself. With the great battle of Châlons in 451 the tide turned against him, and two years afterwards he died a mysterious death. The historian Jordanes of the sixth century relates that on the morning after Attila's wedding with a German princess named Ildico (Hildikô) he was found lying in bed in a pool of blood, having died of a hemorrhage. The mysteriousness of Attila's ending inspired his contemporaries with awe, and the popular fancy was not slow to clothe this event also in a dress of fiction. The attendant circumstances peculiarly favored such a process. Historians soon recorded the belief that Attila had perished at the hands of his wife, and it was only a step further for the imagination to find the motive for the deed in the desire of Hildikô to avenge the death of her German kinsmen who had perished through Attila. The saga of Attila's death is before long connected with the growing Burgundian saga, Hildikô becomes the sister of the Burgundian kings Gundahari, Godomar, and Gislahari, and her deed is vengeance taken upon Attila for his destruction of her brothers. As is seen at once from the outline I have already given (Chapter 2.) of the saga as we find it in the Edda, this is the stage of development it had reached when it began to find its way northward from the Rhine country to Norway and Iceland.
It is unnecessary here to record the speculations—for beyond speculations we cannot go—as to how the union of this historical saga of the Burgundians and Attila with the Siegfried saga took place. In the course of time, and naturally with greatest probability among the Rhine Franks who followed the Burgundians as occupants of Germania prima, the two were brought together, and the three Burgundian kings and their sister were identified with the three Nibelungen kings and their sister of the already localized Siegfried saga. It is also beyond the scope of this introduction to follow the course of the saga northward or to note its further evolution during its wanderings and in its new home until it was finally recorded in poetic form in the Edda. We have now to consider briefly the transformation it passed through in Germany between this date (about 500) and the time (about 1200) when it emerges in written record as the Nibelungenlied.
An account has already been given (Chapter 3.) of the chief features in which the Nibelungenlied differs from the Northern form. As we saw there, the mythical element of the Siegfried saga has almost entirely evaporated and the historical saga of the Burgundian kings and Attila has undergone a complete transformation. That the originally mythical and heathen Siegfried saga should dwindle away with the progress of civilization and under the influence of Christianity was but natural. The character of the valkyrie Brynhild who avenges upon Sigurd his infidelity to her, yet voluntarily unites herself with him in death, as heathen custom demanded, is no longer intelligible. She recedes into the background, and after Siegfried's death, though she is still living, she plays no further part. The Nibelungenlied found its final form on Upper German, doubtless Austrian, territory. Here alone was it possible that that greatest of all transformations could take place, namely, in the character of Attila. The Franks of the Rhine knew him only as the awe-inspiring conqueror who had annihilated their neighbors the Burgundians. In Austrian lands it was quite otherwise. Many Germanic tribes, particularly the East Goths, had fought under the banner of Attila, and in the tradition handed down from them he lived as the embodiment of wisdom and generosity. Here it was impossible that epic story should picture him as slaying the Burgundian kings through a covetous desire for their gold. The annihilation of the Burgundians is thus left without a motive. To supply this, Kriemhild's character is placed upon an entirely different basis. Instead of avenging upon Attila the death of her brothers the Burgundian kings, Kriemhild now avenges upon her brothers the slaying of her first husband Siegfried. This fundamental change in the character of Kriemhild has a deep ethical reason. To the ancient heathen Germans the tie of blood-relationship was stronger than that of wedlock, and thus in the original version of the story Attila's wife avenges upon him the death of her brothers; to the Christianized Germans of later times the marriage bond was the stronger, and accordingly from the altered motive Kriemhild avenges upon her brothers the slaying of her husband. In accordance, too, with this ethical transformation the scene of the catastrophe is transferred from Worms to Attila's court. Kriemhild now looms up as the central figure of the second half of the drama, while Etzel remains to the last ignorant of her designs for revenge.
This transformation of the fundamental parts of the saga was accompanied by another process, namely, the addition of new characters. Some of these are the product of the poetic faculty of the people or individuals who preserved and remoulded the story in the course of centuries, others are based upon history. To the former class belong the Margrave Ruediger, the ideal of gentle chivalry, and Volker the Fiddler-knight, doubtless a creation of the spielleute. To the second class belong Dietrich of Bern, in whom we see the mighty East Gothic king, Theodoric of Verona; also Bishop Pilgrim of Passau, a very late importation, besides several others in whom are perpetuated in more or less faint outline actual persons of history. This introduction of fresh characters from time to time as the saga grew has led to some strange anachronisms, which however are a disturbing element only to us readers of a modern day, who with sacrilegious hand lift the veil through which they were seen in a uniform haze of romance by the eye of the knights and ladies of seven centuries ago. They neither knew nor cared to know, for instance, that Attila was dead before Theodoric was born, and that Bishop Pilgrim flourished at Passau the trifling space of five hundred years later still.3
II. The Nibelungenlied
1. The Manuscripts
Among the German epic poems of the Middle Ages the Nibelungenlied 4 enjoyed an exceptional popularity, as is evident from the large number of manuscripts—some thirty, either complete or fragmentary—that have been preserved from the centuries immediately following its appearance. Three are of prime importance as texts, namely, those preserved now in Munich, St. Gall, and Donaueschingen, and cited as A, B, and C respectively. Since the time when Lachmann, about a century ago, made the first scientific study of the poem, a whole flood of writings has been poured forth discussing the relative merits of these texts. Each in turn has had its claims advocated with warmth and even acrimony. None of these three principal manuscripts, however, offers the poem in its earliest form; they all point to a still earlier version. It is now generally admitted that the St. Gall manuscript (B), according to which the present translation has been made, contains the best and most nearly original text.
2. Stages in the Evolution of the Poem
Hand in hand with the discussion of the relative authenticity of the manuscripts went the consideration of another more important literary question—the evolution of the poem itself. Even if we knew nothing of the history of the Nibelungen saga as revealed in the Edda and through other literary and historic sources, a reading of the poem would give us unmistakable hints that it is not, in its present form, a perfect literary unit. We detect inconsistencies in matter and inequalities of style that prove it to be a remodelling of material already existing in some earlier form. What, then, has been the history of its evolution? How did this primeval Siegfried myth, this historical saga of the Burgundians and Attila, first come to be part of the poetic stock of the German people? What was its earliest poetic form, and what series of transformations did it pass through during seven centuries of growth? These and many kindred questions present themselves, and the search for answers to them takes us through many winding labyrinths of the nation's contemporary history. Few products of German literature have so exercised and tantalized critics as the Nibelungenlied.
In this connection we have to remind ourselves that comparatively little of what must have been the large body of native poetry in Germany previous to the eleventh century has come down to us. Barely enough has been preserved to show the path of the nation's literary progress. Some of the important monuments