HKB
the characters gradually became so vague and distorted, that only a trained eye could detect in the burlesque figures of the popular account the heroes of the ancient Germanic Legend.
The honor of rediscovering the "Nibelungenlied" and of restoring it to the world of literature belongs to a young physician by the name of J.H. Obereit, who found the manuscript C at the castle of Hohenems in the Tirol on June 29, 1755; but the scientific study of the poem begins with Karl Lachmann, one of the keenest philological critics that Germany has ever produced. In 1816 he read before the University of Berlin his epoch-making essay upon the original form of the "Nibelungenlied". Believing that the poem was made up of a number of distinct ballads or lays, he sought by means of certain criteria to eliminate all parts which were, as he thought, later interpolations or emendations. As a result of this sifting and discarding process, he reduced the poem to what he considered to have been its original form, namely, twenty separate lays, which he thought had come down to us in practically the same form in which they had been sung by various minstrels.
This view is no longer held in its original form. Though we have every reason to believe that ballads of Siegfried the dragon killer, of Siegfried and Kriemhild, and of the destruction of the Nibelungs existed in Germany, yet these ballads are no longer to be seen in our poem. They formed merely the basis or source for some poet who thought to revive the old heroic legends of the German past which were familiar to his hearers and to adapt them to the tastes of his time. In all probability we must assume two, three, or even more steps in the genesis of the poem. There appear to have been two different sources, one a Low German account, quite simple and brief, the other a tradition of the Lower Rhine. The legend was perhaps developed by minstrels along the Rhine, until it was taken and worked up into its present form by some Austrian poet. Who this poet was we do not know, but we do know that he was perfectly familiar with all the details of courtly etiquette. He seems also to have been acquainted with the courtly epics of Heinrich von Veldeke and Hartman von Ouwe, but his poem is free from the tedious and often exaggerated descriptions of pomp, dress, and court ceremonies, that mar the beauty of even the best of the courtly epics. Many painstaking attempts have been made to discover the identity of the writer of our poem, but even the most plausible of all these theories which considers Kurenberg, one of the earliest of the "Minnesingers", to be the author, because of the similarity of the strophic form of our poem to that used by him, is not capable of absolute proof, and recent investigations go to show that Kurenberg was indebted to the "Nibelungen" strophe for the form of his lyric, and not the "Nibelungenlied" to him. The "Nibelungen" strophe is presumably much older, and, having become popular in Austria through the poem, was adopted by Kurenberg for his purposes. As to the date of the poem, in its present form it cannot go back further than about 1190, because of the exactness of the rhymes, nor could it have been written later than 1204, because of certain allusions to it in the sixth book of "Parzival", which we know to have been written at this date. The two Low German poems which probably form the basis of our epic may have been united about 1150. It was revised and translated into High German and circulated at South German courts about 1170, and then received its present courtly form about 1190, this last version being the immediate source of our manuscripts.