HKB
that of modern German, and few of the many Germans giving a modernized version of the epic have been bold enough to lay sacrilegious hands upon it to shorten it.
A brief account of the Nibelungen strophe may not be out of place here, owing to the fact that its character has generally been misunderstood. The origin and evolution of the strophe have been the subject of much discussion, the results of which we need not pause to formulate here. As it appears in actual practice in our poem of about the year 1200, it was as follows: Each strophe consists of four long lines, the first line rhyming with the second, and the third with the fourth. The rhymes are masculine, that is, rhymes on the end syllable. Each line is divided by a clearly marked caesura into two halves; each half of the first three lines and the first half of the fourth line has three accented syllables, the second half of the fourth line has four accented syllables. The first half of each line ends in an unaccented syllabic--or, strictly speaking, in a syllable bearing a secondary accent; that is, each line has what is called a "ringing" caesura. The metrical character of the Nibelungen strophe is thus due to its fixed number of accented syllables. Of unaccented syllables the number may vary within certain limits. Ordinarily each accented syllable is preceded by an unaccented one; that is, the majority of feet are iambic. The unaccented syllable may, however, at times be wanting, or there may, on the other hand, be two or even three of them together. A characteristic of the second half of the last line is that there is very frequently no unaccented syllable between the second and the third accented ones. Among occasional variations of the normal strophe as here described may be mentioned the following: The end-rhyme is in a few instances feminine instead of masculine; while on the other hand the ending of the first half-lines is occasionally masculine instead of feminine, that is, the caesura is not "ringing." In a few scattered instances we find strophes that rhyme throughout in the caesura as well as at the end of lines;[10] occasionally the first and second lines, or still less frequently the third and fourth, alone have caesural rhyme.[11] Rhyming of the caesura may be regarded as accidental in most cases, but it is reproduced as exactly as possible in this translation.
[10] Strophes 1, 17, 102, and possibly 841. [11] Strophes 18, 69, 103, 115, 129, 148, 177, 190, 198, 222, 231, 239, 293, 325, 345, 363, 485, 584, 703, 712, 859, 864, 894, 937, 1022, 1032, 1114, 1225, 1432, 1436, 1460, 1530, 1555, 1597, 1855, 1909, 1944, 1956, 2133, 2200, 2206, 2338.
In the original the opening strophe, which is altogether more regular than the average and is, moreover, one of the few that have also complete caesural rhyme, is as follows:
Uns ist in alten maeren / wunders vil geseit von heleden lobebaeren, / von grozer arebeit, von frouden, hochgeziten, / von weinen und von klagen, von kuener recken striten / muget ir nu wunder hoeren sagen.
Here the only place where the unaccented syllable is lacking before the accented is before wunders at the beginning of the second half of the first line. A strophe showing more typical irregularities is, for instance, the twenty-second:
In sinen besten ziten, / bi sinen jungen tagen, man mohte michel wunder / von Sivride sagen, waz eren an im wuchse / und wie scoene was sin lip. sit heten in ze minne / diu vil waetlichen wip.