HKB
beyond all doubt the introduction, the fit and appropriate introduction, to a poem that must go on at least to the marriage of Kriemhild and the death of her husband.
"Professor Lachmann himself seems to be in doubt whether this First Lay be complete; he talks of 'this lay, or what has been preserved of it;' he tells us that 'it several times indicates a continuation, and might have deserved a better than that which follows;' but though he expresses a doubt, he gives no reasons for entertaining one. It certainly would require far less ingenuity to assign cogent reasons for a doubt, and indeed for much more than a doubt, on this point; the lay, as it stands, is a 'passage that leads to nothing,' a mountain in labor that does not produce even so much as a mouse; but it is not singular in this respect; its brethren for the most part keep it in countenance; or, if they contain matter of interest, they too often try the temper of the reader by disappointing his expectations at the most critical moment, and coming to an abrupt conclusion in the midst of an action. Thus the Eighteenth Lay ends just after the battle between Huns and Burgundians has begun; the Nineteenth stops short just at the moment when Etzel has brought up 20,000 fresh men and commenced another attack on Gunther and his followers.
"It really is a waste of words to dwell on the peculiarities of such whimsical arrangements as these. I will merely add a word or two on the Fourteenth Lay, which, inasmuch as it is an introduction to what follows, bears some resemblance to the First. The dream of Uta, the prophecy of the mermaids, and all the gloomy forebodings which give a peculiar character to this lay, are ludicrously out of place as component parts of a short poem, which merely conducts the Burgundians to Rudeger's castle, where, so far from being destroyed, they do not even run any risk whatever, except that of being killed with kindness; but in fact the whole tenor of the lay (one might almost say, every line, every word of it) proves beyond dispute that we are there in the midst of an extensive poem, which can end only with the destruction of the last Burgundian. An attentive examination of the three or four lays just noticed, would, I think, convince every unprejudiced reader that the hypothesis of twenty separate lays by different authors is utterly untenable.... The wisest course," he concludes, and it is easy to concur with him, "is, in such uncertainty, to take the poem as we find it, and to prefer the authority, however occasionally unsatisfactory, of manuscripts to the speculations of the most ingenious critics."
The metre of the "Nibelungenlied" needs a word of explanation. The characteristic strophe in which it is written consists of four verses, the first three of equal length, the fourth somewhat longer, rhymed in couplets on the final syllable. The rhythmical system is dependent, not upon measure, but upon accent, with considerable freedom in the addition or suppression of unaccented syllables. Every verse, with the exception of the last, is made up of two half-verses each containing three accented syllables and separated by a ringing cæsura, that is, a cæsura on an unaccented syllable. The last half-verse contains an additional accent, or four, instead of three, as in the others. A strophe in the original Middle High German, the second of the poem, will make this analysis clear:
Ez wúohs in Búregónden ein vil édel magedî́n, dáz in állen lánden niht schœ́ners móhte sî́n, Kríemhilt gehéizen: diu wart ein schœ́ne wî́p dar úmbe múosen dégene víl verlíesen den lî́p.
The metre of the present translation follows the original, except for the lengthening of the fourth line of the stanza which the author only occasionally differentiates in this respect from the rest.