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Victor Millet concludes that the poet deliberately doubles the motivations or occurrences of various events, including Siegfried's wooing of Kriemhild, the deception of Brünhild, Hagen's humiliation of Kriemhild, and Kriemhild's demand for the return of Nibelungen treasure.
Saxo probably completed his history before 1208, [62] making this the earliest version of the Scandinavian tradition to have survived and roughly contemporary with the Nibelungenlied. Victor Millet nevertheless believes that Saxo is of little value as a source for authentic heroic traditions, as he appears to have thoroughly altered whatever ...
Victor Millet suggests that it is therefore possible that the author of the Biterolf selected them as two heroes with whom he could write any story he wished. [12] The story may have been composed as a way of explaining Dietleib's description, already found in other poems, as von Stîre (of Styria), as well as playing the role of making ...
Siegfried cuts the dragon in half while Kriemhild watches. Woodcut from an early modern printing of Hürnen Seyfrid.. Das Lied vom Hürnen Seyfrid ("The Song of Horn-skinned Siegfried"; [1] "Lay of Seyfrid with the Horny Skin" [2] [a]), or Hürnen Seyfrid for short, is an anonymous Early New High German heroic ballad.
Victor Millet suggests that it was printed in honor of King Christian II of Denmark, who returned from exile in the Netherlands at this time. [4] Elisabeth Lienert finds this interpretation questionable, however notes that Juncker Baltzer , the text printed alongside Ermenrichs Tod , is clearly about Christian.
Die Nibelungenklage or Die Klage (English: the lament; Middle High German: Diu Klage) is an anonymous Middle High German heroic poem.The poem describes the laments for and burial of the dead from the Nibelungenlied, as well as the spread of the news of the catastrophe that ended the other poem, and the fates of the various characters who survived.
Neither Werner Hoffmann nor Victor Millet see the poem as particularly heroic, with Millet nevertheless noting that the poem does not criticize the use of violence. [24] [25] The poem makes numerous allusions to the Nibelungenlied, beginning with the opening stanza, which cites the opening stanza of the C version of the Nibelungenlied. [26]
Victor Millet writes that the heroic tradition in Scandinavia barely survives its literary blossoming in the 13th century. [220] However, the heroic poetry survived in a new form in the Pan-Scandinavian medieval ballads, as the heroic ballads. The medieval ballads stayed popular from their origin in the Middle Ages, until the 20th century, and ...