The Development of the Nibelungen-legend in Various Periods of German Literature br Nadine L Herman Submitted in partial fulfiiîment of the requirements for the degree of Master of Arts Dalhousie University Halifax, Nova Scotia September 1999 O Copyright by Nadine L Herman, 1999 National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, me Wellington Ottaw ON KfA ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Lhrary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriéte du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis.nor substantial exûacts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Tne development of the Nibelungen-myth throughout German literature shows a pattern of unbroken storytelling, the substance of which began even before the advent of the written word and continues stili in our time. The following work examines these issues throughout various periods and in diverse genres of Geman literature. The ongins of the myth are first addressed in a discussion of the ultimate connection between history, legend, and rnyth. This looks specifically at the content of the fint written versions of the tale, the Poetic Edda and the V6~sungensaga.The medieval version of the story, the Nibehngenlied poem, is then examined. This focuses on the specific changes that occurred as the myth was taken nom its mythological heathen setting and placed into Christian courtly context. The third topic covered is the baroque Eine wrtnderschone Historie von dern gehornten Siegfried. As with the rnedieval version, this discussion examines the selective process by which the author constmcted his story, removing many of the mythical elements in exchange for a farce-Iike tale. Richard Wagner's Ring des Nibelungen is the final variation of the myth discussed. The changes that Wagner made in his own version are exarnined, as well as his restoration of the essence of the original version of the myth and its elevation into the operatic form, referred by Wagner as the ultimate of arts. Concluding remarks will support that the endurance of the story itself lends credence to its claim as a 'national literature', the product of a nation which reflects its own character and ideals. Table of Contents INTRODUCTION ........................................................................................................... 1 1.1 Development and Characteristics of Oral Literature................................................. 4 1.2 Problems Faced in the Transition fiom Oral to Written Literature .......................... 13 1.3 The Partnership of Mythology and History ................................................... 18 1.4 The Earliest Written Versions of the Nibelungen-Myth........................................ 24 2 . ASPECTSOF THE MEDIEVAL NIBU WGE~~WW............................................................ -30 2.1 Medievai Gennany and the Written Word .......................................................... 31 2.2 The Poem as a Product of Oral Literature.............................................................. 34 2.3 Stmcturing of the Historical and Mythological Sources......................................... -41 2.4 Love, Loyalty and Honor: Whose Tragedy is it? ..................................................... 46 3 . A COMPARATIVELOOK AT THE VOLKSBUCH'EN WUNDERSCHONE HISTORE VON DEM GEH~RNTENSIEGFRIED '...................................... ,. .................................................... 55 3 .1 The Volksbuch ...................................................................................................... S5 3.2 The Selective Process and Style ............................................................................. -62 3.3 The Role of the Hero ............................................................................................. -75 4 . COMPOS~ONAND ASPECTSOF WAGNER'SRNG DES ~K~ELWGEN,........... .. ............... -82 4.1 Nneteenth-Century Germany................................................................................. -82 4.2 The Structure of Sources. .... .................. ................................................................ -92 4.3 Wagner's Treatxnent of Spbols and Themes.......................................................... 95 4.4 The Role of the Heroic Figures............................................................................. 106 CONCLUSION..................................... ..,,.,... ....................................................... 1 11 BIBLIOGRAPHY.......... ,.., ...~................................................................................1 12 Acknowledgments For ali those who encouraged and tolerated my pursuits - especially my family and closest friends - 1 would like to give heartfelt thanks. The same must dso go to those important people met in tmve1s abroad, as well as the many people I have had the plmaure of meeting over the last two years through the program. 1 would also like to express my gratitude to the Gexman Department of Daihousie University as a whole, for without their guidance, these past years wodd have been much more dicuit and far less rewarding. A special thanks to Dr. Jane Cumin for supe~singthis thesis and allowing me to focus on an area that 1 found quite rewarding, as well as to Dr. Friedrich Gaede and Dr. Hans-Gunther Schwarz for their insightful comrnents during the course of my time with the Department. INTRODUCTION The development of the Nibelungen-myth throughout German literature shows a pattern of unbroken storytelling, the substance of which began even before the advent of the Witten word and continues still in our tirne. The endurance of the story itself lends credence to its claim as a 'national literature', the product of a nation which reflects its own character and ideals. The aim of this thesis will be to explore the use of the myth in various periods of German literature, as weU as its representation in various genres; the medieval heroic poem, the baroque Volksbuch, and opera of the late Romantic penod. By tracing its development, this work will aim to provide a clear look at the pathway taken by the Nibelungen-myth throughout the various works discussed. The first chapter of this thesis wiii examine the origins ofthe myth itself, and its place within the tradition of oral storytelling. Some general comrnents on oral iiterature will be made, as well as a look at same of the problerns fàced when a story is transfomed fiom oral to written foms. The partnership of history, legend and myth will be discussed in relation to how they merged to form the basis of the first written versions, the Poetic Edda and the VdLNngenuiga. A brief look will then be taken of these versions in order to illustrate the nature of the miiest recordeci accounts of the Nibelungen-myth. Various aspects ofthe medievalNibeIungeniiedwiU then be examineci. This discussion I will aim primarily to show the many changes which took place as the substance of the myth was taken from its mythological heathen setting and placed into a Christian courtly context. Aspects of the poem as a work originating in the tradition of oral literature will be investigated, as well as the further influence of history upon the mythological matter. The second chapter will then conclude with a look at the role of the main characters, and wiil aim to answer the often-posed question, 'whose tragedy it is'? The third chapter of this thesis will take a comparative look at the Volksbuch-version of the myth. The end of the sixteenth century marks the emergence of this genre, and with it a renewed interest in the Nibelungen-substance. Eine wunderschüne Historie von dem gehdmten Siegfried, wwhose author rernains anonymous, stands as a testament to its era. Unfortunately, it also illustrates a deche in the heroic ideais of the original myth. The selective process and style of the author will be examuieci, as will the role of the hero. This discussion will aim to understand how the author has greatly aitered not only the events of the tale, but also the traditional roles of the characters. The discovery of the manuscript of the medieval poem at the end of the eighteenth- century marks a revival in interest in the Nibelungen-myth.Praised by its critics, the substance ofthe cuurtiy poem was raised to the status of a national epic. Chapter four of this work will discuss Richard Wagner's treatment of the myth in his opera, Ring des Nibelungen. Social and literary conditions of his tirne will be discussed by examining various ietters written by Waguer to fiends and fbdyduring the composition of the opera's poem. His stnicîuring of sources will also be reviewed, as will his use of symbols and themes. The role of the heroic figures will also be examined. These points of discussion will aim to show how Wagner returned to the earliest versions