troduction of Attila and the identification of the Nibelungs with the Burgundians. The fact, too, that the Franks rapidly took possession of the district depopulated by the crushing defeat of the Burgundians likewise aided the confusion, and thus the Franks became the natural heirs of the legend concerning the death of Gunther, and so we read of the fall of the Nibelungs, a name that is wholly Frankish in character. This identification led also to Attila’s being considered the avenger of Siegfried’s death. Poetic justice, however, demands that the slaughter of the Burgundians at the hands of Attila be also avenged. The rumor, that Attila’s death was not natural, but that he had been murdered by his wife Ildico (Hildiko), gave the necessary features to round out the story. As Kriemhild was the sister of the Burgundian kings, it was but natural to explain her killing of Attila, as described in the Norse versions, by her desire to avenge her brothers.
In our Nibelungenlied, however, it is no longer Attila, but Kriemhild, who is the central figure of the tragedy. Etzel, as he is called here, has sunk to the insignificant rôle of a stage king, a perfectly passive observer of the fight raging around him. This change was brought about perhaps by the introduction of Dietrich of Berne, the most imposing figure of all Germanic heroic lore. The necessity of providing him with a rôle corresponding to his importance, coupled with a growing repugnance on the part of the proud Franks to acknowledge defeat at the hands of the Huns, caused the person of Attila to dwindle in importance. Gradually, too, the rôle played by Kriemhild was totally changed. Instead of being the avenger of her brothers,
