as depicted in the Norse versions, she herself becomes the cause of their destruction. Etzel is not only innocent of any desire to harm the Nibelungs, but is even ignorant of the revenge planned by his wife. This change in her rôle was probably due to the feeling that it was incumbent upon her to avenge the murder of Siegfried.
Our Nibelungenlied knows but little of the adventures of Siegfried’s youth as depicted in the Norse versions. The theme of the poem is no longer the love of Sigurd, the homeless wanderer, for the majestic Valkyrie Brunhild, but the love idyll of Siegfried, the son of the king of the Netherlands, and the dainty Burgundian princess Kriemhild. The poem has forgotten Siegfried’s connection with Brunhild; it knows nothing of his penetrating the wall of flames to awake and rescue her, nothing of the betrothal of the two. In our poem Siegfried is carefully reared at his father’s court in the Netherlands, and sets out with great pomp for the court of the Burgundians. In the Norse version he naturally remains at Gunther’s court after his marriage, but in our poem he returns to the Netherlands with his bride. This necessitates the introduction of several new scenes to depict his arrival home, the invitation to the feast at Worms, and the reception of the guests on the part of the Burgundians.
In the Nibelungenlied the athletic sports, as an obstacle to the winning of Brunhild, take the place of the wall of flames of the older Norse versions. Siegfried and Gunther no longer change forms, but Siegfried dons the Tarnkappe, which renders him invisible, so that while Gunther makes the motions, Siegfried
