It is in the delineation of character that the poet is most embarrassed by the intractable nature of the old material which he must needs work up with the new. He had the same difficulty as Homer had in dealing with Achilles' revenge on the body of Hector, or with Odysseus' revenge on the faithless servants; and, if he made the best of a bad case, it must be admitted that in his best there is somewhat jarring. The poem has been called the Northern Iliad, but the all-round nobility of the heroes of Homer, and, indeed, of epics generally (in intention at least), is strangely lacking in the chief Nibelungs. Hagen is a treacherous murderer of his niece's husband, whom he assassinates in expiation of an offence of which the {P. xv} victim has proved himself innocent; and he is a thief who robs the same helpless woman twice. Gunther is an accomplice and an ingrate. The other champions are fully conscious of the iniquity of those whose cause they support: their merit is that which in those times covered a multitude of sins--unflinching bravery and fidelity to their cause and to each other. Hagen shows a cynical disregard of righteousness and of honesty: he faces the consequences of his sin without a tremor: his callous contempt for the hearts he tramples on is matched by his reckless defiance of the retribution which involves a nation with himself. There is no word of repentance, no hint of remorse; and it is characteristic that none of his companions reproach him amid their ruin, and that even Rüdiger, the flower of chivalry, receives him as his most honoured guest, confers on him the most distinguished tokens of regard, and sympathizes with him to the end. The author shows less consideration for Kriemhild than for him in the final catastrophe; for, while the King and the stainless heroes lament his fall, no hand is raised to stay the vengeance upon Kriemhild that swiftly follows, no word of regret is uttered over her. This recalls to our mind certain characteristics of that period: first, the supreme importance of a great warrior and leader of men, whose life is held of more account, not merely to his party, but to the world, than that of many women. Secondly, we are reminded how thin was the veneer of courtesy to women in the so-called age of chivalry. It is significant that in the Volsunga-saga, which is instinct with the old unalloyed Teutonic spirit, no man thinks of taking vengeance on a woman: they may poison, betray, or assassinate, but they are always immune from the last penalty. The third characteristic here exemplified is well set forth by Dr. Arnold: