In a later poem, which gives the story of Walter of Aquitaine, the same set and stubborn mood appears, although lightened by rough banter. This legend existed in Old German as well as Anglo-Saxon. In the tenth century, Ekkehart, a monk of St. Gall, freely altering and adding to the tale, made of it the small Latin epic which is extant.[181] Monk as he was, he tells a spirited story in his rugged hexameters. He had studied classic authors to good purpose; and his poem of Walter fleeing with his love Hildegund from the Hunnish Court (for the all-pervasive Attila is here also) is vivid, diversified, well-constructed--qualities which may not have been in the story till he remodelled it. Its leading incidents still present German traits. Walter and Hildegund carry off a treasure in their flight; and it is to get this treasure that Gunther urges Hagen (for they are here too) to attack the fugitive. This is Teutonic. It was for plunder that Teuton tribes fought their bravest fights from the time of Alaric and Genseric to the Viking age, and the hoard has a great part in Teutonic story. In the _Waltarius_ Gunther’s driving avarice, Walter’s stubborn defence of his gold are Teutonic. The humour and the banter are more distinctly German, and nobly German is the relationship of trust and honour between Walter and the maiden who is fleeing with him. Yet the story does not revolve around the woman in it, but rather around the shrewdly got and bravely guarded treasure. German traits obvious in the _Hildebrandslied_, and strong through the Latin of the _Waltarius_, evince themselves in the epic of the _Nibelungenlied_ and in the _Kudrun_, often called its companion piece. The former holds the strength of German manhood and the power of German hate, with the edged energy of speech accompanying it. In the latter, German womanhood is at its best. Both poems, in their extant form, belong to the middle or latter part of the twelfth century, and are not unaffected by influences which were not native German. The _Nibelungenlied_ is but dimly reminiscent of any bygone love between Siegfried and Brunhilde, and carries within its own narrative a sufficient explanation of Brunhilde’s jealous anger and Siegfried’s death. Kriemhild is left to nurse the wrath which shall never cease to devise vengeance for her husband’s murderers. Years afterwards, Hagen warns Gunther, about to accept Etzel’s invitation, that Kriemhild is _lancraeche_ (long vengeful). The course of that vengeance is told with power; for the constructive soul of a race contributed to this Volksepos. The actors in the tragedy are strikingly drawn and contrasted, and are lifted in true epic fashion above the common stature by intensity of feeling and the power of will to realize through unswerving action the prompting of their natures. The fatefulness of the tale is true to tragic reality, in which the far results of an ill deed involve the innocent with the guilty.