A comparison of the poem with the _Hildebrandslied_ shows that the sense of the pathetic had deepened in the intervening centuries. There is scarcely any pathos in the earlier composition, although its subject is the fatal combat between father and son. But the _Nibelungen_, with a fiercer hate, can set forth the heroic pathos of the lot of one, who, struggling between fealties, is driven on to dishonour and to death. This is the pathos of the death of Rüdiger, who had received the Burgundians in his castle on their way to Etzel’s Court, had exchanged gifts with them, and betrothed his daughter to the youngest of the three kings. He was as unsuspecting as Etzel of Kriemhild’s plot. But in the end Kriemhild forces him, on his fealty as liegeman, to outrage his heart and honour, and attack those whom he had sheltered and guided onward--to their death. Not much love in this tale, only hate insatiable. But the greatness of hate may show the passional power of the hating soul. The centuries have raised to high relief the elemental Teutonic qualities of hate, greed, courage and devotion, and human personality has enlarged with the heightened power of will. The reader is affected with admiration and sympathy. First he is drawn to Siegfried’s bright morning courage, his noble masterfulness--his character appears touched with the ideals of chivalry.[182] After his death the interest turns to Kriemhild planning for revenge. It may be that sympathy is repelled as her hate draws within its tide so much of guiltlessness and honour; and as the doomed Nibelungen heroes show themselves haughty, strong-handed, and stout-hearted to the end, he cheers them on, and most heartily that grim, consistent Hagen in whom the old German troth and treachery for troth’s sake are incarnate. The _Kudrun_[183] is a happier story, ending in weddings instead of death. There was no licentiousness or infidelity between man and wife in the _Nibelungen_, and through all its hate and horror no outrage is done to woman’s honour. That may be taken as the leading theme of the _Kudrun_. An ardent wooer, to be sure, may seize and carry off the heroine, and his father drag her by the hair on her refusal to wed his son; but her honour, and the honour of all women in the poem, is respected and maintained. The ideal of womanhood is noble throughout: an old king thus bids farewell to his daughter on setting forth to be married: “You shall so wear your crown that I and your mother may never hear that any one hates you. Rich as you are, it would mar your fame to give any occasion for blame.”[184]