In this connection we have to remind ourselves that comparatively little of what must have been the large body of native poetry in Germany previous to the eleventh century has come down to us. Barely enough has been preserved to show the path of the nation's literary progress. Some of the important monuments have been saved by chance, while others of equal or perhaps greater value have been irrecoverably lost. The interest in the various incidents of the Nibelungen story was sufficient to keep it alive among the people and hand it down orally through many generations. If we could observe it as it passed from age to age we should doubtless see it undergoing continuous change according to the time and the class of the people that were the preservers of the native literature in its many ups and downs. Lachmann in the year 1816 was the first to bring scientific criticism to bear on the question of the Nibelungenlied and its origin. Applying to it the same methods as had recently been used by Wolf in his criticism of the Homeric poems, he thought he was able to discover as the basis of the complete epic a cycle of twenty separate _lieder_, ballads or shorter episodic poems, on the strength of which belief he went so far as to publish an edition of the poem in which he made the division into the twenty separate lays and eliminated those strophes (more than one third of the whole number) that he deemed not genuine. It is now generally admitted, however, that the pioneer of Nibelungen investigation fell here into over-positive refinements of literary criticism. Separate shorter poems there doubtless existed narrating separate episodes of the story, but these are no longer to be arrived at by a process of critical disintegration and pruning of the epic as we have it. An examination of the twenty _lieder_ according to Lachmann's division convinces us that they are not separate units in the sense he conceived them to be. Though these twenty _lieder_ may be based upon a number of earlier episodic poems, yet the latter already constituted a connected series. They were already like so many scenes of a gradually developing drama. Events were foreshadowed in one that were only fulfilled in another, and the incidents of later ones are often only intelligible on the supposition of an acquaintance with motives that originated in preceding ones. It is in this sense only, not according to Lachmann's overwrought theory, that we are justified in speaking of a _liedercyclus_, or cycle of separate episodic poems, as the stage of the epic antecedent to the complete form in which we now have it. But beyond this cycle we cannot trace it back. How the mythical saga of Siegfried and the Nibelungen, and the story of the Burgundians and Attila, were first sung in alliterative lays in the Migration Period, how as heathen song they were pushed aside or slowly influenced by the spirit of Christianity, how with changing time they changed also their outward