The Nibelungenlied and the Iliad of Homer have often been compared, but after all to no great purpose. The two epics are alike in having their roots deep in national origins, but beyond this we have contrasts rather than resemblances. The Iliad is a more varied and complete picture of the whole Greek world than the Nibelungenlied is of the German, its religious atmosphere has not been disturbed in the same way as that of the saga of early Germanic times projected several centuries into a later Christian age, and it possesses in every way a greater unity of sentiment. In the varied beauty of its language, its wealth of imagery, its depth of feeling and copiousness of incident the Iliad is superior to the Nibelungenlied with its language of simple directness, its few lyrical passages, its expression of feeling by deeds rather than by words. Homer, too, is in general buoyant, the Nibelungenlied is sombre and stern. And in one last respect the two epics differ most of all: the Iliad is essentially narrative and descriptive, a series of episodes; the Nibelungenlied is essentially dramatic, scene following scene of dramatic necessity and pointing steadily to a final and inevitable catastrophe. 4. Later Forms of the Saga In the Northern Edda and in the German Nibelungenlied the Nibelungen saga found its fullest and most poetic expression. But these were not to be the only literary records of it. Both in Scandinavian lands and in Germany various other monuments, scattered over the intervening centuries, bear witness to the fact that it lived on in more or less divergent forms. The Danish historian Saxo Grammaticus of the latter part of the twelfth century has a reference to the story of Kriemhild's treachery toward her brothers. About the year 1250 an extensive prose narrative, known as the Thidrekssaga, was written by a Norwegian from oral accounts given him by men from Bremen and Munster. This narrative is interesting as showing the form the saga had taken by that date on Low German territory, and holds an important place in the history of the development of the saga. It has much more to say of the early history of Siegfried than we find in the Nibelungenlied, and yet in the main outlines of the story of Kriemhild's revenge it corresponds with the German epic and not with the Northern Edda. A chronicle of the island of Hven in the Sound, dating in its original form from the sixteenth century, as well as Danish ballads on the same island that have lived on into modern times, tell of Sivard (Siegfried), Brynhild, and also of Grimild's (Kriemhild's) revenge. In Norway and Sweden traces of the saga have recently been discovered; while songs that are sung on the Faroe Islands, as an accompaniment to the dance on festive occasions, have been recorded, containing over six hundred strophes in which is related in more or less distorted form the Nibelungen story.