The poem _Biterolf_, written soon after the Nibelungenlied, and _Rosengarten_ of perhaps a half-century later, represent Dietrich in conflict with Siegfried at Worms. The famous shoemaker-poet Hans Sachs of Nuremberg in 1557 constructed a tragedy, _Der hornen Sewfriedt_, on the story of Siegfried as he knew it from the _Hurnen Seyfrid_ and the _Rosengarten_. A prose version of the _Hurnen Seyfrid_, with free additions and alterations, is preserved in the _Volksbuch vom gehornten Sigfrid_, the oldest print of which dates from the year 1726. Of the vast number of Fairy Tales, those most genuine creations of the poetic imagination of the people, in which live on, often to be sure in scarcely recognizable form, many of the myths and sagas of the nation's infancy, there are several that may with justice be taken as relics of the Siegfried myth, for instance, The Two Brothers, The Young Giant, The Earth-Manikin, The King of the Golden Mount, The Raven, The Skilled Huntsman, and perhaps also the Golden Bird and The Water of Life;[6] though it would seem from recent investigations that Thorn-Rose or the Sleeping Beauty, is no longer to be looked upon as the counterpart of the sleeping Brynhild. Finally, it is probable that several names in Germany and in Northern countries preserve localized memories of the saga. [6] These will be found in Grimm's Marchen as numbers 60, 90-93, 111, 57, and 97. 5. Poem and Saga in Modern Literature Fundamentally different from the foregoing natural outgrowths of the Nibelungen saga are the modern dramas and poems founded upon it since the time of the romanticists at the beginning of the nineteenth century.[7] Nearly all of these have already vanished as so much chaff from the winnowing-mill of time: only two, perhaps, are now considered seriously, namely, Hebbel's _Die Nibelungen_ and Richard Wagner's _Ring des Nibelungen_. Hebbel in his grandly conceived drama in three parts follows closely the story as we have it in our epic poem the Nibelungenlied, and the skill with which he makes use of its tragic elements shows his dramatic genius at its best. But not even the genius of Hebbel could make these forms of myth and saga live again for us upon a modern stage, and the failure of this work with its wealth of poetic beauty and many scenes of highest dramatic effectiveness to maintain its place as an acting drama is sufficient evidence that the yawning gap that separates the sentiment of the modern world from that of the early centuries in which these sagas grew is not to be bridged over by the drama, however easy and indeed delightful it may be for us to allow ourselves to be transported thither to that romantic land upon the wings of epic story. Wagner in his music-drama in three parts and prelude has followed in the main the saga in its Northern form [8] up to the death of Siegfried and Brunhild, but to the entire exclusion of the latter part of the story in which Atli