(Etzel) figures; his work has accordingly hardly any connection with the Nibelungenlied here offered in translation. Only the pious loyalty of national sentiment can assign a high place in dramatic literature to Wagner's work with its intended imitation of the alliterative form of verse; while his philosophizing gods and goddesses are also but decadent modern representatives of their rugged heathen originals. [7] The curious will find a list of these in the introduction to Piper's edition, cited below, Chapter 7. [8] See above, Chapter 2. 6. Modern German Translations The language of the Nibelungenlied presents about the same difficulty to the German reader of to-day as that of our English Chaucer to us. Many translations into modern German have accordingly been made to render it accessible to the average reader without special study. In the year 1767 Bodmer in Zurich published a translation into hexameters of a portion of it, and since the investigations of Lachmann raised it to the position of a national epic of first magnitude many more have appeared, both in prose and verse. The best in prose is that by Scherr, of the year 1860. Of the metrical translations that by Simrock, which in its later editions follows pretty closely the text of MS. C, is deservedly the most popular and has passed through a great number of editions. Bartsch has also made a translation based on his edition of MS. B. These modern versions by Simrock and Bartsch reproduce best the metrical quality of the original strophe. Easily obtainable recent translations are those by Junghans (in Reclam's Universalbibliothek) of text C, and by Hahn (Collection Spemann) of text A. 7. English Translations[9] [9] For a complete list of these, also of magazine articles, etc., relating to the Nibelungenlied, see F. E. Sandbach, The _Nibelungenlied and Gudrun in England and America_, London, 1903.