Niblungs"). In this the characters are all renamed, some being more or less historical actors in mid-European history, as Theodoric of the East-Goths, for instance. The whole of the earlier part of the story has disappeared, and though Siegfried (Sigurd) has slain a dragon, there is nothing to connect it with the fate that follows the treasure; Andvari, the Volsungs, Fafnir, and Regin are all forgotten; the mythological features have become faint, and the general air of the whole is that of medieval romance. The swoard Gram is replaced by Balmung, and the Helm of Awing by the Tarn-cap--the former with no gain, the latter with great loss. The curse of Andvari, which in the saga is grimly real, working itself out with slow, sure steps that no power of god or man can turn aside, in the medieval poem is but a mere scenic effect, a strain of mystery and magic, that runs through the changes of the story with much added picturesqueness, but that has no obvious relation to the working-out of the plot, or fulfilment of their destiny by the different characters. Brynhild loses a great deal, and is a poor creature when compared with herself in the saga; Grimhild and her fateful drink have gone; Gudrun (Chriemhild) is much more complex, but not more tragic; one new character, Rudiger, appears as the type of chivalry; but Sigurd (Siegfred) the central figure, though he has lost by the omission of so much of his life, is, as before, the embodiment of all the virtues that were dear to northern hearts. Brave, strong, generous, dignified, and utterly truthful, he moves amid a tangle of tragic events, overmastered by a mighty fate, and in life or death is still a hero without stain or flaw. It is no wonder that he survives to this day in the national songs of the Faroe Islands and in the folk-ballads of Denmark; that his legend should have been mingled with northern history through Ragnar Lodbrog, or southern through Attila and Theodoric; that it should have inspired William Morris in producing the one great English epic of the century; (13) and Richard Wagner in the mightiest among his music-dramas. Of the story as told in the saga there is no need here to speak, for to read it, as may be done a few pages farther on, is that not better than to read about it? But it may be urged upon those that are pleased and moved by the passion and power, the strength and deep truth of it, to find out more than they now know of the folk among whom it grew, and the land in which they dwelt. In so doing they will come to see how needful are a few lessons from the healthy life and speech of those days, to be applied in the bettering of our own. H. HALLIDAY SPARLING.