The story of the Nibelungen would ordinarily be supposed to be so distant from the interests of modern life, as scarcely to hold the attention of a reader unless he were interested in it from a scholarly or more or less antiquarian standpoint. For those who think thus, however, there is only one thing that will correct such a false impression and that is to read the Nibelungen itself. It has a depth of simplicity and a sympathetic human interest all its own but that reminds one more of Homer than of anything else in literature, and Homer has faults but lack of interest is not one of them. From the very beginning the story of the young man who does not think he will marry, and whose mother does not think that any one is good enough for him, and of the young woman who is sure that no one will come that will attract enough of her attention so as to compel {180} her to subject herself to the yoke of marriage, are types of what is so permanent in humanity, that the readers' attention is at once caught. After this the fighting parts of the story become the center of interest and hold the attention in spite of the refining influences that later centuries are supposed to have brought to humanity. Hence it is that Prof. Saintsbury in the second volume of his Periods of European Literature, already quoted from, is able to say much of the modern interest in the story. "There may be," as he says, "too many episodic personages--Deitrich of Bern, for instance, has extremely little to do in this galley. But the strength, thoroughness, and in its own savage way, charm of Kriemhild's character, and the incomparable series of battles between the Burgundian princes and Etzel's men in the later cantos--cantos which contain the very best poetical fighting in the history of the world--far more than redeem this. The Nibelungen Lied is a very great poem; and with Beowulf (the oldest but the least interesting on the whole), Roland (the most artistically finished in form), and the poem of the Cid (the cheerfullest and perhaps the fullest of character), composes a quartette of epics with which the literary story of the great European literary nations most appropriately begins. In bulk, dramatic completeness, and a certain furia, the Nibelungen Lied, though the youngest and probably the least original is the greatest of the four." Less need be said of the Nibelungen than of the Cid or Walter Map's work because it is much more familiar, and even ordinary readers of literature have been brought more closely in touch with it because of its relation to the Wagnerian operas. Even those who know the fine old German poems only passingly, will yet realize the supreme genius of their author, and those who need to have the opinions of distinguished critics to back them before they form an estimate for themselves, will not need to seek far in our modern literature to find lofty praises of the old German epic.