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f J.H. Obereit, who found the manuscript C at the castle of Hohenems in the Tirol on June 29, 1755; but the scientific study of the poem begins with Karl Lachmann, one of the keenest philological critics that Germany has ever produced. In 1816 he read before the University of Berlin his epoch-making essay upon the original form of the "Nibelungenlied". Believing that the poem was made up of a number of distinct ballads or lays, he sought by means of certain criteria to eliminate all parts which were, as he thought, later interpolations or emendations. As a result of this sifting and discarding process, he reduced the poem to what he considered to have been its original form, namely, twenty separate lays, which he thought had come down to us in practically the same form in which they had been sung by various minstrels.

This view is no longer held in its original form. Though we have every reason to believe that ballads of Siegfried the dragon killer, of Siegfried and Kriemhild, and of the destruction of the Nibelungs existed in Germany, yet these ballads are no longer to be seen in our poem. They formed merely the basis or source for some poet who thought to revive the old heroic legends of the German past which were familiar to his hearers and to adapt them to the tastes of his time. In all probability we must assume two, three, or even more steps in the genesis of the poem. There appear to have been two different sources, one a Low German account, quite simple and brief, the other a tradition of the Lower Rhine. The legend was perhaps developed by minstrels along the Rhine, until it was taken and worked up into its present form by some Austrian poet. Who this poet was we do not know, but we do know that he was perfectly familiar with all the details of courtly etiquette. He seems also to have been acquainted with the courtly epics of Heinrich von Veldeke and Hartman von Ouwe, but his poem is free from the tedious and often exaggerated descriptions of pomp, dress, and court ceremonies, that mar the beauty of even the best of the courtly epics. Many painstaking attempts have been made to discover the identity of the writer of our poem, but even the most plausible of all these theories which considers Kurenberg, one of the earliest of the "Minnesingers", to be the author, because of the similarity of the strophic form of our poem to that used by him, is not capable of absolute proof, and recent investigations go to show that Kurenberg was indebted to the "Nibelungen" strophe for the form of his lyric, and not the "Nibelungenlied" to him. The "Nibelungen" strophe is presumably much older, and, having become popular in Austria through the poem, was adopted by Kurenberg for his purposes. As to the date of the poem, in its present form it cannot go back further than about 1190, because of the exactness of the rhymes, nor could it have been written later than 1204, because of certain allusions to it in the sixth book of "Parzival", which we know to have been written at this date. The two Low German poems which probably form the basis of our epic may have been united about 1150. It was revised and translated into High German and circulated at South German courts about 1170, and then received its present courtly form about 1190, this last version being the immediate source of our manuscripts.

The story of Siegfried, his tragic death, and the dire vengeance visited upon his slayers, which lies at the basis of our poem, antedates the latter by many centuries, and was known to all nations whose languages prove by their resemblance to the German tongue their original identity with the German people. Not only along the banks of the Rhine and the Danube and upon the upland plains of Southern Germany, but also along the rocky fjords of Norway, among the Angles and Saxons in their new home across the channel, even in the distant Shetland Islands and on the snow-covered wastes of Iceland, this story was told around the fires at night and sung to the harp in the banqueting halls of kings and nobles, each people and each generation telling it in its own fashion and adding new elements of its own invention. This great geographical distribution of the legend, and the variety of forms in which it appears, make it difficult to know where we must seek its origin. The northern version is in many respects older and simpler in form than the German, but still it is probable that Norway was not the home of the saga, but that it took its rise in Germany along the banks of the Rhine among the ancient tribe of the Franks, as is shown by the many geographical names that are reminiscent of the characters of the story, such as a Siegfried "spring" in the Odenwald, a Hagen "well" at Lorsch, a Brunhild "bed" near Frankfort, and the well-known "Drachenfels", or Dragon's Rock, on the Rhine. It is to Norway, however, that we must go for our knowledge of the story, for, singularly enough, with the exception of the "Nibelungenlied" and the popular ballad, German literature has preserved almost no trace of the legend, and such as exist are too late and too corrupt to be of much use in determining the original features of the story.

Just when the legend emigrated to Skandinavia we do not know, but certainly at an early date, perhaps during the opening years of the sixth century. It may have been introduced by German traders, by slaves captured by the Northmen on their frequent marauding expeditions, or, as Mogk believes, may have been taken by the Heruli on their return to Norway after their defeat by the Langobardi. By whatever channel, however, the story reached the North, it became part and parcel of Skandinavian folklore, only certain names still pointing to the original home of the legend. In the ninth century, when Harald Harfagr changed the ancient free constitution of the land, many Norwegians emigrated to Iceland, taking with them these acquired legends, which were better preserved in this remote island because of the peaceful introduction of Christianity, than on the Continent, where the Church was more antagonistic to the customs and legends of the heathen period.

The Skandinavian version of the Siegfried legend has been handed down to us in five different forms. The first of these is the poetic or older "Edda", also called Saemund's "Edda", as it was assigned to the celebrated Icelandic scholar Saemundr Sigfusson. The "Codex Regius", in which it is preserved, dates from the middle of the thirteenth century, but is probably a copy of an older manuscript. The songs it contains were written at various times, the oldest probably in the first half of the ninth century, the latest not much before the date of the earliest manuscript. Most of them, however, belong to the Viking period, when Christianity was already beginning to influence the Norwegians, that is, between the years 800 and 1000. They are partly heroic, partly mythological in character, and are written in alliterative strophes interspersed