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omans in the year 436, but the rebellion was quietly suppressed by the Roman general Aetius. Though defeated, the Burgundians were not subdued, and the very next year they broke their oaths and again sought to throw off the Roman yoke. This time the Romans called to their aid the hordes of Huns, who had been growing rapidly in power and were already pressing hard upon the German nations from the east. Only too glad for an excuse, the Huns poured into the land in great numbers and practically swept the Burgundian people from the face of the earth. According to the Roman historians, twenty thousand Burgundians were slain in this great battle of the Catalaunian Fields. Naturally this catastrophe, in which a whole German nation fell before the hordes of invading barbarians, produced a profound impression upon the Teutonic world. The King Gundahar, the Gunther of the "Nibelungenlied", who also fell in the battle, became the central figure of a new legend, namely, the story of the fall of the Burgundians.

Attila is not thought to have taken part in the invasion, still, after his death in 454, his name gradually came to be associated with the slaughter of the Burgundians, for a legend operates mainly with types, and as Attila was a Hun and throughout the Middle Ages was looked upon as the type of a cruel tyrant, greedy for conquest, it was but natural for him to play the rôle assigned to him in the legend. Quite plausible is Boer's explanation of the entrance of Attila into the legend. The "Thidreksaga" locates him in Seest in Westphalia. Now this province once bore the name of "Hunaland", and by a natural confusion, because of the similarity of the names, "Huna" and "Huns", Attila, who is the chief representative of Hunnish power, was connected with the legend and located at Seest. This would show that the original extension of the legend was slight, as Xanten, the home of Hagen, is but seventy miles from Seest. The original form would then be that Hagen was slain by a king of "Hunaland", then because history relates that the Burgundians were slain by the Huns, the similarity of the names led to the introduction of Attila and the identification of the Nibelungs with the Burgundians. The fact, too, that the Franks rapidly took possession of the district depopulated by the crushing defeat of the Burgundians likewise aided the confusion, and thus the Franks became the natural heirs of the legend concerning the death of Gunther, and so we read of the fall of the Nibelungs, a name that is wholly Frankish in character. This identification led also to Attila's being considered the avenger of Siegfried's death. Poetic justice, however, demands that the slaughter of the Burgundians at the hands of Attila be also avenged. The rumor, that Attila's death was not natural, but that he had been murdered by his wife Ildico ("Hildiko"), gave the necessary features to round out the story. As Kriemhild was the sister of the Burgundian kings, it was but natural to explain her killing of Attila, as described in the Norse versions, by her desire to avenge her brothers.

In our "Nibelungenlied", however, it is no longer Attila, but Kriemhild, who is the central figure of the tragedy. Etzel, as he is called here, has sunk to the insignificant role of a stage king, a perfectly passive observer of the fight raging around him. This change was brought about perhaps by the introduction of Dietrich of Berne, the most imposing figure of all Germanic heroic lore. The necessity of providing him with a role corresponding to his importance, coupled with a growing repugnance on the part of the proud Franks to acknowledge defeat at the hands of the Huns, caused the person of Attila to dwindle in importance. Gradually, too, the role played by Kriemhild was totally changed. Instead of being the avenger of her brothers, as depicted in the Norse versions, she herself becomes the cause of their destruction. Etzel is not only innocent of any desire to harm the Nibelungs, but is even ignorant of the revenge planned by his wife. This change in her role was probably due to the feeling that it was incumbent upon her to avenge the murder of Siegfried.

Our "Nibelungenlied" knows but little of the adventures of Siegfried's youth as depicted in the Norse versions. The theme of the poem is no longer the love of Sigurd, the homeless wanderer, for the majestic Valkyrie Brunhild, but the love idyll of Siegfried, the son of the king of the Netherlands, and the dainty Burgundian princess Kriemhild. The poem has forgotten Siegfried's connection with Brunhild; it knows nothing of his penetrating the wall of flames to awake and rescue her, nothing of the betrothal of the two. In our poem Siegfried is carefully reared at his father's court in the Netherlands, and sets out with great pomp for the court of the Burgundians. In the Norse version he naturally remains at Gunther's court after his marriage, but in our poem he returns to the Netherlands with his bride. This necessitates the introduction of several new scenes to depict his arrival home, the invitation to the feast at Worms, and the reception of the guests on the part of the Burgundians.

In the "Nibelungenlied" the athletic sports, as an obstacle to the winning of Brunhild, take the place of the wall of flames of the older Norse versions. Siegfried and Gunther no longer change forms, but Siegfried dons the "Tarnkappe", which renders him invisible, so that while Gunther makes the motions, Siegfried really does the work, a thing which is rather difficult to imagine. The quarrel of the two queens is likewise very differently depicted in the "Nibelungenlied" from what it is in the Norse version. In the latter it takes place while the ladies are bathing in the river, and is brought on by the arrogance of Brunhild, who refuses to stand lower down the stream and bathe in the water flowing from Gudrun to her. In the "Thidreksaga" it occurs in the seclusion of the ladies' apartments, but in our poem it culminates in front of the cathedral before the assembled court, and requires as its background all the pomp and splendor of medieval chivalry. With a master hand and a wonderful knowledge of female character, the author depicts the gradual progress of the quarrel until it terminates in a magnificent scene of wounded pride and malignant hatred. Kriemhild, as usual, plays the more important part, and, while standing up for her rights, tries in every way to conciliate Brunhild and not to hurt her feelings. At last, however, stung by the taunts of the latter, she in turn loses her patience, bursts out with the whole story of the twofold deception to which Brunhild has been subjected, and then triumphantly sweeps into the church, leaving her rival stunned and humiliated by the news she has heard. In the Norse tradition the scene serves merely to enlighten Brunhild as to the deception played upon her. In the "Nibelungenlied" it becomes the real cause of Siegfried's death, for Brunhild plan