In the north, indeed, the name Grimhildr continued to have a purely mythical character and to be applied only to daemonic beings; but in Germany, the original home of the Nibelungen myth, it certainly lost all trace of this significance, and in the Nibelungenlied Kriemhild is no more than a beautiful princess, the daughter of King Dancrat and Queen Uote, and sister of the Burgundian kings Gunther, Giselher and Gernot, the masters of the Nibelungen hoard.
The origin and nature of the various elements that go to make up the story of the Nibelungenlied have been, and continue to be, the subject of very lively debate.
Theodor Abeling (Das Nibelungenlied and seine Literatur (Leipzig, 1907) gives a full bibliography, embracing 1272 references from 1756 to 1905.
Anew hypothesis was developed by Karl Bartsch in his Untersuchungen fiber das Nibelungenlied (Leipzig, 1865).
This view was adopted by Friedrich Zarncke, who made C the basis of his edition of the Nibelungenlied (Leipzig, 1856).
The destruction of Worms and the Burgundian kingdom by the Huns in 436 was the subject of heroic legends afterwards incorporated in the Nibelungenlied (q.v.) and the Rosengarten (an epic probably of the late 13th century).
Abeling, Nibelungenlied (1907).
To this view Zarncke was so far converted that in the 1887 edition of his Nibelungenlied he admitted that C shows signs of recension and that the B group is purer in certain details.
But people whose love of literature is more independent find it hard to take Wagner's poetry and prose seriously, unless they have already measured him by his music. He effected no reform in literature; his meticulous adherence to the archaic alliteration of the Nibelungenlied is not allied with any sense of beauty in verbal sound or verse-rhythm; and his ways of expressing emotion in language consist chiefly in the piling-up of superlatives.
See Nibelungenlied and also R.