The epic poem of Gu-drun is one of the most important early literary works of the German race. It is attributed to the latter part of the twelfth or the beginning of the thirteenth century, and to a date a little subsequent to that of the Nibelungen Lied. It was first brought to the notice of the modern world in the year 1817, the only original manuscript now known to exist having been discovered about that time in the castle Ambras in the Tyrol, among other manuscripts which had been collected by the Emperor Maximilian I. (1493-1519). The manuscript is now in the Imperial Library at Vienna. It has been several times edited and printed in the original Middle High German, with critical annotations; various translations into modern German have also been published: but so far as I can learn, no complete metrical version in the English language has been made public.

The name of the author is unknown; it is generally thought to have been constructed, in great measure, from earlier legends which had been repeated by wandering singers. According to the late Karl Bartsch, the distinguished critic and editor of MediÆval German literature, the tale shows affinity to legends of the Scalds of Norway and Denmark, and to those of the Shetland Isles. Traces of resemblance are said to be found among the relics of Anglo-Saxon literature. The supposition that the poem was constructed from various early legends explains some of the marvellous incidents of the tale, and those chronological inconsistencies where the rude habits and ideas of earlier times are combined with the later knightly usages of the Middle Ages and with Christian belief.

The scene of the poem is laid principally on the shores of the North Sea, and includes Ireland and Normandy, as well as Holland, Denmark, and Friesland. Very vague ideas of geography were, however, entertained by the poet. Some names of places are thought to be fabulous, and critics disagree with regard to the modern countries designated by other names used.

The poem is founded upon the themes of love and war, and properly consists of three parts. The first portion, embracing four tales, relates the adventures of Hagen, the grandfather of Gu-drun; the second part gives the story of the wooing and abduction of Hilda, his daughter, the mother of Gu-drun. The proper story of Gu-drun begins only with the ninth tale.

The narrative gives a vivid picture of the ideas, manners, and customs of the age of the author; of the dwellings, dress, and ornaments in use; of the weapons and warfare; of the ships and sea-life; and of the tournaments and court festivities. From it we see the nature of the intellectual amusement enjoyed by the northern nations, at that period of their mental development when literary entertainment in the modern sense was yet unknown, and its place was supplied by listening to the recitals of wandering bards.

Modern German critics agree in assigning a high literary value to the poem of Gu-drun, and compare it not unfavorably with the Nibelungen Lied. Bartsch, the critic above named, says: “The general impression which the poem gives is one of greater beauty, though not always of equal grandeur with that of the Nibelungen; it is a worthy companion-piece. The two are justly compared, as are the Iliad and the Odyssey. In the Nibelungen as in the Iliad the fate of a whole people is decided by the sword, and the ruling house, consisting of noble heroes, meets destruction before our eyes; but the conquerors do not fully rejoice in their success. The whole breathes a tragic spirit, even more than the Greek epic. ‘Nach Freude Leid’—‘after joy comes sorrow’—is the earnest tone throughout. Gu-drun, like the Odyssey, closes more tenderly and in a spirit of reconciliation. Although pitiless fate has destroyed the happiness of those for whom the poet has awakened our sympathy, and we see a noble being suffer in the most shameful manner, yet we are sustained by hope, and a happy end compensates for woes endured. ‘Aus Leid Freude’—‘sorrows end in joy’—is the final conclusion.... All the characters are worked out in the most minute and careful manner, and are developed consistently.... The best traits of the German nature, fearless bravery, unfaltering fidelity, and unswerving integrity, are presented. The nobility of a feminine soul which, inspired by pure love, in the distress of a hard captivity, preserves its fidelity to its beloved, perhaps in no poem of the German middle ages is so strikingly shown as in the character of Gu-drun.... The descriptions both of battle and scenery are masterly, and are painted with a few decisive strokes.”

The metrical form of Gu-drun is similar to that of the Nibelungen. In both, the accentuation is determined by the logical sense, as in prose, and not always by the number of syllables, as in most modern verse. In both, the lines are metrically divided, giving three accents to each half-line of the stanza, except in the fourth line, in which Gu-drun differs from the Nibelungen in having five accents instead of four on the concluding half-line.

The translator has adhered to the original rhythm, and has endeavored in each stanza to convey strictly the ideas of the author, being careful not to introduce anything, in thought or simile, foreign to the poem, and, as far as the verse would permit, to give a verbal rendering.

The translation has been made from Bartsch’s edition of the original Middle High German (Brockhaus, Leipzig, 1874). He, like the other editors, has supplied some omissions in the manuscript, an instance of which may be seen in the sixth line of the fac-simile given. The drawings introduced are copied from mediÆval German printed books.

I wish to acknowledge my obligation to my brother for careful revision and for many important improvements throughout the translation.

M. P. N.

Boston, 1889.