CHAPTER IV.
HEROIC NAMES OF THE NIBELUNG.
Section I.—The Nibelung.
As the Greeks believed in the exploits of semi-divine heroes, a sort of borderers between Olympus and the human race, so the Teutonic race had its grand universal legends of beings rising above human nature, and often embodying beliefs that once had attached to the gods themselves.
The great Teutonic legend, holding the same place as the deeds of Hercules, Theseus, and the Argonauts did in Greece, or those of Fionn with the Gael, is the story of the Nibelung. How old it may be is past computation, but it was apparently common to the whole Gothic race, since names connected with it come from Spain, Lombardy, and France: fragments of the story are traceable in England and the Faroe Islands, and the whole is told at length in Germany, Norway, and Denmark. Each of these three latter countries claim vehemently to have originated the romance, but there is little doubt that it was one of the original imaginations of the entire race, and that each division moulded the framework their own way, though with a general likeness.
Names of historical personages, probably called from its heroes, have led many to suppose it exaggerated history; but each attempt to fit it on to a real person has resulted in confusion, and led to the perception that the actors are really mythical, and the localities, which chiefly lie in Burgundian Germany, were only connected with it by that general law which always finds a home for every heroic adventure.
The tale is begun by the Norwegian Volsunga Saga, and, about half way through, it is taken up by the Danish Vilkina and Niflung Saga, and by the German Nibelungenlied, and it is finished by numerous Danish ballads and German tales, songs, and poems, with the sort of inconsistencies always to be found in popular versions of ancient myths, but with the same main incidents.
Nifelheim, the supposed abode of these heroes, is interpreted to be nebelwelt, the world of mist, or cloudland, and there can be little doubt that the heroes said to be descended from the mythic Vili, Vidga, and Velint, are, in fact, fallen deities. Germany, however, turned Nifelheim into the Netherlands, and placed the realm of Brynhild in Iceland, and the scene of Aldrian’s and Gunter’s court at Wurms, the centre of the Burgundians.
It is highly probable that the story is another form of the original myth, with the same idea, carried through, of the early death of the glorious victor, and of the revenge for his death, but only through a universal slaughter in which all perish. But the whole has become humanized, and the actors are men and not deities; and thus the allegory is far less traceable.
The story, as it begins in the Volsunga Saga, relates that there were three brothers, Fafner, Reginn, and Audvar, or Ottur, whose name is from the same source as øg, awe, so that he may be another form of Œgir. Transforming himself into the beast that bears his name, for the convenience of catching himself a fish dinner, Ottur was killed, in this shape, by Loki. The father and the other brothers insisted that, by way of compensation, in the Teutonic fashion, Loki should fill the dead otter’s skin with treasure, which he accomplished, but laid the treasure under the curse, that it should do no good to its owner. Accordingly, the amount excited the avarice of Fafner, and after murdering his father, he transformed himself into a dragon, and kept watch over the treasure, to prevent Reginn from obtaining it.[[129]]