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 plans
to kill Siegfried to avenge the public slight done to her. She
has no other reason, as Siegfried swears that there had been no
deception. Brunhild appeals to us much less in the
"Nibelungenlied" than in the Norse version. In the latter she
feels herself deeply wronged by Siegfried's faithlessness, and
resolves on his death because she will not be the wife of two