It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king."--Jacket.
The first translation into English of this monumental epic in over forty years. Written around the year 1200 by an unknown Middle High German poet, probably an Austrian knight-cleric, The Song of the Nibelungs is composed of thirty-nine adventures and is divided into two major parts. Two great complexes of epic action are joined together: the life and death of Sigfrid, his glory, fault, and betrayal, and the massive destruction of those who betrayed him, engineered by Kriemhild, Sigfrid's wife. The translator has reproduced the principal characteristics of style and language, in a verse form approximating that of the original. This modern translation, with its naturalness of language, will appeal to the general reader and scholar alike.
The Nibelungenlied is the great epic of Germany, the medieval blossom of the Teutonic legends first recorded in the Icelandic Eddas and Sagas and which later bloomed as Wagner's Ring cycle and Tolkien's Lord of the Rings. It is the poem that Goethe credited with "awakening the 'inner memory' of the Germanic peoples," a cultural awakening that led to the first German unification in 1871. There is no better introduction to it for the English reader than Margaret Armour's beautifully illustrated prose translation.
A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycle The scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.
The Nibelungenlied, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.
The Eisner Award-winning series, finally collected in one volume, presents one of the grandest stories of Western civilisation, one of the most explosive epics in the history of comics. Giants plot against gods, who in turn tear human lovers apart, the lives of great warriors are ruined and countless people are slain in the name of love and gold. This re-telling of the Ring Cycle marks a new high point in the career of this true artist's artist, and features a lavish index of production notes, sketches and commmentaries.
The Nibelungenlied ("The Song of the Nibelungs") is an epic poem originally written in in Middle High German around the year 1180. It tells the story of the dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, and of his wife Kriemhild's revenge. Along with the Völsunga saga, the Nibelungenlied served as source material for Richard Wagner's famous four music dramas Der Ring des Nibelungen ("The Ring of the Nibelung"), although the storyline in the Nibelungenlied is far more extensive than in Wagner's work. Based on pre-Christian Germanic heroic motifs which include ancient oral traditions (including the Norse sagas), the Nibelungenlied first appeared from the area of the Danube between Passau and Vienna, from where the oldest manuscripts originate. The epic is divided into two parts, the first dealing with the story of Siegfried and Kriemhild, the wooing of Brünhild and the death of Siegfried at the hands of Hagen, and Hagen's hiding of the Nibelung treasure in the Rhine (Chapters 1-19). The second part deals with Kriemhild's marriage to Etzel (Atilla the Hun), her plans for revenge, the journey of the Burgundians to the court of Etzel, and their last stand in Etzel's hall (Chapters 20-39). The original was written as a poem in 2,400 stanzas, divided up into 39 Aventiuren ("adventures"). This edition has been translated into poem format with the exact metre of the German original. It includes a complete background introductory essay by the translator, in which much fascinating detail of the epic is revealed. About the translator: Major George Henry Needler, PhD, (1866-1962) was born in Millbrook, Canada, and received his BA from University College in 1886 and a PhD from Leipzig. In 1891, he joined the teaching staff of the German Department of University College at the University of Toronto. He was appointed department head in 1914, and held the title until his retirement in 1936.
National Bestseller “A well-researched and well-told epic history. The Dark Queens brings these courageous, flawed, and ruthless rulers and their distant times back to life.”--Margot Lee Shetterly, New York Times-bestselling author of Hidden Figures The remarkable, little-known story of two trailblazing women in the Early Middle Ages who wielded immense power, only to be vilified for daring to rule. Brunhild was a foreign princess, raised to be married off for the sake of alliance-building. Her sister-in-law Fredegund started out as a lowly palace slave. And yet-in sixth-century Merovingian France, where women were excluded from noble succession and royal politics was a blood sport-these two iron-willed strategists reigned over vast realms, changing the face of Europe. The two queens commanded armies and negotiated with kings and popes. They formed coalitions and broke them, mothered children and lost them. They fought a decades-long civil war-against each other. With ingenuity and skill, they battled to stay alive in the game of statecraft, and in the process laid the foundations of what would one day be Charlemagne's empire. Yet after the queens' deaths-one gentle, the other horrific-their stories were rewritten, their names consigned to slander and legend. In The Dark Queens, award-winning writer Shelley Puhak sets the record straight. She resurrects two very real women in all their complexity, painting a richly detailed portrait of an unfamiliar time and striking at the roots of some of our culture's stubbornest myths about female power. The Dark Queens offers proof that the relationships between women can transform the world.
"Daniel Randolph Deal is a Southern aristocrat, having the required bloodline, but little of the nobility. A man resistant to the folly of ethics, he prefers a selective, self-indulgent morality. He is a confessed hedonist, albeit responsibly so."--Back cover
Scientific Essay from the year 2016 in the subject German Studies - Older German Literature, Medieval Studies, grade: -, , language: English, abstract: Around the year 1200, an unknown poet from today's Germany composed the epic 'The Nibelungenlied' or 'Song of the Nibelungs' which became the national epic at the early 19th century. The Georgian national epic of the 'Knight in the Panther Skin' was created at around the same time as the 'Nibelungenlied' by Shota Rustaveli. This coincidence was the motivation to draw a comparison between both medieval poems. The paper includes synopses of both epics, followed by the description of the origin of courtly epic and the national epics in Western Europe and Georgia. After a general comparison of the 'Knight in the Panther Skin' with Western European medieval poetry, a detailed comparison with 'The Nibelungenlied' is provided.