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Quoth the translator, "This translation of the Nibelungenlied is published with the simple purpose of placing one of the world's great epic poems within the reach of English readers." George Henry Needler attempted not just to transliterate the original, but to reproduce its poetic form in modern English; the result is a fine, fine thing and well worth examination.This particular translation is from an edition published as The Nibelungenlied in 1909. The translation is engaging and fairly modern English prose: it opens "Full many a wonder is told us in stories old, of heroes worthy of praise, of hardships dire, of joy and feasting, of the fighting of bold warriors, of weeping and of wailing; now ye may hear wonders told. . . ."

Filled with portrayals of deception, love, murder, and revenge—yet defying traditional medieval epic conventions for representing character—the Nibelungenlied is the greatest and most unique epic in Middle High German. The Klage, its consistent companion text in the manuscript tradition, continues the story, detailing the devastating aftermath of the Burgundians' bloody slaughter. William Whobrey's new volume offers both—together for the first time in English—in a prose version informed by recent scholarship that brilliantly conveys to modern readers not only the sense but also the tenor of the originals.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Quoth the translator, "This translation of the Nibelungenlied is published with the simple purpose of placing one of the world's great epic poems within the reach of English readers." George Henry Needler attempted not just to transliterate the original, but to reproduce its poetic form in modern English; the result is a fine, fine thing and well worth examination.This particular translation is from an edition published as The Nibelungenlied in 1909. The translation is engaging and fairly modern English prose: it opens "Full many a wonder is told us in stories old, of heroes worthy of praise, of hardships dire, of joy and feasting, of the fighting of bold warriors, of weeping and of wailing; now ye may hear wonders told. . . ."

No poem in German literature is so well known and studied in Germany and Europe as the 800-year-old Das Nibelungenlied. In the English-speaking world, however, the poem has remained little known, languishing without an adequate translation. This wonderful new translation by eminent translator Burton Raffel brings the epic poem to life in English for the first time, rendering it in verse that does full justice to the original High Middle German. His translation underscores the formal aspects of the poem and preserves its haunting beauty. Often called the German lliad, Das Nibelungenlied is a heroic epic both national in character and sweeping in scope. The poem moves inexorably from romance through tragedy to holocaust. It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king. In his foreword to the book, Michael Dirda observes that the story could be easily updated to describe the downfall of a Mafia crime family, something like The Godfather, with swords.” The tremendous appeal of Das Nibelungenlied throughout the nineteenth and twentieth centuries is reflected in such works as Richard Wagner’s opera tetralogy Der Ring des Nibelungen, Fritz Lang’s two-part film Die Nibelungen, and, more recently, J. R. R. Tolkien’s The Lord of the Rings.  

A new verse translation of the great German epic poem that inspired Wagner’s Ring Cycle and J. R. R. Tolkien’s The Lord of the Rings No poem in German literature is so well known and studied in Germany and Europe as the 800-year-old Das Nibelungenlied. In the English-speaking world, however, the poem has remained little known, languishing without an adequate translation. This wonderful new translation by eminent translator Burton Raffel brings the epic poem to life in English for the first time, rendering it in verse that does full justice to the original High Middle German. His translation underscores the formal aspects of the poem and preserves its haunting beauty. Often called the German lliad, Das Nibelungenlied is a heroic epic both national in character and sweeping in scope. The poem moves inexorably from romance through tragedy to holocaust. It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king. In his foreword to the book, Michael Dirda observes that the story “could be easily updated to describe the downfall of a Mafia crime family, something like The Godfather, with swords.” The tremendous appeal of Das Nibelungenlied throughout the nineteenth and twentieth centuries is reflected in such works as Richard Wagner’s opera tetralogy Der Ring des Nibelungen, Fritz Lang’s two-part film Die Nibelungen, and, more recently, J. R. R. Tolkien’s The Lord of the Rings.  

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Anonym: Das Nibelungenlied Edition Holzinger. Taschenbuch Berliner Ausgabe, 2015, 4. Auflage Vollständiger, durchgesehener Neusatz bearbeitet und eingerichtet von Michael Holzinger Entstanden: Das Heldenepos eines unbekannten Verfassers entstand vermutlich um 1200 im Raum zwischen Passau und Wien. Es besteht aus 39 Aventiuren mit 2000 Strophen und ist in 11 vollständigen Handschriften und 23 Fragmenten aus dem 13. bis 16. Jh. überliefert. Die hier vorliegende Textfassung folgt der Übersetzung von Karl Simrock. Textgrundlage ist die Ausgabe: Das Nibelungenlied. Übers. v. Karl Simrock, Stuttgart: Alfred Kröner Verlag, 1954 Herausgeber der Reihe: Michael Holzinger Reihengestaltung: Viktor Harvion Umschlaggestaltung unter Verwendung des Bildes: Nibelungenlied Manuscript K, (1480-1490) Gesetzt aus Minion Pro, 10 pt.

Book is in NEW condition. 0.88

Few works of the middle ages can boast the `staying power' of the 'heroic' Nibelungenlied and few have generated more controversy both among scholars and the educated public. The Nibelung theme has been ubiquitous over the past 150 years in a wide spectrum of literary and as well as non-literary endeavors. It was used by Friedrich Hebbel as the basis for one of his best psychological dramas, by Wagner, along with the Old Norse analogues, for Die Ring des Nibelungen, and by the film maker Fritz Lang for his 1920s Expressionist masterpiece, Die Nibelungen. Its heroes provided suitable models for German troops who marched against Napoleon, while by the end of World War II, the Nibelung tradition had provided material for a speech by Göring, the name for Germany's western line of defense, and significantly, the cuffband designation of the last 'division' formed in the elite Combat SS. This Companion to the Nibelungenlied draws on the expertise of scholars from German, Britain, and the United States to offer the reader fresh perspectives on a wide variety of topics regarding the epic: the latest theories regarding manuscript tradition, authorship, conflict, combat, and politics, the Otherworld and its inhabitants, eroticism (in both the Nibelungenlied and Wagner's Ring), the reception both of the Nibelungenlied in the twentieth century and of its most intriguing protagonist, Kriemhild, key concepts used by the poet, the heroic, feudal, and courtly elements in the work, and an analysis of archetypal elements from the perspective of Jungian psychology.BR> Winder McConnell is Professor of German at the University of California, Davis.

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No poem in German literature is so well known and studied in Germany and Europe as the 800-year-old Das Nibelungenlied. In the English-speaking world, however, the poem has remained little known, languishing without an adequate translation. This wonderful new translation by eminent translator Burton Raffel brings the epic poem to life in English for the first time, rendering it in verse that does full justice to the original High Middle German. His translation underscores the formal aspects of the poem and preserves its haunting beauty. Often called the German lliad, Das Nibelungenlied is a heroic epic both national in character and sweeping in scope. The poem moves inexorably from romance through tragedy to holocaust. It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king. In his foreword to the book, Michael Dirda observes that the story could be easily updated to describe the downfall of a Mafia crime family, something like The Godfather, with swords.” The tremendous appeal of Das Nibelungenlied throughout the nineteenth and twentieth centuries is reflected in such works as Richard Wagner’s opera tetralogy Der Ring des Nibelungen, Fritz Lang’s two-part film Die Nibelungen, and, more recently, J. R. R. Tolkien’s The Lord of the Rings.  

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Few works of the middle ages can boast the `staying power' of the 'heroic' Nibelungenlied and few have generated more controversy both among scholars and the educated public. The Nibelung theme has been ubiquitous over the past 150 years in a wide spectrum of literary and as well as non-literary endeavors. It was used by Friedrich Hebbel as the basis for one of his best psychological dramas, by Wagner, along with the Old Norse analogues, for Die Ring des Nibelungen, and by the film maker Fritz Lang for his 1920s Expressionist masterpiece, Die Nibelungen. Its heroes provided suitable models for German troops who marched against Napoleon, while by the end of World War II, the Nibelung tradition had provided material for a speech by Göring, the name for Germany's western line of defense, and significantly, the cuffband designation of the last 'division' formed in the elite Combat SS. This Companion to the Nibelungenlied draws on the expertise of scholars from German, Britain, and the United States to offer the reader fresh perspectives on a wide variety of topics regarding the epic: the latest theories regarding manuscript tradition, authorship, conflict, combat, and politics, the Otherworld and its inhabitants, eroticism (in both the Nibelungenlied and Wagner's Ring), the reception both of the Nibelungenlied in the twentieth century and of its most intriguing protagonist, Kriemhild, key concepts used by the poet, the heroic, feudal, and courtly elements in the work, and an analysis of archetypal elements from the perspective of Jungian psychology.BR> Winder McConnell is Professor of German at the University of California, Davis.

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This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

Heroic poetry from the great epics of German literature. Includes Jungere Hildebrandslied, The Battle of Ravenna, Bitterolf and Dietlieb, and The Rose Garden (Version A).

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

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 dragons portrayed in the four works examined here, BEOWULF, THE SAGA OF THE VOLSUNGS, DAS NIBELUNGENLIED and THIDREKS SAGA each represent an unaticipated challenge to audience expectations concerning dragons and dragon slayers. The assumption that we all know what a dragon is, has been so deeply rooted in our cultural imagination that scholars speak casually of dragons as if the word required no interpretation. In this book the author deploys the techniques and theories of modern literary criticism texts to illuminate the function and meaning of dragons in the medieval Germanic world.