Nibelungenlied Quotes

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

This is surely the most significant of the elements that Tolkien brought to fantasy.... his arranged marriage between the Elder Edda and "The Wind in the Willows"--big Icelandic romance and small-scale, cozy English children's book. The story told by "The Lord of the Rings" is essentially what would happen if Mole and Ratty got drafted into the Nibelungenlied.

Denn jedem guten Werke liegt auch ein Lob bereit.

Over the sea there dwelt a queen whose like was never known, for she was of vast strength and surpassing beauty. With her love as the prize, she vied with brave warriors at throwing the javelin, and the noble lady also hurled the weight to a great distance and followed with a long leap; and whoever aspired to her love had, without fail, to win these three tests against her, or else, if he lost but one, he forfeited his head.

When I go with my spouse to sign on a mortgage for our new home, I am reminded of the first place we lived together, which reminds me of our honeymoon in New Orleans, which reminds me of alligators, which remind me of dragons, which remind me of The Ring of the Nibelungen, and suddenly, before I know it, there I am humming the Siegfried leitmotif to a puzzled bank clerk.

The artist especially, in whom the power of imitation is particularly strong, must fall prey to the feeble manysidedness of modern life as to a serious childhood illness; in his youth and childhood he will look more like an adult than his real self. The marvellously accurate archetypal youth who is the Siegfried of the Ring des Nibelungen could have been produced only by a man, and by a man moreover who had found his own youth late in life.

The artist especially, in whom the power of imitation is particularly strong, must fall prey to the feeble manysidedness of modern life as to a serious childhood illness; in his youth and childhood he will look more like an adult than his real self. The marvellously accurate archetypal youth who is the Siegfried of the Ring des Nibelungen could have been produced only by a man, and by a man moreover who had found his own youth late in life. And as Wagner's youth came late, so did his full maturity; so that in this respect at least he is the opposite of an anticipatory nature. As soon as his spiritual and moral maturity arrives, the drama of his life also begins. And how different he looks now! Below there rages the precipitate current of a vehement will which as it were strives to reach up to the light through every runway, cave and crevice, and desires power. Only a force wholly pure and free could direct this will on to the pathway to the good and benevolent; had it been united with a narrow spirit, such an unbridled tyrannical will could have become a fatality and a way out into the open, into air and sunlight, was in any event bound to be found soon.

In the brain, all data is freely associated. When I go with my spouse to sing on a mortgage for our new home, I am reminded of the first place we lived together, which reminds me of our honeymoon in New Orleans, which reminds me of alligators, which remind me of dragons, which remind me of The Ring of the Nibelungen , and suddenly, before I know it, there I am humming the Siegfried leitmotif to a puzzled bank clerk. In bureaucracy, things must be kept apart. There is one drawer for home mortgages, another for marriage certificates, a third for tax registers, and a fourth for lawsuits. Otherwise, how can you find anything?

The gods of the right-hand path have bickered and quarreled for an entire age of earth. Each other these deities and their respective priests and ministers have attempted to find wisdom in their own lies. The ice age of religious though can last but a limited time in this great scheme of human existence. The gods of wisdom-defiled have had their saga, and their millennium hath become as reality. Each, with his own 'divine' path to paradise, hath accused the other of heresies and spiritual indiscretions. The Ring of the Nibelungen doth carry an everlasting curse, but only because those who seek it think in terms of 'Good' and 'Evil' - themselves at all time 'Good'. The gods of the past have becomes as their own devils in order to live. Feebly, their ministers play the devil's game to fill their tabernacles and pay the mortgages on their temples. Alas, too long have their studies 'righteousness', and poor and incompetent devils they make. So they all join hands in 'brotherly' unity, and in their desperation to go to Valhalla for their last great ecumenical council.

Les scribes anciens apprirent non seulement à lire et à écrire, mais aussi à utiliser des catalogues, des dictionnaires, des calendriers, des formulaires et des tableaux. Ils étudièrent et assimilèrent des techniques de catalogage, de récupération et de traitement de l’information très différentes de celles du cerveau. Dans le cerveau, les données sont associées librement. Quand, avec mon épouse, je vais signer une hypothèque pour notre nouvelle maison, je me souviens du premier endroit où nous avons vécu ensemble, ce qui me rappelle notre lune de miel à la Nouvelle-Orléans, qui me rappelle les alligators, qui me font penser aux dragons, qui me rappelle L’Anneau des Nibelungen… Et soudain, sans même m’en rendre compte, je fredonne le leitmotiv de Siegfried devant l’employé de banque interloqué. Dans la bureaucratie, on se doit de séparer les choses. Un tiroir pour les hypothèques de la maison, un autre pour les certificats de mariage, un troisième pour les impôts et un quatrième pour les procès. Comment retrouver quoi que ce soit autrement ? Ce qui entre dans plus d’un tiroir, comme les drames wagnériens (dois-je les ranger dans la rubrique « musique » ou « théâtre », voire inventer carrément une nouvelle catégorie ?), est un terrible casse-tête. On n’en a donc jamais fini d’ajouter, de supprimer et de réorganiser des tiroirs. Pour que ça marche, les gens qui gèrent ce système de tiroirs doivent être reprogrammés afin qu’ils cessent de penser en humains et se mettent à penser en employés de bureau et en comptables. Depuis les temps les plus anciens jusqu’à aujourd’hui, tout le monde le sait : les employés de bureau et les comptables ne pensent pas en êtres humains. Ils pensent comme on remplit des dossiers. Ce n’est pas leur faute. S’ils ne pensent pas comme ça, leurs tiroirs seront tout mélangés, et ils seront incapables de rendre les services que leur administration, leur société ou leur organisation demande. Tel est précisément l’impact le plus important de l’écriture sur l’histoire humaine : elle a progressivement changé la façon dont les hommes pensent et voient le monde. Libre association et pensée holiste ont laissé la place au compartimentage et à la bureaucratie.

In their eagerness to eliminate from history any reference to individuais and individual events, collectivist authors resorted to a chimerical construction, the group mind or social mind. At the end of the eighteenth and beginning of the nineteenth centuries German philologists began to study German medieval poetry, which had long since fallen into oblivion. Most of the epics they edited from old manuscripts were imitations of French works. The names of their authors—most of them knightly warriors in the service of dukes or counts—were known. These epics were not much to boast of. But there were two epics of a quite different character, genuinely original works of high literary value, far surpassing the conventional products of the courtiers: the Nibelungenlied and the Gudrun. The former is one of the great books of world literature and undoubtedly the outstanding poem Germany produced before the days of Goethe and Schiller. The names of the authors of these masterpieces were not handed down to posterity. Perhaps the poets belonged to the class of professional entertainers (Spielleute), who not only were snubbed by the nobility but had to endure mortifying legal disabilities. Perhaps they were heretical or Jewish, and the clergy was eager to make people forget them. At any rate the philologists called these two works "people's epics" (Volksepen). This term suggested to naive minds the idea that they were written not by individual authors but by the "people." The same mythical authorship was attributed to popular songs (Volkslieder) whose authors were unknown. Again in Germany, in the years following the Napoleonic wars, the problem of comprehensive legislative codification was brought up for discussion. In this controversy the historical school of jurisprudence, led by Savigny, denied the competence of any age and any persons to write legislation. Like the Volksepen and the Volkslieder, a nation s laws, they declared, are a spontaneous emanation of the Volksgeist, the nations spirit and peculiar character. Genuine laws are not arbitrarily written by legislators; they spring up and thrive organically from the Volksgeist. This Volksgeist doctrine was devised in Germany as a conscious reaction against the ideas of natural law and the "unGerman" spirit of the French Revolution. But it was further developed and elevated to the dignity of a comprehensive social doctrine by the French positivists, many of whom not only were committed to the principies of the most radical among the revolutionary leaders but aimed at completing the "unfinished revolution" by a violent overthrow of the capitalistic mode of production. Émile Durkheim and his school deal with the group mind as if it were a real phenomenon, a distinct agency, thinking and acting. As they see it, not individuais but the group is the subject of history. As a corrective of these fancies the truism must be stressed that only individuais think and act. In dealing with the thoughts and actions of individuais the historian establishes the fact that some individuais influence one another in their thinking and acting more strongly than they influence and are influenced by other individuais. He observes that cooperation and division of labor exist among some, while existing to a lesser extent or not at ali among others. He employs the term "group" to signify an aggregation of individuais who cooperate together more closely.

The reader will have noticed that one no longer treats the siege of Troy as a myth. To do so would be to exhibit a most uncritical mind; even the legends of King Arthur have a historic foundation, and those of the Nibelungen are still more probable.

In Glory Our World Must End

For Du Bois, the taproot of the collective soul of black Americans was the Negro spiritual. It was to the African-American what the Nibelungenlied is to the Teuton or The Odyssey to the Greek, the expression in an archaic poetic idiom of the Volk’s spiritual strivings, revealing an inner strength that has endured enslavement and persecution. Just as German “folk psychologists” explained that a people’s past, recycled as myth, could become a permanent part of their collective “soul experience,” Du Bois now suggested that this was what had happened with slavery. Far from being relegated to the past, it determined all subsequent meaningful cultural activity for black people. Having black blood in America meant having the soul experience of being a slave, even if (as in the case of Du Bois) none of one’s family members or ancestors had actually been in bondage.

It is noteworthy that about the year 1200, the Nibelungenlied, with its poetic version of the Siegfried story, was written, probably in Austria. At approximately the same time or within seven decades, The Saga of the Volsungs was compiled in Iceland with far fewer chivalric elements than its German counterpart. Almost all the Old Norse narrative material that has survived—whether myth, legend, saga, history, or poetry—is found in Icelandic manuscripts, which form the largest existing vernacular literature of the medieval West. Among the wealth of written material is Snorri Sturluson’s Prose Edda, a thirteenth century Icelandic treatise on the art of skaldic poetry and a handbook of mythological lore. The second section of Snorri’s three-part prose work contains a short and highly readable summary of the Sigurd cycle which, like the much longer prose rendering of the cycle in The Saga of the Volsungs, is based on traditional Eddic poems (Jesse Byock)

There’s nothing contradictory about appreciating Wagner’s Der Ring des Nibelungen and also getting a kick out of calling Amy Schumer a boring cunt.

Reading is never purely an act of isolation. When we read, we enter into a world of commonality, whether of language, story, or material object. Reading socializes. “To us these marvelous tales have been told,” begins the great medieval German epic The Nibelungenlied.

Mammoth columns were rooted in the flagstones and the sawdust. Arches flew in broad hoops from capital to capital; crossing in diagonals, they groined the barrel-vaults that hung dimly above the smoke. The place should have been lit by pine-torches in stanchions. It was beginning to change, turning now, under my clouding glance, into the scenery for some terrible Germanic saga, where snow vanished under the breath of dragons whose red-hot blood thawed sword-blades like icicles. It was a place for battle-axes and bloodshed and the last pages of the Nibelungenlied when the capital of Hunland is in flames and everybody in the castle hacked to bits. Things grew quickly darker and more fluid; the echo, the splash, the boom and the road of fast currents sunk this beer-hall under the Rhine-bed; it became a cavern full of more dragons, misshapen guardians of gross treasure; or the fearful abode, perhaps, where Beowulf, after tearing the Grendel's arm out of its socket, tracked him over the snow by the bloodstains and, reaching the mere's edge, dived in to swim many fathoms down and slay his loathsome water-hag of a mother in darkening spirals of gore.

And so self forever veils itself so not be by itself. So to love and be loved in eternal return.

The Land of the Nibelungen, just like the real world under such intervention, is a frightfully distorted place. It is physically impossible to devote more land to timber production because all the pastureland currently in use appears to be quite profitable and, indeed, deserving of expansion, as well.

The benefits of taking language (i.e. Reason fleshed out) to the sphere of Myth lie in the fact that myth is not founded on a thought, as the children of an artificial culture believe, it is itself a mode of thinking'; indeed 'it communicates an idea of the world, but as a succession of events, actions and sufferings. Der Ring des Nibelungen is a 'tremendous system of thought without the conceptual form of thought'. Wagner's music drama, in actuality, benefits from a combined mode of representing the world whereby music, language, theatrics and visuals merge into myth.

The benefits of taking language (i.e. Reason fleshed out) to the sphere of Myth lie in the fact that 'myth is not founded on a thought, as the children of an artificial culture believe, it is itself a mode of thinking' (Nietzsche); indeed 'it communicates an idea of the world, but as a succession of events, actions and sufferings. Der Ring des Nibelungen is a tremendous system of thought without the conceptual form of thought' (Nietzsche). Wagner's music drama, in actuality, benefits from a combined mode of representing the world whereby music, language, theatrics and visuals merge into myth. This, however, showcases a 'mode of thinking', or 'thought without the conceptual form of thought', rather than a 'repetition of cases by virtue of [a dialectical ] closure' (Deleuze) of meaning, that is, a betrayal of the experience (Deleuze) embodied in Life, or Art for that matter.

Then, Wagner premiered his successful Der Ring des Nibelungen opera (often known simply as The Ring Cycle) and his visions, along with those of his costume designer Carl Emil Doepler, spread across the world. He mixed together an awesome but peculiar combination of Norse, Germanic, Bronze Age and Viking history with a massive dose of imagination and unleashed an army of Valkyries and ‘barbarians’ with horned and winged helmets that marched into our collective consciousness.

asleep. He fell asleep during Nibelungen.