We have now reached Parts Three and Four of “The Legends of The Ring”. Each tells the story of Siegfried; Part Three as a poem and Part Four as a seven act play. Each of these has been translated by Elizabeth Magee who has done remarkably well to maintain the rhyming couplets and rhythm of the originals.
In her introduction to The Lay of Horn-Skinned Siegfried she tells us that it “is an anonymous work, written around 1500, probably in south Germany and possibly in Nuremberg itself…..Despite its popularity, no-one has ever suggested that [it] is world-class literature. Neither the quality of the poetry nor the structure of the poem would qualify for such an epithet.” I agree with her entirely. The lines are in ponderous iambic hexameter. Magee goes on to describe the work as “cobbled together……joints and couplings are so obvious, the starts and restarts, interpolations, contradictions and repetitions, that one begins to conceive an affection for the poet’s modus operandi and to regard these characteristics as part of the poem’s charm.”
The work does recount Siegfried’s full story of birth, adventures, achievements and death. “The youngster was so headstrong, so big and strong and tough/ , His father and his mother had soon had quite enough./ He wouldn’t serve another in all his livelong day,/ And all he thought and cared for was getting right away.”
The Tragedy of Horn-Skinned Siegfried, A Tragedy with Seventeen Characters in Seven Acts, by Hans Sachs, following the tale in the Lay, was written in 1557, with much smoother rhythm also in rhyming couplets. The speeches given to the dramatis personae, for example in the hammering of the anvil, add a certain comedy to the tragedy.
We have a prologue announced by the Herald who tells what the audience will be given and recounts the lessons learned in the Epilogue.
Both works explain “Horn-Skinned”
Here is a repeat of Simon Brett’s relevant engravings.
This completes my focus on The Legends of The Ring.