The Wibelungen

“Die Wiebelungen”

Published 1848

Overview

Written while Wagner was researching a drama on Frederick Barbarossa, this speculative essay reads medieval German history through myth. Wagner argues that the Frankish royal house regarded itself as the heir of the Nibelungen and of a primeval priest-kingship, that the “Ghibelline” emperors were really “Wibelungen” or Nibelungs, and that the Nibelung Hoard, the symbol of world rule, passed into the spiritual ideal of the Holy Grail and finally sank into mere real property.

Purpose of the Sketch

In a short preface Wagner explains that he had hoped to bring the reawakening of Frederick the Red-beard to the stage. His studies for that drama produced this sketch instead, and they led him to give up the dramatic plan altogether. He offers the work not as new scholarship but as an arrangement of known material that his friends found interesting.

The Primeval Kingship

Wagner imagines the peoples of Europe descending from an ancestral home in the mountains of Asia, the Indian Caucasus, which he supposes was once an island in a flooded northern world. There the first kingship was the patriarchate: the father of the family was both king and priest, and as the family grew into a tribe its founder came to be seen as divine or descended from the gods. Among the peoples who wandered west into Europe, the heads of families formed communes that limited the king, who lost his priestly office and kept mainly the duty of carrying out the community’s decisions. Yet the people still held that kings could be chosen only from the one ancient royal family. This was clearest among the Franks, who never chose a king from outside the Merovingian line however degenerate its members became.

The Franks as Nibelungen

Wagner holds that the Nibelung saga is the birthright of the Frankish people. In its heroic form Siegfried wins the Nibelung Hoard and with it boundless power, and whoever owns the Hoard becomes a Nibelung. The name Nibelung appears among the Frankish royal family, and Wagner treats the Merovingians, Pepins and Carolingians as mythically, if not genealogically, identical with the Nibelungen of the saga. He traces how the Franks subdued the other German tribes and took away their royal houses, how resentment of Frankish rule broke up Charlemagne’s empire, and how the later Saxon, Salian and Hohenstaufen rulers sought legitimacy through marriage ties to the Carolingians and through the Roman imperial crown. With the beheading of young Konradin at Naples, he says, the ancient royal race died out, and after him there were no more German kings or emperors in the full ideal sense.

Welfs and Wibelungen

History alone, Wagner argues, cannot explain the deep motives of nations; for these one must look to religion and saga, which the folk understands better than the learned historian. He rejects Otto of Freising’s derivation of “Ghibelline” from the village of Waiblingen. Instead he proposes that the people turned “Nibelungen” into “Wibelungen” to make an alliterative pair with “Welfen,” and that the Italians later turned these into “Guelphi” and “Ghibelini.” “Welf” originally meant a whelp or pure-bred offspring, and the Welf family of Swabia became the emblem of German tribal independence against Frankish rule. In the thirteenth century this narrower national spirit triumphed, though in the end it served the territorial lords who were breaking up the tribes rather than the people themselves.

The Hoard in Frankish History

Wagner retells early Frankish history as the saga in action. Chlodio of the Nibelgau held the royal authority, perhaps enriched by Roman treasure and insignia that renewed the legend of the Hoard. His kinsman Merwig, entrusted with Chlodio’s infant sons, seized their inheritance, just as Siegfried in the saga keeps the Hoard he was meant to divide among the sons of Nibelung. One son escaped, and his descendants returned as the Pepins, and their heir Charlemagne raised the worldly power built on the Hoard to its height. Charlemagne found himself the only surviving representative of the old German kingship and had the songs of the tribal saga collected because they confirmed his dynasty’s right.

Origin of the Myth

The myth begins, Wagner says, with humanity’s first impression of nature: the worship of light, day and the sun, and the fear of night. Siegfried was originally the sun god who slays the dragon of chaotic night, like Apollo and the Python. As day yields to night, Siegfried is slain, becomes a mortal man, and stirs the motive of revenge, so the ancient struggle passes to his descendants. Wotan arose later as a more abstract supreme god. The Hoard derives from the Nibelungen of Scandinavian myth, the black elves of Nifelheim who mine and forge the earth’s metals. Siegfried wins the Hoard by slaying the dragon, but possession of it brings his death, and every later generation strives to win it back. The Hoard is the earth itself and the means of mastery over it: weapons, the ruler’s ring and gold.

Rome, Troy and the Frankish Claim

Charlemagne found the whole world outside his realm without lawful royal races, with only Rome holding a historic claim to world rule. Wagner describes the Roman awe of Julius Caesar and the Roman legend of descent from Troy through Aeneas, and notes that the Franks soon claimed Trojan descent too, making their king Pharamond into Priam. Behind such legends he sees a memory of an original city of the gods in the Asian homeland, copied by migrating peoples as Asgard, Olympus and Troy, and destroyed by rebellious daughter peoples in a first struggle for the Hoard. When Charlemagne was crowned by the Pope, the oldest kingship and the oldest priesthood seemed to be reunited.

Emperor Against Pope

After Charlemagne the empire’s real power crumbled while its ideal meaning grew, and the Church, at first purely spiritual, gained worldly possessions. The two sides fought for exclusive world dominion. The emperor based his claim on the old tribal belief that the first father was both king and priest. Wagner argues that the Germans could identify Wotan with the Christian God and their dying, avenged tribal god with Christ, adding that Christ is still avenged “on the Jews of to-day.” The Church, in turn, attacked this surviving paganism with mortal dread.

Frederick Barbarossa

Wagner presents Frederick I as the fullest embodiment of the imperial ideal, even though his blood tie to the ancient race was weakest. He paraphrases Frederick’s imagined creed: the Germans are the oldest nation, their king is a Nibelung descended from a son of God called Siegfried by his kin and Christ by other peoples, all property not granted by the emperor is robbery, and the Pope is the emperor’s chief officer. Frederick reconciled with the Welfs, made neighbouring princes his vassals, asserted his rights over the Lombards at Roncaglia, deposed a Pope and destroyed Milan. Against him stood the German territorial lords, the Church, and the Lombard communes, in whose townspeople, without any tribal tradition, Wagner sees for the first time in history the spirit of purely human freedom fighting an ancient sovereignty. Frederick struck that spark, and was defeated at Legnano.

From Hoard to Holy Grail

Frederick made peace with the Pope and the Lombards, crushed the Welf Henry, held a great diet at Mainz, and then set out on crusade, drawn toward Asia and the legend of a priest-king who guarded the Holy Grail. He drowned crossing a river and was never seen again. Wagner notes that the Grail legend appeared just as the imperial idea became more spiritual, and he treats the Grail as the ideal successor of the Nibelung Hoard, guarded by a master who is both priest and king. The saga that began as a nature myth grew through Charlemagne, flowered in Frederick I, gave off its last perfume in Frederick II, and was torn up by the roots with Konradin’s death.

The Residue: Real Property

Konradin was executed by Charles of Anjou, whom Wagner calls the model of all later kingship: rulers like the Capets, whose power rested on cunning, purchase and force rather than any belief in ancestral descent. With the fall of the Wibelungen the Hoard evaporated into poetry, leaving only its dregs, real property. In the saga the Hoard could be won only by heroic deeds, and the early feudal grant rewarded a particular man for a particular service. Once fiefs became hereditary, value passed from the man to his possessions, producing institutions such as primogeniture, and property became the source of all rights, sanctified by Roman law. Meanwhile the poor folk kept singing the Nibelungenlieder and believed the Hoard lay hidden in the Kyffhäuser mountain, where old Redbeard Frederick sits beside the sword that slew the dragon, waiting for better times.