overpowers Brunhild after the wedding, he effectively "tames" her for Gunther. Hagen also engages in deceit. He masterminds Siegfried's murder, with Gunther being complicit in this scheme. Various scholars defend Hagen's actions by claiming he acts in line with his feudal responsibilities. His queen, Brunhild, is insulted and publicly shamed, and it is his duty to avenge the affronts against her. Nevertheless, the plotting involved in Siegfried's demise, including pinpointing his "weak spot," was undeniably deceitful.

Throughout the narrative, dreams and prophecies frequently emerge, enhancing the ongoing theme of foreshadowing used by the storyteller. Events that follow in the story often mirror these dreams, whether directly or indirectly. At the beginning of the Nibelungenlied, Kriemhild dreams of her marriage to Siegfried and his eventual death. Other dreams appear at pivotal moments in the plot. For example, before Siegfried's hunting trip, Kriemhild has two dreams that seem to predict his demise. Later, she dreams about her brother Giselher before inviting her family to visit her in Hungary. Shortly after, her mother, Uote, dreams that all the birds in Burgundy are dead, interpreting it as a warning that her sons should not go to Hungary—a prediction that becomes true as they all perish there.

The poet of the Nibelungenlied also uses prophecy in additional ways. Hagen receives a warning from the Danube water-faeries that the Burgundians' journey to Hungary will end in catastrophe. These "foretellings," along with the imagery used and the subsequent realization of the dreams within the story, form a crucial part of the poet's foreshadowing technique.

The Nibelungenlied is set in a time when feudal obligations were the socio-political foundation of society. Feudalism was the dominant system in Europe from about the ninth to the thirteenth centuries. It involved a reciprocal relationship between "lord" and "vassal," established through an oath of loyalty. Lords, like Gunther and Etzel, owned the lands of their kingdoms but permitted "vassals" to inhabit and use the land for activities such as farming, hunting, fishing, and trade. Vassalage was not merely about servitude or peasantry; vassals were often of noble birth and included high-ranking, influential individuals, as illustrated by the characters in the Nibelungenlied. In exchange for military and political protection for their families and properties, vassals paid tithes, or yearly sums, to their lords and were obliged to provide military service when needed.

The lord-vassal relationship is a key source of tragedy in the Nibelungenlied. In Chapter 14, Brunhild accuses Siegfried of neglecting his financial responsibilities as a "vassal." She was led to believe that Siegfried was Gunther's vassal, or "liegeman," and therefore she argues that Kriemhild, being of lower social rank, should not precede her into the cathedral. Kriemhild counters this by claiming she is a "free noblewoman," the wife of a lord, not a vassal. This dispute triggers a series of events that ultimately result in Siegfried's death and the downfall of many Burgundians.

In the Middle Ages, women lacked substantial freedom, security, and legal rights. They were not allowed to inherit land, and household finances were usually managed by their husbands. The chivalric code advocated for the respectful treatment of a small group of upper-class and noble women, but it did not grant them autonomy or personal power. Even Kriemhild, a king's wife, finds it difficult to persuade her husband's vassals to defend her honor. Women of the upper class were expected to marry and bear children, with marriages often arranged by their families for social or political purposes. Joining a convent was another limited option available to these women.

The vast majority of women engaged in demanding physical labor, either through work or household management, throughout their lifetimes. Most women received no formal education beyond practical skills such as weaving, spinning, and cooking. Noblewomen, however, were taught to play musical instruments and dance.

Heroism during the Middle Ages had a different connotation than it does today. At that time, heroic deeds involved courageous or exemplary actions, but these were not always seen positively by the public. A person's heroism was largely determined by how they faced destiny, often requiring them to make tough choices without any good options. For instance, while Hagen is sometimes viewed as a moral antagonist, he should also be acknowledged as a hero similar to Siegfried, despite their contrasting personalities. The title of "hero" was bestowed not by the individual but by society itself, and heroism was often connected to wealth and social standing. In the Nibelungenlied, heroism encompassed not only bravery in battle but also other actions that demonstrated strong character, such as Siegfried's help to Gunther in winning Brunhild's hand and his skill in hunting. These actions shaped the image of a character whose status was built on noble virtues like honor, courage, and justice. Even Kriemhild is portrayed as heroic due to her unwavering loyalty to Siegfried. Driven by her determination, she seeks revenge for his death, and although this leads to significant death and destruction, her resolve is considered fundamentally heroic. Rudiger embodies a different type of hero, characterized by his profound moral integrity, kindness, and the tragic internal conflict he faces when he must choose between his feudal duty to Etzel and his pledge of friendship and kinship to the Burgundians.

In the Nibelungenlied, the practices of gift-giving and extending hospitality to guests and friends are deeply interwoven and significant. Hospitality played a pivotal role in nurturing bonds of loyalty and trust among peers. During a time when visitors could be either allies or adversaries, it was crucial to clearly convey one's identity, reputation, and intentions. For example, when Siegfried arrives in Worms, his reputation has already made a name for him. He challenges Gunther for his kingdom to prove his strength and noble heritage, leading to some tense moments before they become friends. Their friendship is based on an agreement of peace, loyalty, and honor. To honor his guest, Gunther offers hospitality. Gift-giving is a symbol of conferring honor and is also integral to their friendship bond.

The romance genre in literature explores themes that are similar to those found in the "epic" genre. It's essential to understand that "romance" in this context refers to a medieval literary genre, distinct from contemporary ideas of romance involving gifts like flowers and chocolates. Medieval "romance" is comparable to today's historical romance novels but features complex plots and richly developed characters who are often "tragic" or "lovesick." Here, the narrative is propelled by plot intricacies and character interactions. Both romance and epic genres utilized specific "conventions." These conventions are literary techniques or structures that both writers and readers recognize as fitting for a particular genre. In a "romance," a knight might fight dragons, engage in battles, or embark on perilous quests not solely for personal glory, but to earn the affection of his cherished lady. For instance, Siegfried's generous decision to battle the Saxons and the Danes is driven less by a desire to demonstrate his martial prowess to Gunther and more by his wish to prove himself a worthy suitor for Kriemhild. As a result, when Kriemhild learns of Siegfried's triumph, she falls even more deeply in love with him. This is an example of a convention in romance.