If the subject matter in the two versions is different, the style is far more so. The simple, condensed, somewhat archaic manner of K. H. stands in marked contrast to the sophisticated style of the French romance. The difference is perhaps that to be expected between two versions, one intended for English-speaking, the other for French-speaking people.[I-5] But the difference is perhaps more largely that between ballad and romance. In K. H. the author gives no evidence of himself directly or indirectly, whereas Thomas, the author of R. H., continually addresses his public in the second person and directly introduces his personal opinion. The incidents which in K. H. are condensed almost to unintelligibility, in R. H. are liberally supplied with motives and explanations. The character of Rimenhild in K. H., almost wild in its naturalness, suggests somewhat one of the female divinities of Germanic mythology. Rimel, of the French romance, is an eminently sophisticated, almost modern young woman who understands the arts of coaxing and of coquetry.
The luxury and refinement described in the French version, contrast[I-6] markedly with the primitive manners and surroundings suggested in the English version. Rimenhild shares her single sleeping-room with her six maidens; Rimel has so many maids that these have private rooms, Rimel keeping by her only her one trusted maid. Rimenhild on her wedding day, has four maid attendants; Rimel, thirty. King Murry’s retinue consists of two knights, and the sons of the king of Westir appear to have been without retinue; in R. H. the two princes in their _mesnée privée_ have _vingt de gens ben escernée_. Even the seneschal of King Hunlaf has twenty knights in his retinue. Stimming further points out the feudalistic relations existing between Horn and his companions in R. H. (as well as in H. C.) of which one can hardly detect a trace in K. H. Further the author of the romance, quite in keeping with the conventions of contemporary romances, has introduced and elaborated descriptions of battles and of sports and tournaments on every possible occasion. In R. H. Horn is a _curteis_ knight, whose knightly honour forbids him to take oath.
Stimming further points out the difference in cultivation of manner as reflected in the love-making scenes of the two versions. When Athulf is introduced to Rimenhild’s bower, _Anon vpon Aþulf child Rymenhild gan wexe wild_, K. H. 295-6, she has him seat himself on her bed, embraces him, and offers herself as his bride. Rimel, on the other hand, who before Aþulf’s coming has carefully regarded the glass, _pur veer sa belted, Pur saver de su vis cum il est culured_, on his appearance, takes him by the hand, leads him to a seat, seats herself beside him, and then expresses the wish, “_Bels amis, dès ore voil estre mise en vostre justise_,” politely adding, “_si vostre plaisir est_.”