Epics and Romances of the Middle Ages

Wilhelm Wägner

Wilhelm Wägner

Epics and Romances of the Middle Ages

INTRODUCTION

Legend is not history; but in legend we find embodied historical truths, manners and customs of past ages, beliefs and superstitions otherwise long forgotten, of which history itself takes no account. Legend has preserved for us, maybe in romantic dress, maybe under altered names and circumstances, stirring pictures of heroes and heroines, who once have lived and suffered, fought and conquered, or have faced death with trustful courage; pictures, too, of men of equal prowess, as strong in evil as in might, who, victorious for a time, have yet ever met a stronger power than theirs, stronger in virtue, stronger in might.

As we write, the shadowy forms of terrific Alboin raising aloft his goblet fashioned from royal skull; the noble Siegfried with his loved Chriemhild and the jealous Brunhild; brave King Dietrich; the gentle, patient Gudrun and her beauteous mother Hilde, all flit before the mind, framing themselves into a vivid picture, such as must have lived in the imagination of our early forefathers, stirring them on to noble actions, restraining them from evil working. Thus has good in all ages fought against ill, and all races of men have sung its victory in strains but slightly varying. And so will it ever fight, no matter how our more elaborate ideas of what is good or evil may vary: the nation always glorifies the great and noble according to its own unreasoning reason.

This volume contains the principal hero-lays of the six great epic cycles of the Teutonic Middle Ages, and to them we have added the great mythical Carolingian cycle, which centred round the persons of Charlemagne and his heroes. The latter is mostly of Romance origin, and was composed by court troubadours for the delight of the royal palace, wherefore it never became the true inheritance of the masses. Beside these French poems, stand the Breton ones of King Arthur and his Knights of the Round Table, which later on took up the legend of the Holy Grail into their very heart, and at this period found their way to Germany, where they met with a more romantic and poetic treatment at the hands of the court minnesingers. But these foreign importations never found a true home amongst the German people; they never became popular. The native hero-lays on the other hand, even though less beautiful in conception and in form, lived on through centuries, and even to this day exist, though disguised and degraded. For in the market-places of Germany, and at the few old English fairs that yet remain, the pedlar bookseller gives in exchange for the farthing piece printed versions of many of these old legendary tales: Siegfried’s battle with the Dragon, the Rose-garden, Alberic and Elbegast’s adventures, and other wondrous histories of Teutonic epical origin. But this literature is fast dying out, if, indeed, it may not by this time be said to be already dead. In Iceland, however, and in the Faroe Isles, tradition still holds her throne unconquered. She yet sings to the listening greybeards, to the men and women, and to the growing youth, of Odin and his mighty rule, of Hönir and the wicked Loki, of Thor and Frey, and Freya Queen of Heaven, of the Fenris-wolf and the Midgard-serpent. In the long winter nights she still tells of bold Sigurd’s (Siegfried) deeds and battles, of Gudrun’s faithful love and dumb grief beside the body of her lord, of Gunnar’s marvellous harping in the garden of snakes, and the listeners hold it all in their memory, that they may sing and tell it to their children and their children’s children. And so do they cherish the time-old legends of their fathers, that the ardent youth may still be heard to adjure his bride to love him “with the love of Gudrun,” the master revile his dishonest workmen as “false as Regin” (the evil dwarf), and the old men to shake their heads and say of the daring lad, that he is “a true descendant of the Wolsings.” At the dance, Sigurd-songs are yet sung, at Christ