Читать книгу Ekkehard (Historical Novel) - Joseph Victor von Scheffel - Страница 5

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This book was written with the firm belief that neither history nor poetry will lose anything, by forming a close alliance, and uniting their strength by working together.

For the last thirty years or so, the bequest of our ancestors has been the subject of universal investigation. A swarm of busy moles have undermined the ground of the middle-ages in all directions, and produced by their untiring industry such a quantity of old material, as to surprise even the collectors themselves. A whole literature, beautiful and perfect in itself; an abundance of monuments of the plastic art; a well organized political and social life, lies extended before our eyes. And yet all the labour and goodwill spent on this subject, has hardly succeeded in spreading to wider circles, pleasure and interest in this newly won historical knowledge. The numberless volumes stand quietly on the shelves of our libraries. Here and there, well-to-do spiders have begun to spin their cobwebs, and the pitiless, all-covering dust has come too, so that the thought is hardly improbable, that all this old German splendour, but just conjured back into life, may one morning at cockcrow fade away and be buried in the dust and mouldering rubbish of the Past,--like to that weird cloister by the lake, the existence of which is only betrayed by the faint low tinkle of the bell, deep, deep under the waters.

This is not the place to examine how far this result is attributable to the ways and methods of our scientific men.

The accumulation of antiquarian lore, as well as the accumulation of gold, may become a passion, which collects and scrapes together for the sake and pleasure of scraping; quite forgetting that the metal which has been won, needs to be purified, remelted, and put to use. For else, what do we attain by it? Merely the being for ever confined within the narrow limits of the rough material; an equal valuation of the unimportant and the important; an unwillingness ever to finish and conclude anything, because here and there some scrap might still be added, which would lend a new significance to the subject;--and finally a literature of scholars for scholars, which the majority of the nation passes by with indifference and while looking up at the blue sky feel intensely grateful to their Creator, that they need read nothing of it.--

The writer of this book,--in the sunny days of his youth,--once took a ramble with some friends through the Roman Campagna. There, they lit on the remains of an old monument, and amongst other rubbish and fragments, there lay, half hidden by dark green acanthus leaves, a heap of mosaïc stones, which, united into a fine picture with graceful ornaments, had formerly adorned the floor of a grave. Then, there arose a lively discussion as to what all the dispersed square little stones might have represented, when they were still united. One, a student of archæology, took up some of the pieces, to examine whether they were black or white marble. A second who occupied himself with historical studies, talked very learnedly about ancient sepulchres;--meanwhile a third had quietly sat down on the old wall, taken out his sketch-book and drawn a fine chariot with four prancing steeds, and charioteers, and around it some handsome Ionic ornaments. He had discovered in a corner of the floor, some insignificant remains of the old picture; horses feet and fragments of a chariot wheel, and at once the whole design stood clearly before his mind, and he dashed it down with a few bold strokes, whilst the others dealt in words merely …

This little incident may serve to throw some light on the question, how one can work with success, at the historical resurrection of the Past. Surely, this can be done then only, when to a creative, reproducing imagination are given its full rights; when he who digs out the old bodies, breathes upon them the breath of a living soul, so that they may rise and walk about, like the resuscitated dead.

In this sense, the historical novel may become what epic poetry was in the time of the blooming youth of the nations,--a piece of national history, in the conception of the artist, who within a certain space, shows us a series of distinctly-drawn, clearly coloured figures, in whose individual lives, strivings and sufferings, the life and substance of the time in which they lived, is reflected as in a mirror.

Erected on the basis of historical studies, and embracing the beautiful and important part of an epoch, the historical novel may well claim to be the twin brother of history; and those who, shrugging their shoulders are inclined to reject the former as the production of an arbitrary and falsifying caprice, will please to remember, that history as it is generally written, is also but a traditional conglomeration of the true and the false, which merely by its greater clumsiness is prevented from filling up the occasional gaps, as the more graceful poesy can do.

If all the signs are not deceiving us, our present time is in a peculiar state of transition.

In all branches of knowledge, the perception is gaining ground, how intensely our thinking and feeling has been damaged by the supremacy of the Abstract and of Phraseology. Here and there, efforts are being made, to return from dry, colourless, hyperbolical abstractions, to the tangible, living, glowing Concrete; from idle self-contemplation, into close relation with life and the present, and from hackneyed formulas and patterns, to an investigating analysis of nature, and a creative productivity, instead of mere barren criticism.

Who knows, but our grandchildren may yet live to see the day, when people will speak of many a former colossus of science, with the same smiling veneration, as of the remains of a gigantic antediluvian animal; and when one may avow, without fear of being cried down as a barbarian, that in a jug of good old wine, there is as much wisdom, as in many a voluminous production of dry dialectics.

To the restitution of a serene, unbiassed view of things, adorned by poetry, the following work would wish to contribute; taking its materials out of our German Past.

Amongst the vast collection of valuable matter, enclosed in the big folios of the "Monumenta Germaniae" by Pertz, are the tales of the monasteries in St. Gall, which monk Ratpert began, and Ekkehard the younger (called also the fourth, to distinguish him, from three other members of the cloister, bearing the same name), continued till the end of the 10th century.

Whoever has painfully tracked his weary road, through the many unsatisfactory dry-as-dust chronicles of other monasteries, will linger with real pleasure and inward delight, over these last named annals. There, one finds, in spite of manifold prejudices and awkwardnesses, an abundance of graceful and interesting tales, taken from accounts of eye and ear witnesses. Persons and circumstances are drawn with rough, but distinct lineaments, whilst a sort of unconscious poetry,--a thoroughly honest and genuine view of life and the world, as well as a naïve freshness and originality, puts a stamp of truth and genuineness on everything that is told; even when persons and events are not strictly subjected to the laws of time; and when a very tangible anachronism, causes very slight uneasiness to the chronicler.

Quite unintentionally, these sketches lead one far beyond the boundaries of the cloister-walls; painting the life and ways, the education and customs of the Allemannic country,¹ as it then was, with all the fidelity of a picture painted from nature. Times were pleasant then in the south-western part of Germany, and everyone who prefers a striving and healthy, though rough and imperfect strength, to a certain varnished finish, will feel much sympathy with them. The beginning of church and state,--whilst a considerable roughness, tempered by much natural kindliness, still clung to the people in general; the feudal spirit, so pernicious to all later development, as yet harmless, in its first stage of existence; no supercilious, overbearing knighthood, and wanton ignorant priesthood as yet,--but rough, plainspoken, honest fellows, whose social intercourse frequently consisted in an extended system of verbal and real injuries, but who, under their coarse husk, hid an excellent kernel; susceptible of all good and noble things. Scholars, who in the morning translate Aristotle into German, and go wolf-hunting in the evening; noble ladies, full of enthusiasm for the old classics; peasants, in whose memory the old heathen beliefs of their forefathers still exist, unimpaired and side by side with the new christian creed,--in short, everywhere primitive but vigorous life, and conditions under which one feels inclined without contempt or rational ire, to put up even with sprites and hobgoblins.

In spite of political discord and a certain indifference towards the empire, of which Saxony had become the central point, there was much courage and valour, inspiring even monks in their cells, to exchange the breviary for the sword, in order to resist the Hungarian invasion; and although there were many elements opposed to science, serious study and much enthusiasm for the classics were preserved.

The highly frequented cloister-schools were full of zealous disciples, and the humane principles taught there, remind one of the best times in the 16th century. Besides this, the fine arts began to bud,--some eminent minds rising here and there above the multitude; a general culture of national history, though mostly dressed up in outlandish garments.

No wonder then, that the author of this book, when making some other researches concerning the first stages of the middle-ages, chancing to meet with those chronicles, felt like a man, who after long wanderings through a barren unfertile land, comes suddenly upon a comfortable wayside inn; which, with excellent kitchen and cellar, and a lovely view from the windows, offers all that heart could desire.

So he began to settle down in that cozy nook, and by diligently exploring the surrounding land, to gain the best possible knowledge of the country and people who lived in it.

But the poet meets with a peculiar fate, when trying to acquaint himself with the old Past. Where others, into whose veins nature has instilled some "aqua fortis,"--as the result of their labours produce many an abstract theory, and a quantity of instructive deductions,--to him appear a host of fantastic figures, that, at first surrounded by floating mists, become always clearer and clearer; and they look at him with pleading eyes, dance around his couch in midnight hours, and always whisper to him, "give us a living form."

Thus it was here. Out of the old Latin cloister-tales there arose, like rocks out of the water, the towers and walls of the monastery of St. Gall. Scores of grey-headed, venerable friars wandered up and down in the ancient cross-passages; behind the old manuscripts sat those who had once written them; the cloister-pupils played merrily in the courtyard; from the choir rose the solemn chaunts at midnight, and from the tower the clear sound of the bugle announced the approach of visitors. But before all other forms, there arose in dazzling beauty, that noble, haughty Dame, who carried off the youthful master from the quiet and peace of the cloister of St. Gall, to her rocky castle high over the Bodensee, there, to teach and propagate the old classics. The simple account given by the chronicler, of that quiet life, dedicated to the study of Virgil, is in itself a piece of poetry as beautiful and genuine as can be found anywhere.

He, however, who is beset by such apparitions cannot exorcise them otherwise, but by doing their will; trying to condense and fix their fleeting shapes. And not having read in vain in the old stories, how "Notker the stutterer," once treated similar visions, viz. by taking a strong hazel wand and therewith belabouring the spectres, until they revealed unto him their finest songs,--I also took to my arms, the steel-pen, and saying good-bye to the old folios which had been the sources of all these visionary fancies, I betook myself to the ground which had once been trodden by the Duchess Hadwig, and her contemporaries.

There, I sat in the venerable library of St. Gallus; took long rows in little rocking boats over the Bodensee; found a nest for myself under the old linden-tree at the foot of the Hohentwiel, where a worthy old Suabian bailiff has at present charge of the ruins of the ancient fortress, and finally climbed the airy Alpine heights of the Säntis, where the "Wildkirchlein" hangs like an eagle's nest over the green valley of Appenzell. There, in the wards of the "Suabian Sea," mind and soul filled with the life of bygone generations; the heart refreshed by warm sunshine and balmy mountain air, I first sketched and then completed the greater part of this story.

That not much has been said therein, which is not founded on conscientious historical studies, can be boldly asserted; though persons and dates have sometimes been dealt with a little freely. The poet, in order to enhance the inward harmony of his work, may occasionally take liberties which would be most blameworthy, if indulged in by the strict historian. And yet the great historian Macaulay himself says: "I shall cheerfully bear the reproach of having descended below the dignity of history if I can succeed in placing before the English of the 19th century, a true picture of the life of their ancestors."

Following the advice of some competent judges, I have given in an appendix some proofs and references to the sources out of which I have taken my materials, in order to satisfy those, who might otherwise be inclined to treat the subject as a mere fable or idle invention. Those, however, who do not require these same proofs to believe in the genuineness of the matter, are requested not to trouble themselves further with the notes, as they are otherwise of little import, and would be quite superfluous, if this book did not go out into the world in the garb of a novel, which is somewhat open to the suspicion of playing carelessly with facts and truths.²

The attacks of the critics will be received with great imperturbability. "A tale of the 10th century?" will they exclaim. "Who rideth so late, through night and wind?" And has it not been printed in the last manual of our national literature, in the chapter treating of the national novel: "If we ask which epoch in German history might be best suited to combine the local with the national interests, we must begin by excluding the middle-ages. Even the times of the Hohenstaufen, can only be treated in a lyrical style, as all efforts in other directions, are sure to turn out utter failures."

All the scruples and objections of those who prefer an anatomizing criticism, to a harmless enjoyment, and who spend all their strength in trying to force the German spirit into an Alexandrine or Byzantine form,--these have already been well answered by a literary lady of the tenth century, viz. the venerable nun Hroswitha of Gandersheim, who wrote in happy, self-conscious pleasure in her own work, in the preface to her graceful comedies: "If anybody should derive pleasure, from these my modest productions, I shall be much pleased thereat; but if on the contrary, on account of the objectivity displayed therein, or of the roughness of an imperfect style, it should please no one, then at least I myself shall take pleasure in that which I have created."

Heidelberg, February, 1855.

J. V. Scheffel.

¹ The Allemannic land or Allemannia as it was then called, consisted of part of the present Würtemberg, Baden and Lothringen; where a dialect, called "Allematmisch" has been preserved to the present day.

² These notes, for the greatest part have been omitted, as being of no possible interest to the English reader.