# The German Novelists/Volume 1/Introduction

INTRODUCTION.
The object of the following publication is to present to the English novel reader a succinct view of some of the more favourite prose fictions current in Germany, such as they have been preserved from age to age, even previous to the invention of printing, down to the present period. It is well known, indeed, that no nation is more attached to this class of popular compositions, both in a poetical and a prosaic form, while no country can boast of writers who have more abundantly produced, or more zealously treasured them up. Some of the least national of these, whose origin it is difficult to decide, have already become familiar to us through the medium of more modern versions, and seem to have naturalized themselves in almost every country, whithersoever they have migrated; of this character, perhaps, are the Adventures of the Travelling Jew, of Fortunatus, Reynard the Fox, the Horned Siegfried; opposed to others of a more national cast like Faustus, Howleglass, ​Henry the Lion, &,c. In respect to their generic qualities, as distinguished from those of other countries, we cannot convey an idea of them more clearly than in the words of Mr. Weber, in his Illustrations of Northern Antiquities, when treating on the subject of Teutonic poetry and romance.
“When we compare these Teutonic romances with those of France, England, and Spain, we are immediately struck with the want of chivalrous courtesy in the knights, and with the praises bestowed upon the most savage and ferocious among them. We have not here that constant obedience and attention to the ladies, who are indeed frequently more savage than their lovers. The peculiar diablerie of their romances is, perhaps, their most striking feature. The dwarfs who, by the French minstrels, were represented as mere naturals, and humble attendants upon the knights, are here exalted into creatures of great cunning, having dominion over the interior of the earth, consequently possessing incalculable riches, in gold and gems, and having the stronger but less sagacious race of giants entirely under their controul. The history of the creation of those three great classes, the dwarfs, giants, and heroes, is given by the ​author of the Preface to the Book of Heroes in the following manner:
“‘It should be known for what reason God created the great giants and the little dwarfs, and subsequently the heroes. First, he produced the dwarfs, because the mountains lay waste and useless, and valuable stores of silver and gold, with gems and pearls, were concealed in them. Therefore God made the dwarfs right wise and crafty, that they could distinguish good and bad, and to what use all things should be applied. They knew the use of gems; that some of them gave strength to the wearer, others made him invisible, which were called Fog-caps. Therefore God gave art and wisdom to them, that they built them hollow hills; he gave them nobility, so that they, as well as the heroes, were kings and lords; and he gave them great riches. And the reason why God created the giants, was, that they should slay the wild beasts and worms (dragons and serpents), and thus enable the dwarfs to cultivate the mountains in safety. But after some time, it happened that the giants became wicked and unfaithful, and did much harm ​to the dwarfs. Then God created the heroes, who were of a middle rank, between the dwarfs and giants. And it should be known that the heroes were worthy and faithful for many years, and that they were created to come to the assistance of the dwarfs, against the unfaithful giants, the beasts and the worms. The land was then waste, therefore God made strong heroes, and gave them such a nature, that their mind was ever bent on manhood, and on battles and fights. Among the dwarfs were many kings, who had giants for their servants; for they possessed rough countries, waste forests, and mountains near their dwellings. The heroes paid all observance and honour to the ladies, protected widows and orphans, did no harm to women, except when their life was in danger, were always ready to assist them, and often shewed their manhood before them, both in spirit and in earnest. It should also be known that the heroes were always emperors, kings, dukes, earls, and served under lords or as knights and squires; and that they were all noblemen, and no one was a peasant. And from them are descended all our lords and noblemen.’”
​We here close our extract, as it is not intended to make trial of the reader’s literary patience or taste for black letter research, at the expence of more agreeable requisites. To combine the two, as far as was conceived quite agreeable to the primary and more popular purposes of all fiction, amusing narrative and novelty of incident, has been the aim of the following pages, however inadequately accomplished. It would have opened too wide and unbeaten a field of enquiry, and would have been too little in unison with the light and popular materials of the text, to have attempted any detailed analysis and illustration of the individual origin and ramifications of the specimens here selected from a rich storehouse of traditionary reliques. Far, therefore, from presuming to encroach upon the ancient domain of learned commentators, either of this or a preceding age, all that the editor has, at most, adventured upon, has been to hover a little round the outskirts. To have attempted to introduce his readers into all the learned labyrinths of those ancient and secluded regions of romance, “from time immemorial, set apart for the old wizards and heroes of the north,” would have been on his part far too ambitious an effort.
​It is due, in fairness to himself, that the editor should disclaim any pretensions to the more recondite learning and patient research which characterize the pursuits of the genuine antiquary. Nor would he feel himself justified in calling for that painful attention so requisite on the part of the reader, for a proper appreciation of such labours. He would not, however, be understood to insinuate the slightest depreciation of such works; works, which throw light and splendour upon by-gone days, and conjure up forms of living beauty, or of glory, which were fast disappearing in the mists of antiquity. He would rather avow that he hangs with delight over the pages of the gifted illustrators of our old poetry and drama, or of the living successors of our Ritsons and our Wartons, authors who have gone far to complete those great outlines of antiquarian learning and research chalked out by their predecessors. To the united efforts of Scott, of Weber, of Jamieson; of Herbert, of Douce, of Ellis, and of Dunlop; of Percy, of Johnstone, of Heber, and of Lockart; all of whom conjointly, or severally, have so ardently engaged in unfolding to us the concealed treasures of the past,—we are indebted for that proud distinction to which ​England may still lay claim, in the highest walks of learning, as well as of art; a distinction which need not shrink from a comparison with that of the most famed academicians of France, or the still more recondite and laborious efforts of the Germans.
It is scarcely necessary further to observe, on the part of the present editor, that he has not indulged the ambition of aspiring to any share of those honours, which have been so amply reaped by names like the preceding; though he may perhaps be held excused for attempting to glean a few scattered flowers growing in the same fields, stretching so widely around the northern side of the “Temple of Fame.”
“Of Gothic structure was the northern side, O’erwrought with ornaments of barbarous pride. There huge colosses rose with trophies crown’d, And ruin’d characters were graved around: There sat Zamolxis with erected eyes, And Odin here in mimic trances dies: There on rude iron columns smear’d with blood, The horrid forms of Scythian heroes stood: Druids and bards!—their once loud harps unstrung, And youths that died to be by poets sung.”
Pope.
* ↑ Nebel Kappen.—In the romances themselves, they are not represented as gems, but as a kind of veil, which rendered every thing covered by them invisible.
* ↑ Illustrations of Northern Antiquities; Ancient Teutonic Poetry and Romance. pp. 41. 2.