Charlotte M. Yonge. The Dove in the Eagle's Nest
INTRODUCTION
In sending forth this little book, I am inclined to add a few explanatory words as to the use I have made of historical personages. The origin of the whole story was probably Freytag's first series of pictures of German Life: probably, I say, for its first commencement was a dream, dreamt some weeks after reading that most interesting collection of sketches. The return of the squire with the tidings of the death of the two knights was vividly depicted in sleep; and, though without local habitation or name, the scene was most likely to have been a reflection from the wild scenes so lately read of.
In fact, waking thoughts decided that such a catastrophe could hardly have happened anywhere but in Germany, or in Scotland; and the contrast between the cultivation in the free cities and the savagery of the independent barons made the former the more suitable region for the adventures. The time could only be before the taming and bringing into order of the empire, when the Imperial cities were in their greatest splendour, the last free nobles in course of being reduced from their lawless liberty, and the House of Austria beginning to acquire its preponderance over the other princely families.
M. Freytag's books, and Hegewisch's History of Maximilian, will, I think, be found fully to bear out the picture I have tried to give of the state of things in the reign of the Emperor Friedrich III., when, for want of any other law, Faust recht, or fist right, ruled; i.e. an offended nobleman, having once sent a Fehde-brief to his adversary, was thenceforth at liberty to revenge himself by a private war, in which, for the wrong inflicted, no justice was exacted.
Hegewisch remarks that the only benefit of this custom was, that the honour of subscribing a feud-brief was so highly esteemed that it induced the nobles to learn to write! The League of St. George and the Swabian League were the means of gradually putting down this authorized condition of deadly feud.
This was in the days of Maximilian's youth. He is a prince who seems to have been almost as inferior in his foreign to what he was in his domestic policy as was Queen Elizabeth. He is chiefly familiar to us as failing to keep up his authority in Flanders after the death of Mary of Burgundy, as lingering to fulfil his engagement with Anne of Brittany till he lost her and her duchy, as incurring ridicule by his ill-managed schemes in Italy, and the vast projects that he was always forming without either means or steadiness to carry them out, by his perpetual impecuniosity and slippery dealing; and in his old age he has become rather the laughing-stock of historians.
But there is much that is melancholy in the sight of a man endowed with genius, unbalanced by the force of character that secures success, and with an ardent nature whose intention overleapt obstacles that in practice he found insuperable. At home Maximilian raised the Imperial power from a mere cipher to considerable weight. We judge him as if he had been born in the purple and succeeded to a defined power like his descendants. We forget that the head of the Holy Roman Empire had been, ever since the extinction of the Swabian line, a mere mark for ambitious princes to shoot at, with everything expected from him, and no means to do anything. Maximilian's own father was an avaricious, undignified old man, not until near his death Archduke of even all Austria, and with anarchy prevailing everywhere under his nominal rule. It was in the time of Maximilian that the Empire became as compact and united a body as could be hoped of anything so unwieldy, that law was at least acknowledged, Faust recht for ever abolished, and the Emperor became once more a real power.
The man under whom all this was effected could have been no fool; yet, as he said himself, he reigned over a nation of kings, who each chose to rule for himself; and the uncertainty of supplies of men or money to be gained from them made him so often fail necessarily in his engagements, that he acquired a shiftiness and callousness to breaches of promise, which became the worst flaw in his character. But of the fascination of his manner there can be no doubt. Even Henry VIII.'s English ambassadors, when forced to own how little they could depend on him, and how dangerous it was to let subsidies pass through his fingers, still show themselves under a sort of enchantment of devotion to his person, and this in his old age, and when his conduct was most inexcusable and provoking.
His variety of powers was wonderful. He was learned in many languages--in all those of his empire or hereditary states, and in many besides; and he had an ardent love of books, both classical and modern. He delighted in music, painting, architecture, and many arts of a more mechanical description; wrote treatises on all these, and on other subjects, especially gardening and gunnery. He was the inventor of an improved lock to the arquebus, and first divined how to adapt the disposition of his troops to the use of the newly- discovered fire-arms. And in all these things his versatile head and ready hand were personally employed, not by deputy; while coupled with so much artistic taste was a violent passion for hunting, which carried him through many hairbreadth 'scapes. 'It was plain,' he used to say, 'that God Almighty ruled the world, or how could things go on with a rogue like Alexander VI. at the head of the Church, and a mere huntsman like himself at the head of the Empire.' His bon- mots are numerous, all thoroughly characteristic, and showing that brilliancy in conversation must have been one of his greatest charms. It seems as if only self-control and resolution were wanting to have made him a Charles, or an Alfred, the Great.
The romance of his marriage with the heiress of Burgundy is one of the best known parts of his life. He was scarcely two-and-twenty when he lost her, who perhaps would have given him the stability he wanted; but his tender hove for her endured through life. It is not improbable that it was this still abiding attachment that made him slack in overcoming difficulties in the way of other contracts, and that he may have hoped that his engagement to Bianca Sforza would come to nothing, like so many others.
The most curious record of him is, however, in two books, the materials for which he furnished, and whose composition and illustration he superintended, Der Weise King, and Theurdank, of both of which he is well known to be the hero. The White, or the Wise King, it is uncertain which, is a history of his education and exploits, in prose. Every alternate page has its engraving, showing how the Young White King obtains instruction in painting, architecture, language, and all arts and sciences, the latter including magic--which he learns of an old woman with a long-tailed demon sitting, like Mother Hubbard's cat, on her shoulder--and astrology. In the illustration of this study an extraordinary figure of a cross within a circle appears in the sky, which probably has some connection with his scheme of nativity, for it also appears on the breast of Ehrenhold, his constant companion in the metrical history of his career, under the name of Theurdank.
The poetry of Theurdank was composed by Maximilian's old writing- master, Melchior Pfinznig; but the adventures were the Kaisar's own, communicated by himself, and he superintended the wood-cuts. The name is explained to mean 'craving glory,'--Gloriaememor. The Germans laugh to scorn a French translator, who rendered it 'Chermerci.' It was annotated very soon after its publication, and each exploit explained and accounted for. It is remarkable and touching in a man who married at eighteen, and was a widower at twenty-two, that, in both books, the happy union with his lady love is placed at the end--not at the beginning of the book; and in Theurdank, at least, the eternal reunion is clearly meant.
In this curious book, Konig Romreich, by whom every contemporary understood poor Charles of Burgundy--thus posthumously made King of Rome by Maximilian, as the only honour in his power, betroths his daughter Ehrenreich (rich in honour) to the Ritter Theurdank. Soon after, by a most mild version of Duke Charles's frightful end, Konig Romreich is seen on his back dying in a garden, and Ehrenreich (as Mary really did) despatches a ring to summon her betrothed.
But here Theurdank returns for answer that he means first to win honour by his exploits, and sets out with his comrade, Ehrenhold, in search thereof. Ehrenhold never appears of the smallest use to him in any of the dire adventures into which he falls, but only stands complacently by, and in effect may represent Fame, or perhaps that literary sage whom Don Quixote always supposed to be at hand to record his deeds of prowess.
Next we are presented with the German impersonation of Satan as a wise old magician, only with claws instead of feet, commissioning his three captains (hauptleutern), Furwitz, Umfallo, and Neidelhard, to beset and ruin Theurdank. They are interpreted as the dangers of youth, middle life, and old age--Rashness, Disaster, and Distress (or Envy). One at a time they encounter him,--not once, but again and again; and he has ranged under each head, in entire contempt of real order of time, the perils he thinks owing to each foe. Furwitz most justly gets the credit of Maximilian's perils on the steeple of Ulm, though, unfortunately, the artist has represented the daring climber as standing not much above the shoulders of Furwitz and Ehrenhold; and although the annotation tells us that his 'hinder half foot' overhung the scaffold, the danger in the print is not appalling. Furwitz likewise inveigles him into putting the point (schnabel) of his shoe into the wheel of a mill for turning stone balls, where he certainly
