The Saint's Tragedy. Charles Kingsley

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СКАЧАТЬ of God, and woe to the nation and to the man in whom it dies. But in the Middle Age, this feeling had no religious root, by which it could connect itself rationally, either with actual wedlock or with the noble yearnings of men’s spirits, and it therefore could not but die down into a semi-sensual dream of female-saint-worship, or fantastic idolatry of mere physical beauty, leaving the women themselves an easy prey to the intellectual allurements of the more educated and subtle priesthood.

      In Conrad’s case, again, I have fancied that I discover in the various notices of his life a noble nature warped and blinded by its unnatural exclusions from those family ties through which we first discern or describe God and our relations to Him, and forced to concentrate his whole faculties in the service, not so much of a God of Truth as of a Catholic system. In his character will be found, I hope, some implicit apology for the failings of such truly great men as Dunstan, Becket, and Dominic, and of many more whom, if we hate, we shall never understand, while we shall be but too likely, in our own way, to copy them.

      Walter of Varila, a more fictitious character, represents the ‘healthy animalism’ of the Teutonic mind, with its mixture of deep earnestness and hearty merriment. His dislike of priestly sentimentalities is no anachronism. Even in his day, a noble lay-religion, founded on faith in the divine and universal symbolism of humanity and nature, was gradually arising, and venting itself, from time to time, as I conceive, through many most unsuspected channels, through chivalry, through the minne-singers, through the lay inventors, or rather importers, of pointed architecture, through the German school of painting, through the politics of the free towns, till it attained complete freedom in Luther and his associate reformers.

      For my fantastic quotations of Scripture, if they shall be deemed irreverent, I can only say, that they were the fashion of the time, from prince to peasant—that there is scarcely one of them with which I have not actually met in the writings of the period—that those writings abound with misuse of Scripture, far more coarse, arbitrary, and ridiculous, than any which I have dared to insert—that I had no right to omit so radical a characteristic of the Middle Age.

      For the more coarse and homely passages with which the drama is interspersed, I must make the same apology. I put them there because they were there—because the Middle Age was, in the gross, a coarse, barbarous, and profligate age—because it was necessary, in order to bring out fairly the beauty of the central character, to show ‘the crooked and perverse generation’ in which she was ‘a child of God without rebuke.’ It was, in fact, the very ferocity and foulness of the time which, by a natural revulsion, called forth at the same time the Apostolic holiness and the Manichean asceticism of the Mediæval Saints. The world was so bad that, to be Saints at all, they were compelled to go out of the world. It was necessary, moreover, in depicting the poor man’s patroness, to show the material on which she worked; and those who know the poor, know also that we can no more judge truly of their characters in the presence of their benefactors, than we can tell by seeing clay in the potter’s hands what it was in its native pit. These scenes have, therefore, been laid principally in Elizabeth’s absence, in order to preserve their only use and meaning.

      So rough and common a life-picture of the Middle Age will, I am afraid, whether faithful or not, be far from acceptable to those who take their notions of that period principally from such exquisite dreams as the fictions of Fouqué, and of certain moderns whose graceful minds, like some enchanted well,

      In whose calm depths the pure and beautiful

       Alone are mirrored,

      are, on account of their very sweetness and simplicity, singularly unfitted to convey any true likeness of the coarse and stormy Middle Age. I have been already accused, by others than Romanists, of profaning this whole subject—i.e. of telling the whole truth, pleasant or not, about it. But really, time enough has been lost in ignorant abuse of that period, and time enough also, lately, in blind adoration of it. When shall we learn to see it as it was?—the dawning manhood of Europe—rich with all the tenderness, the simplicity, the enthusiasm of youth—but also darkened, alas! with its full share of youth’s precipitance and extravagance, fierce passions and blind self-will—its virtues and its vices colossal, and, for that very reason, always haunted by the twin-imp of the colossal—the caricatured.

      Lastly, the many miraculous stories which the biographer of Elizabeth relates of her, I had no right, for the sake of truth, to interweave in the plot, while it was necessary to indicate at least their existence. I have, therefore, put such of them as seemed least absurd into the mouth of Conrad, to whom, in fact, they owe their original publication, and have done so, as I hope, not without a just ethical purpose.

      Such was my idea: of the inconsistencies and short-comings of this its realisation, no one can ever be so painfully sensible as I am already myself. If, however, this book shall cause one Englishman honestly to ask himself, ‘I, as a Protestant, have been accustomed to assert the purity and dignity of the offices of husband, wife, and parent. Have I ever examined the grounds of my own assertion? Do I believe them to be as callings from God, spiritual, sacramental, divine, eternal? Or am I at heart regarding and using them, like the Papist, merely as heaven’s indulgences to the infirmities of fallen man?’—then will my book have done its work.

      If, again, it shall deter one young man from the example of those miserable dilettanti, who in books and sermons are whimpering meagre second-hand praises of celibacy—depreciating as carnal and degrading those family ties to which they owe their own existence, and in the enjoyment of which they themselves all the while unblushingly indulge—insulting thus their own wives and mothers—nibbling ignorantly at the very root of that household purity which constitutes the distinctive superiority of Protestant over Popish nations—again my book will have done its work.

      If, lastly, it shall awaken one pious Protestant to recognise, in some, at least, of the Saints of the Middle Age, beings not only of the same passions, but of the same Lord, the same faith, the same baptism, as themselves, Protestants, not the less deep and true, because utterly unconscious and practical—mighty witnesses against the two antichrists of their age—the tyranny of feudal caste, and the phantoms which Popery substitutes for the living Christ—then also will my little book indeed have done its work. C. K.

      1848.

CHARACTERS

       Table of Contents

      Elizabeth, daughter of the King of Hungary, Lewis, Landgrave of Thuringia, betrothed to her in childhood.Henry, brother of Lewis.Walter of Varila, } Rudolf the Cupbearer, } Leutolf of Erlstetten, } Hartwig of Erba, } Vassals of Lewis.Count Hugo, } Count of Saym, etc. } Conrad of Marpurg, a Monk, the Pope’s Commissioner for the suppression of heresy.Gerard, his Chaplain.Bishop of Bamberg, uncle of Elizabeth, etc. etc.Sophia, Dowager Landgravine.Agnes, her daughter, sister of Lewis.Isentrudis, Elizabeth’s nurse.Guta, her favourite maiden.Etc. etc. etc

      The Scene lies principally in Eisenach, and the Wartburg; changing afterwards to Bamberg, and finally to Marpurg.

PROEM

       Table of Contents

      (EPIMETHEUS)

      I

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