Roman and the Teuton | Page 6

to achieve. Historians by profession would naturally be incensed at some portions of this book, but even they would probably admit by this time, that there are in it whole chapters full of excellence, telling passages, happy delineations, shrewd remarks, powerful outbreaks of real eloquence, which could not possibly be consigned to oblivion.
Nor would it have been possible to attempt to introduce any alterations, or to correct what may seem to be mistakes. The book is not meant as a text-book or as an authority, any more than Schiller's History of the Thirty Years' War; it should be read in future, as what it was meant to be from the first, Kingsley's thoughts on some of the moral problems presented by the conflict between the Roman and the Teuton. One cannot help wishing that, instead of lectures, Kingsley had given us another novel, like Hypatia, or a real historical tragedy, a Dietrich von Bern, embodying in living characters one of the fiercest struggles of humanity, the death of the Roman, the birth of the German world. Let me quote here what Bunsen said of Kingsley's dramatic power many years ago:
'I do not hesitate (he writes) to call these two works, the Saint's Tragedy and Hypatia, by far the most important and perfect of this genial writer. In these more particularly I find the justification of a hope which I beg to be allowed to express--that Kingsley might continue Shakspeare's historical plays. I have for several years made no secret of it, that Kingsley seems to me the genius of our century, called to place by the side of that sublime dramatic series from King John to Henry VIII, another series of equal rank, from Edward VI to the Landing of William of Orange. This is the only historical development of Europe which unites in itself all vital elements, and which we might look upon without overpowering pain. The tragedy of St. Elizabeth shows that Kingsley can grapple, not only with the novel, but with the more severe rules of dramatic art. And Hypatia proves, on the largest scale, that he can discover in the picture of the historical past, the truly human, the deep, the permanent, and that he knows how to represent it. How, with all this, he can hit the fresh tone of popular life, and draw humourous characters and complications with Shakspearian energy, is proved by all his works. And why should he not undertake this great task? There is a time when the true poet, the prophet of the present, must bid farewell to the questions of the day, which seem so great because they are so near, but are, in truth, but small and unpoetical. He must say to himself, "Let the dead bury their dead"--and the time has come that Kingsley should do so.'
A great deal has been written on mistakes which Kingsley was supposed to have made in these Lectures, but I doubt whether these criticisms were always perfectly judicial and fair. For instance, Kingsley's using the name of Dietrich, instead of Theodoric, was represented as the very gem of a blunder, and some critics went so far as to hint that he had taken Theodoric for a Greek word, as an adjective of Theodorus. This, of course, was only meant as a joke, for on page 120 Kingsley had said, in a note, that the name of Theodoric, Theuderic, Dietrich, signifies 'king of nations.' He therefore knew perfectly well that Theodoric was simply a Greek adaptation of the Gothic name Theode-reiks, theod meaning people, reiks, according to Grimm, princeps {p1}. But even if he had called the king Theodorus, the mistake would not have been unpardonable, for he might have appealed to the authority of Gregory of Tours, who uses not only Theodoricus, but also Theodorus, as the same name.
A more serious charge, however, was brought against him for having used the High-German form Dietrich, instead of the original form Theodereiks or Theoderic, or even Theodoric. Should I have altered this? I believe not; for it is clear to me that Kingsley had his good reasons for preferring Dietrich to Theodoric.
He introduces him first to his hearers as 'Theodoric, known in German song as Dietrich of Bern.' He had spoken before of the Visi-Gothic Theodoric, and of him he never speaks as Dietrich. Then, why should he have adopted this High-German name for the great Theodoric, and why should he speak of Attila too as Etzel?
One of the greatest of German historians, Johannes von Muller, does the same. He always calls Theodoric, Dietrich of Bern; and though he gives no reasons for it, his reasons can easily be guessed. Soon after Theodoric's death, the influence of the German legends on history, and of history on the German legends, became so great that