The time came when they were to fall. When the rest of Europe was in darkness and enslaved, Bohemia had a pure religion and free institutions: now it is but a province of Austria, and there are not one hundred Protestants in the country. The Emperor Mathias first endeavoured to uproot its liberty, and the Jesuits had been established, to counterbalance, by their insidious system of encroachment, the influence openly possessed by the Protestants. This state of things could not last. The Emperor supported Catholicism, and wished to assimilate Bohemia to his Austrian provinces in language, laws and religion: the national Diet endeavoured to preserve their country as a distinct kingdom. The Emperor insisted on naming his successor, in the person of his brother Ferdinand: the crown had hitherto been elective, and the nobles resolved to preserve their rights. On the death of Mathias, they called to the throne the Elector Palatine, a Calvinist: the Emperor Ferdinand claimed the country as his own, and invaded it.
For one year, Elizabeth of England held a gay and chivalrous court in Prague. Had her husband been a statesman and a soldier, he might have disciplined his brave, enthusiastic subjects, and have repulsed the invasion of Austria. He was vanquished ingloriously, and, forced to fly from the city, he became a wanderer and an exile. Ferdinand triumphed; but a collision between his pretensions and the free institutions of Bohemia was inevitable. The nobles resisted the Emperor’s edicts, and tossed his commissioners out of the windows of the Green Chamber of the palace. This act was the first deed of violence of the thirty years’ war, which hence began, nor ended till all Germany was devastated, and Bohemia enslaved.
We set out on a brief drive round the town, to view the spots where these scenes had taken place. Leaving our hotel, we passed through the crowded and trading Altstadt, and crossed the bridge which connects the Klein Seite with the city. On this stands the statue of St. John Nepomuk, who, the legend says, was thrown from that spot into the Moldau below, for refusing to betray to Wenceslaus IV. secrets confided to him by his Queen in the confessional. A constellation of five stars was observed to hover over the water, exciting the curiosity and terror of the pious; so that at last the river was dragged; the body of the saint was found, and received honourable interment—though not canonization until some centuries after. Such is the legend; but the true history of this saint, as Mr. Reeve[[1]] relates it, differs materially, and is curious. He tells us, he perished a martyr to church reform:—“During the contests between Wenceslaus IV. and the then Archbishop of Prague (John of Genzstein, afterwards Patriarch of Alexandria), with regard to certain matters of church property, the prelate was vigorously supported by his Vicar-General, Johanko von Pomuk, upon whom the King wreaked his vengeance; and the spot is still shewn where he was thrown into the river. This event took place in 1381, and was soon forgotten by the people. Time, however, rolled on; John Huss perished in the flames at Constance, and, as his schism was followed by the larger portion of the Bohemian nation, St. John Huss became an object of popular reverence. I have seen hymns in his honour, which were sung in churches even towards the close of the sixteenth century. But when the Jesuits were installed at Prague, to extirpate the Bohemian heresies, they found it useful to have a St. John of their own. The legend of St. John Nepomuk was invented; his relics were shewn; an epic poem, the Nepomuceidon, was composed by the Jesuit Percicus in his honour in 1729; he was canonized, and his fame spread with amazing rapidity throughout the Catholic Church. These honours are now so intimately connected with the system in which they originated, that I once heard a distinguished Bohemian declare that no good could befal his country till St. John Nepomuk was once more thrown into the Moldau.” Meanwhile, he has become the guardian saint of bridges; his statue, surmounted by the image of the five miraculous stars, in a more or less rude form, finds a place on almost every bridge of Catholic Germany, as it does here on the Bridge of Prague—on the very spot whence he was thrown.
In the Klein Seite the nobles had their palaces, and we saw that of the princely Wallenstein: “coiled as it were round the foot of the imperial rock,”[[2]] to make room for which a hundred humbler houses were rased. Wallenstein, who had arrived at mid life in comparative obscurity, first came forward in a conspicuous manner in the Bohemian war. His immense riches were principally derived from the confiscations of the expelled and exiled Hussites. When some years after his command was taken from him, he built this palace, where he lived in princely grandeur, feeding his imagination with dreams of yet higher glory, ministered to him by Seni the astrologer. It was in early life, during his residence at the University of Padua, that Wallenstein first heard from the Professor Argoli that the stars above echoed the cherished dreams of his own heart. There is no trace, we are told, that Wallenstein ever followed any particular directions emanating from the stars[[3]]; but the knowledge that they predicted greatness biased his imagination, strengthened his resolutions, and made him boldly enter on a career from which a man of lowlier hopes had shrunk.
The stars foretold greatness to Wallenstein; did they foretell, obscurely, so that he could not decipher their true meaning, that he should obtain that, the want of which made Alexander weep—a poet to illustrate his deeds? This greatness was perhaps written in the starry scroll, whose real meaning he could not decipher, and so aimed at a success that ended in defeat, but which, by means of Schiller, has become immortal glory. Such lights as well as shadows lure us on under the form of regarded or despised presentiments.
“I would not call them
Voices of warning that announce to us
Only the inevitable.”
Wallenstein has been peculiarly fortunate in having two poets; for Coleridge’s translation of Schiller’s tragedy, giving the German poetry an English poetic form, causes him to belong to both countries.
Dark shadows for centuries have obscured the name of Wallenstein; amidst the uncertain there is enough of certain to form a hero both in good and ill; but the chief good, which places him side by side with his illustrious rival, Gustavus Adolphus, was his religious toleration, in an age of bitter, cruel, unrelenting religious persecution.