Urdeutsch (which we have translated Primeval Germans) is a historical novel, the scene of which is laid in the Black Forest towards the second half of the fourth century. The author, Conrad von Bolanden,[22] says in his preface that he intends it to be the first of a series of three illustrating the action of Christianity on the German people: the state in which it found them, that to which it brought them, and that to which he says they are likely to be reduced by modern infidelity. The story—which is mainly put together from facts of the biography of St. Martin, Bishop of Tours, and from descriptions of ancient German life drawn from Roman and German historians—is interesting as the record of a time utterly gone by, and of a state of barbarism incident to the childhood of nations. Very nearly the same characteristics appear in the earliest chapters of the history of all uncivilized tribes, and a special likeness can be traced between the Teutons of the ninth century and the American Indians of the sixteenth and seventeenth. Sprung from widely different races, and experiencing the effects of Christianity in a very different manner, there is yet a striking likeness in some of the manners and customs, the industries, the opinions, and the few moral axioms of both peoples with which Christian missionaries have made us familiar.
The plot of the story is slight, and has the advantage of not being confused and complicated, as is the case in many modern novels. St. Martin, yet a deacon, is travelling to Strassburg with his servant Eustace (one of the best characters in the book), and stumbles upon a sleeping barbarian, whom he awakens from a bad nightmare by the strains of his harp or lyre. He then asks of the gigantic German what is his errand, and the Buffalo (such names were common among the Teutons) tells him that he is on his return from the famous grove of Helygenforst, where he had been sent by Bissula, the only daughter of the last king of the Suevi, to consult an oracle on the issue of a blood-feud between the two noble families of the Walen and the Billing. She and her youngest brother Hermanric are the only representatives left of the former family, her father and her eleven brothers having all fallen victims to the enmity of the Billing. St. Martin remonstrates with the German (a freedman of the Suevi), and tells him that the true God abhors blood-feuds, and, availing himself of the German belief in one Supreme God, the All-Father, whose reign is to be made manifest after the end of the world and the destruction of the gods Odin, Thor, Freya, Loki, etc., tells Buffalo that he is the messenger of the All-Father, and will save the last of the Walen from their danger and dilemma. The German, by his word and his hand (as was also the custom later in the vowing of feudal homage), constitutes himself the Muntwaldo, or protector, of
the deacon, and they set off to the land of the Suevi. Eustace, formerly a soldier under Martin when the latter was a centurion, strongly objects to this arrangement, and grimly reiterates his certainty that nothing will ever transform the hopelessly barbaric Germans. On their way the party are attacked by four Chatti, a tribe opposed to the Suevi, and Martin forbids Buffalo to fight in his behalf, saying that he will willingly go with the strangers, but in six days will not fail to visit the Suevi. Buffalo goes on his way, and the two Romans are taken to the village of Duke Fraomar, the leader of the Chatti.
Here follows an interesting description of the dress and domestic arrangements of the early German tribes. The duke is not an hereditary chieftain, but a leader chosen by the tribe for his valor and strength, who has collected round himself a personal following or guard, a sort of freebooter’s company—the original, perhaps, of the roving bands of “Free Companions” who played such a conspicuous part in the wars of the middle ages. The dress of the freemen of the tribe consisted mostly of skins and furs, with the head of the animal, whether buffalo, stag, wolf, or bear, drawn like a hood over the head, and the front paws tied under the chin or crossed on the breast. The women wore long, rather tight-fitting garments of coarse linen, with short sleeves and bands of gaudy colors sewed round the hem; the feet were bare. Both men and women wore long hair; it was a sign of free or noble birth, and was plentifully greased with butter, as were also, on some occasions, the bodies of the warriors. The children and the slaves were for the most part naked or only provided with leathern
aprons. The house had but one apartment, which served all purposes: the fire was in the middle, while to one side were bundles of straw and skins, the primitive beds, and to the other a slightly-raised platform, the primitive table and chairs. The men sat or lay on this and ate off their shields, or sometimes off wooden platters. The women served them at meals and filled the drinking-horns with beer and mead. Besides these horns, human skulls—those of enemies slain in battle—were used as goblets, and these, together with the skulls of sacred horses and the horns of stags, adorned the walls of the dwelling. There was also generally a wooden chest, clumsily fashioned, containing the clothes of the family. The women, children, and slaves ate round the hearth after their lords, and while these were gambling with dice. The passion of gambling seems to have been an inveterate one, and a man would often stake his all, including wife, children, and slaves—sometimes even himself. If he lost, he was reduced to the condition of a slave. The walls of the house were black and glistening with the smoke of the mighty and continuous fires, and there is no mention of even a hole in the roof as an outlet. St. Martin and his servant are introduced into this wild interior just after the Duke Fraomar has been winning house, lands, slaves, cattle, and even his wife, from a freeman of the “hundred.” The strangers are made welcome and become the guests of the duke, which implies that henceforth their persons are sacred, as nothing was more shameful in the eyes of the Germans than to break their word or infringe the rights of hospitality. Eustace, however, looks ruefully on the evidences
of good-will tendered him in the shape of a kind of oat-broth, seasoned with the primitive German preparation of salt, which (Pliny is responsible for the statement) consisted of charcoal made of oak or hazel, impregnated when hot with the water of salt springs; the black morsels giving the same odor to the broth with which they were mixed.
Duke Fraomar, who has a promise from Odin’s oracle to help him in a foray against the neighboring Suevi, provided he does not attack them before the “ninth full moon,” is rather uneasy at having these strangers, who are under the protection of his enemies, brought to him, in case anything untoward should happen to them, and the Suevi fall upon him to avenge them, before the charmed time. The next day one of the freemen takes the saint and his servant round the settlement; and the author here introduces an account of the old German division of property in a “hundred,” or community of one hundred freemen, each possessing the same quantity of ground, and each obliged to render military service to the head of the tribe. The agricultural economy was by no means contemptible. Ploughed land and land overgrown with bushes alternated in lots, and each was cultivated during six years, then allowed to lie fallow six more. Manuring was unknown, chiefly because the animal manure was used as a safe and warm covering to the earth caves where the grain was stored in winter, and where not seldom the owner and his family also took refuge from the cold. Each freeman had his stables, his slave-huts, and his brewery, the latter being generally a cave in a rock furnished with one or two mighty caldrons.
At the end of this inspection of the “hundred” (such a division exists still in England, though far enough in spirit from the ideal of the free Teutons) the strangers come upon a terrible scene of cruelty and superstition.
The “journey to Walhalla” was the poetical title given to the immolation of aged and wealthy persons of both sexes, who, instead of being allowed to die a natural death, were, according to the ancient custom, first killed and then burned with their possessions, with an accompaniment of religious ceremonies. A pile of wood was raised, and the victims, stupefied with beer, laid thereon, with one or two slaves who were to wait upon them in the halls of Odin; for the Germans believed that no one who died a natural death went to Walhalla, but endured torments and shame in hell. Men and women, therefore, willingly allowed themselves to be killed, and often committed suicide as another means of reaching Walhalla. On this occasion two old men and a woman were to be immolated. A ludicrous dispute occurs here between one of the men and his son, who grudges him two slaves as his servants in Odin’s hall, whereupon the father announces his determination to live rather than go to the other world with so paltry a following. This settles the question, and the son gives up the second slave. A great deal of drinking and a sacred chant by the priest of Odin precede the butchery, and the victims are each killed by one blow of “Thor’s hammer,” wielded by a freeman deputed to this office by the heathen priest. The worst part follows. Just as the pile has been set on fire an infant is thrown on, the child of the woman whom the duke won the
night before at dice. The indifference of the mother at the order for this barbarous execution seems to us rather overdrawn. Human nature is human nature the world over; and if there is one feeling more obstinately ineradicable than any other, it is the feeling of a mother for her child—or, say, in the very lowest possible scale of civilization, of a female for her young. Even though infanticide is common among most heathen nations, and was certainly not unknown among the early Germans, it is rather an exaggeration on the part of the author to represent the mother herself in this case as utterly and absolutely indifferent to the child’s fate. While their guide is busy drinking among the spectators of this scene, Martin and Eustace penetrate the sacred grove, round which is drawn a cord, which no German would have passed with unbound hands. Unknowing of this custom, the strangers enter the wood and gaze on the human skulls and skeletons, the bloody skins and the sacred horse-skulls, hung on the branches of the trees. The priest soon discovers their presence in the holy grove, and threatens to kill them on the spot, but is restrained by the duke’s messenger, their guide. He afterwards goes to the duke and demands that the law shall be carried out, which, for such a sacrilege, decrees that the profaner of the holy grove should lose his right hand and his left foot. Fraomar, thinking of his plan for attacking the Suevi at the ninth moon, and not before, hesitates to consent to the priest’s demand and seeks to protect his guests.