The sainthood of St. Ursula is distinctly doubtful, and the number of her retinue, eleven thousand, has been proved to be an error in monkish calligraphy. St. Ursula is, indeed, the Teutonic goddess Ursa, or Hörsel. In many parts of Germany a custom existed during the Middle Ages of rolling about a ship on wheels, much to the scandal of the clergy, and this undoubtedly points to moon-worship, the worship of Holda, or Ursula, whom German poets of old regarded as sailing over the deep blue of the heavens in her silver boat. A great company of maidens, the stars, follow in her train. She is supposed, her nightly pilgrimage over, to enter certain hills.
Thus in the later guise of Venus she entered the Hörselberg in Thuringia, in which she imprisoned the enchanted Tannhäuser, and there is good reason to believe that she also presided over the Ercildoune, or Hill of Ursula, in the south of Scotland, the modern Earlston, after which Thomas the Rhymer took his territorial designation, and whose story later became fused with her myth in the old Scottish ballad of Thomas the Rhymer. Thus we observe how it is possible for a pagan myth to become an incident in Christian hagiology.
In the legends of the Rhine the picturesque figure of his Satanic majesty is frequently presented, as in the legends of The Sword-slipper of Solingen, The Architect of Cologne Cathedral, and several other tales. The circumstances of his appearance are distinctly Teutonic in character, and are such as to make one doubt that the Devil of the German peoples has evolved from the classical satyr. May it not be that the Teutonic folk possessed some nature-spirit from which they evolved a Satanic figure of their own? Against this, of course, could be quoted the fact that the medieval conception of the Devil was sophisticated by the Church, which in turn was strongly influenced by classical types.
Affinity of the Rhine Legends with Romance
But on the whole the legends of the Rhine exhibit much more affinity with medieval romance than with myth or folklore.1 A large number of them are based upon plots which can be shown to be almost universal, and which occur again and again in French and British story. One of the commonest of these concerns the crusader who, rejected by his lady-love, spends hopeless years in the East, or, having married before setting out for the Orient, returns to find his bride the wife of another. The crusader exercised a strong influence upon the literature of medieval Europe, and that influence we find in a very marked degree in the legends of the Rhine. Again, a number of these tales undoubtedly consist of older materials not necessarily mythical in origin, over which a later medieval colour has been cast. Unhappily many of these beautiful old legends have been greatly marred by the absurd sentimentality of the German writers of the early nineteenth century, and their dramatis personae, instead of exhibiting the characteristics of sturdy medieval German folk, possess the mincing and lackadaisical manners which mark the Franco-German novel of a century ago. This contrasts most ludicrously in many cases with the simple, almost childlike, honesty which is typical of all early Teutonic literature. Had a Charles Lamb, a Leigh Hunt, or an Edgar Allan Poe recast these tales, how different would have been their treatment! Before the time of Schiller and Goethe French models prevailed in German literature. These wizards of the pen recovered the German spirit of mystery, and brought back to their haunts gnomes, kobolds, and water-sprites. But the mischief had been done ere they dawned upon the horizon, and there were other parts of Germany which appeared to them more suitable for literary presentment than the Rhine, save perhaps in drama. Moreover, the inherent sentimentality of the German character, however fitted to bring out the mysterious atmosphere which clings to these legends, has weakened them considerably.
