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 1. 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 Müller, 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 it was impossible for a time to disentangle two characters, originally totally distinct, viz. Thjóđrekr of the Edda, the Dietrich of the German poetry on one side, and the King of the Goths, Theodoric, on the other. What had long been said and sung about Thjóđrekr and Dietrich was believed to have happened to King Theodoric, while at the same time historical and local elements in the life of Theodoric, residing at Verona, were absorbed by the legends of Thjóđrekr and Dietrich. The names of the legendary hero and the historical king were probably identical, though even that is not quite certain 2; but at all events, after Theodoric’s death, all the numerous dialectic varieties of the name, whether in High or in Low-German, were understood by the people at large, both of the hero and of the king.
Few names have had a larger number of alias’. They have been carefully collected by Graff, Grimm, Förstemann, Pott, and others. I here give the principal varieties of this name, as actually occurring in MSS., and arranged according to the changes of the principal consonants:—
(1) With Th-d: Theudoricus, Theudericus, Θευδέριχος, Θεοδέριχος, Thiodiricus, Thiodericus, Thiodric, Thiodricus, Thiodrih, Theodoricus, Theodericus, Theoderic, Theodrich, Thiadric, Thiadrich, Thiedorik, Thiederic, Thiederik, Thiederich, Thiedorich, Thiedric, Thiedrich, Thideric, Thiederich, Thidrich, Thodericus, Thiaedric, Thieoderich, Thederich, Thedric.
(2) With T-d: Teudericus, Teudricus, Tiodericus, Teodoricus, Teodericus, Teodric, Teodrich, Tiadric, Tiedrik, Tiedrich, Tiedric, Tidericus, Tiderich, Tederich.
(3) With D-d: Δειδοριξ, Diodericus, Deoderich, Deodrich, Diederich, Diderich.
(4) With Th-t: Thiotiricus, Thiotirih, Thiotiricus, Thiotrih, Theotoricus, Theotericus, Theoterih, Theotrih, Theotrich, Thiatric, Thieterich, Thietrih, Thietrich, Theatrih.
(5) With T-t: Teutrich, Teoterih, Teotrich, Teotrih, Tieterich, Teatrih, Tiheiterich.
(6) With D-t: Dioterih, Diotericus, Diotricus, Deotrich, Deotrih, Dieterih, Dieterich, Dietrich, Diterih, Ditricus.
(7) With Th-th: Theotherich, Theothirich.
(8) With T-th: deest.
(9) With D-th: Dietherich.
It is quite true that, strictly speaking, the forms with Th-d, are Low-German, and those with D-t, High-German, but before we trust ourselves to this division for historical purposes, we must remember three facts: (1) that Proper Names frequently defy Grimm’s Law; (2) that in High-German MSS. much depends on the locality in which they are written; (3) that High-German is not in the strict sense of the word a corruption of Low-German, and, at all events, not, as Grimm supposed, chronologically posterior to Low-German, but that the two are parallel dialects, like Doric and Aeolic, the Low-German being represented by the earliest literary documents, Gothic and Saxon, the High-German asserting its literary presence later, not much before the eighth century, but afterwards maintaining its literary and political supremacy from the time of Charlemagne to the present day.
When Theodoric married Odeflede, the daughter of Childebert, and a sister of Chlodwig, I have little doubt that, at the court of Chlodwig or Clovis, his royal brother-in-law was spoken of in conversation as Dioterih, although in official documents, and in the history of Gregory of Tours, he appears under his classical name of Theodoricus, in Jornandes Theodericus. Those who, with Grimm 3, admit a transition of Low into High-German, and deny that the change of Gothic Th into High-German D took place before the sixth or seventh century, will find it difficult to account, in the first century, for the name of Deudorix, a German captive, the nephew of Melo the Sigambrian, mentioned by Strabo 4. In the oldest German poem in which the name of Dietrich occurs, the song of Hildebrand and Hadebrand, written down in the beginning of the ninth century 5, we find both forms,