in the two groups of continental sources presents an interesting problem in the study of the development of the legends. The Scandinavian group consciously defends him in all places where his character is in question. The ballads, in fact, have gone a step further. They have entirely eliminated all the episodes in which he appears as "der ungetriuwe." The South German poems, though they all concede Wudga's bravery, stress his faithlessness. In fact, Alpharts Tod has this trait of Wudga's as a central motif. The English sources of information are too brief to permit any final statement concerning their conception of Wudga's personality. They seem, however, to fall in with the Scandinavian sources. Waldhere certainly implies nothing against Wudga; and Widsith has nothing reprehensive except what can be drawn from the term wræcca. What is then the original position of Wudga in heroic tradition? Can we trace the development that finally has given us the two divergent views of his character? I believe that to a certain extent we can. The investigators who have treated Gothic legend have presented numerous schemes of reconstruction-all, however, colored by specific theories concerning Theodoric and Eormenric. None have, I believe, approached the subject with the main object of determining Wudga's place in tradition. If for a moment, however, we subordinate the two main figures of Gothic legend, we may reach better results than our predecessors. W. Grimm, one of the earliest students of these legends, denies the Gothic origin of Wudga. He considers him a Northern hero who has been incorporated into the Theodoric cycle, and with Theodoric has later been joined to the Eormenric cycle. Müller, Müllenhoff, Heinzel, and more recently Jiriczek, consider Wudga identical with Vidigoja, early associated with Eormenric, and later with Theodoric. More recently R. C. Boer has denied the Gothic origin of Wudga, and has denied that the Widsith passage places Wudga in the array of Gothic heroes. He claims that Wudga, the giant-killer, of Waldhere, ThS, the Danish ballads, and Der Rosengarten represents the original hero. Our starting point must be the Widsith passage. To me it seems merely quibbling to deny that Wudga here is considered a follower of Eormenric. Our next source is Waldhere. Again evidence is in favor of classing Wudga as a Goth, for he is closely associated with Theodoric. Here, however, his descent from Wayland links him at a very early date with a well established North German cycle. We have then at an early date Wudga figuring in North German versions of Gothic tradition, for Widsith also must be based on North German material. He is associated with both Eormenric and Theodoric, though the cycles dealing with these heroes are not yet fused. In all later traditions of the two Gothic kings Wudga is known; and in most he plays an important role. Therefore, if all later sources establish the relationship between Wudga and both the kings, there is no reason for explaining away the evidence of the earlier sources that affirm the same relationship. Wudga plays, then, an important role in the two main Gothic cycles before their fusion. Later tradition made Eormenric and Theodoric bitter opponents-Eormenric the great epic type of the base and cruel ruler, Theodoric the exponent of faithfulness and justice. Then came the difficult task of explaining Wudga's appearance in the forces of both kings. The conscious and bungling efforts of the poets are evident. All sources agree on the change of his allegiance from Theodoric to Eormenric. But the hero who leaves the honorable Theodoric to serve the base Eormenric can hardly escape censure. Here we have, in all probability, the real beginning of his career as “der ungetriuwe." The Northern sources and the Rosengarten evidently strive to preserve Wudga's honor; the other sources have found in the episode a chance to develop his baseness. The two groups of sources have diverged farther and farther. If, then, Wudga has independently entered both Gothic cycles and later undergone special development as a result of the fusion of these, the next question that presents itself is that of his origin. There are two possibilities: Either he is the Vidigoja of Gothic tradition or he is a hero of northern origin incorporated into Gothic legends during their development in North Germany. For the former speak, first, the identity of name, and, secondly, the fact that Wudga always is connected with the Gothic heroes. For the latter speak his association with Wayland, and the fact that all later sources class him as a foreign champion at Theodoric's court. The term wræcca of Widsith is strong corroborative evidence. A glance at the general movement of Gothic legend toward the North may be helpful. First, an early influx of Eormenric legends reached the North in time to be incoroporated into the Eddas. The grimness of Eormenric is stressed-cf. Hampismál and Guprunarhvot-but his treachery toward Theodoric is unknown. Wudga is not mentioned. A second movement of Gothic legend, with Theodoric as the central figure, begins after the expulsion of the Goths from Italy in the sixth century. The remnants of the Goths, with their Alemannic allies, migrated to the territory north of Lake Constance. Here the past glories of the nation were developed in song. And from here the legends gradually spread toward the North and eventually reached England. Another movement of legend went from Alemannic territory into Bavaria and Austria, where Theodoric became a prime favorite. But we have no conclusive evidence that Wudga figured in this group. We have one more clue to follow. Wudga is by Waldhere, and all later sources, called the son of Wayland. The Wayland stories are among the earliest Germanic legends, and they are of North German origin.19 If, then, Wudga appears in the early Wayland legends, we have clear evidence against his Gothic origin. But again we are foiled. Neither the first mention of Wayland in English sources-that in Deor's Lament-nor the first in Scandinavian sources Volundarkvipa-mentions Wudga. These sources have as a principal motive the violation of Beaduhild-Nithhad's daughter-by Wayland as vengeance for Nithhad's treachery. The son is not named; and the origin would ill suit an epic hero of Wudga's importance. The development that makes Wudga Wayland's son must, therefore, have come after the real significance of Wayland's and Beaduhild's relations are partly forgotten. We have, therefore, no conclusive proof of Wudga's origin. The meagre evidence available, however, suggests that he is a Northern hero drawn into the other legends through the great cyclic tendency that dominates the last centuries of Germanic epic development. 19 Maurus, Die Wielandssage. A PROLOGUE FOR VOLTAIRE'S ARTEMIRE By GUSTAVE L. VAN ROOSBROECK After the failure of his tragedy Artémire, Voltaire withdrew the play and never allowed it to be printed, so that it is known only through a few fragments gathered by his editors.1 For the first time the play confronted a hostile audience on February 14 or 15, 1720. Voltaire showed deference for public opinion, made some hasty changes in the criticized parts, and persuaded the actors or, as he claims, allowed himself to be persuaded-to make with it one more bid for success, on the 23rd of February, 1720. For eight evenings, until March 8, the play was staged under favorable conditions, but the initial verdict of the public was not changed, and it finally disappeared amidst complete indifference. This failure, of course, kept the wits of the time busy, the more because the phenomenal success of Voltaire's Edipe had aroused the highest expectations. When the changed Artémire was performed on February 23, a manuscript Prologue was circulated, making merry with its lack of theatrical effectiveness. It seems to be a kind of parody of the first scene (Act I) of Artémire, in which she complains of her sufferings as the spouse of the cruel and suspicious Cassandre.2 This Prologue d' Artémire has never been printed, and Voltaire's editors and bibliographers have neglected it, although a manuscript copy is mentioned in the Catalogue Soleinne. I reproduce here the short scene, with identification of some obscure allusions to contemporary celebrities and situations. The text is based on an eighteenth century manuscript in my possession, Receuil de plusieurs Piesse (sic). This 3 1 Euvres de Voltaire, Ed. Moland, Vol. II, pp. 121-153. 2 This Prologue is entirely different from the parody Artémire by Dominique played on March 10, 1720. Cf. Les Parodies du nouveau Théâtre Italien, 1733, Vol. I. 3 Euvres de Volt.-Ed. Moland, Vol. II; Bengesco, Bibliographie de Voltaire, Vol. I; Desnoiresterres, G., Voltaire et la société au XVIIIe siècle, Vol. I, pp. 183 et seq.; Quérard, "Ecrits relatifs aux ouvrages et à la personne de Voltaire, "La France littéraire, Vol. X, p. 363. 4 Bibliothèque dramatique de M. de Soleinne, Catalogue by the Bibliophile Jacob, Vol. V, p. 450. MS. contains 604 pages and can be dated about the end of 1734, since all the contemporary events alluded to in the poems and the satires, as well as the date of composition of the published poetry of the Receuil, are previous to that date. Receuil de plusieurs Piesse, pp. 1-6: Prologue d'Artémire, Tragédie representée pour la première fois le 14 février 1720, et remise au théâtre le 23 du même mois. Artémire: N' allons pas plus avant; demeurons, ma Céphise; Mes yeux sont éblouis du jour que je revois, Céphise.5 Sifflet bruyant que nos pleurs vous apaisent! Artémire. Que ces situations, que ces crimes me pèsent. Céphise. Comme on voit tous ses voeux l'un l'autre se détruire! Tantôt à vous reprendre excitiez les acteurs; Vous la voyez, Madame, et prête à vous cacher, Artémire. Arbitre souverain des succès du théâtre, Céphise. Quoi! Ne perdrez-vous pas cette cruelle envie, 5 Céphise is the Confidente of Artémire in Voltaire's play. • The mother of the Régent had expressed the desire that the play should be staged again, with some changes, after the failure of the first performance. Cf. Desnoiresterres, op. cit. Vol. I, p. 186. 7 Refers to Edipe, played November 18, 1718. |