Note 7 — Chapter I

Here I have suppressed a shocking phrase. Goethe, so noble in the form, is not so in the spirit of his poem. He spoils the marvel of the legend by sullying the Greek conception with a horrible Slavish idea. As they are weeping, he turns the maiden into a vampire. She comes because she thirsts for blood, that she may suck the blood from his heart. And he makes her coldly say this impious and unclean thing: “When I have done with him, I will pass on to others: the young blood shall fall a prey to my fury.”

In the Middle Ages this story put on a grotesque garb, by way of frightening us with the Devil Venus. On the finger of her statue a young man imprudently places a ring, which she clasps tight, guarding it like a bride, and going in the night to his couch, to assert her rights. He cannot rid himself of his infernal spouse without an exorcism. The same tale, foolishly applied to the Virgin, is found in the Fabliaux. If my memory does not mislead me, Luther also, in his “Table Talk,” takes up the old story in a very coarse way, till you quite smell the body. The Spanish Del Rio shifts the scene of it to Brabant. The bride dies shortly before her marriage; the death-bells are rung. The bridegroom rushed wildly over the country. He hears a wail. It is she herself wandering about the heath. “Seest thou not”—she says—“who leads me?” But he catches her up and bears her home. At this point the story threatened to become too moving; but the hard inquisitor, Del Rio, cuts the thread. “On lifting her veil,” says he, “they found only a log of wood covered with the skin of a corpse.” The Judge le Loyer, silly though he be, has restored the older version.

Thenceforth these gloomy taletellers come to an end. The story is useless when our own age begins; for then the bride has triumphed. Nature comes back from the grave, not by stealth, but as mistress of the house.