Transcribe
Translate
Fantasy Fan, v. 2, issue 2, whole no. 14, October 1934
Page 20
More information
digital collection
archival collection guide
transcription tips
20 THE FANTASY FAN, October, 1934 SUPERNATURAL HORROR IN LITERATURE by H. P. Lovecraft Part Thirteen (copyright 1927 by W. Paul Cook) VI. Spectral Literature on the Continent On the continent literary horror fared well. The celebrated short tales and novels of Ernst Theodor Wilhelm Hoffmann (1776-1822) are a byword for mellowness of background and maturity of form, though they incline to levity and extravagance, and lack the exalted moments of stark, breathless terror which a less sophisticated writer might have achieved. Generally they convey the grotesque rather than the terrible. Most artistic of all the continental weird tales is the German classic Undine, (1814) by Friedrich Hein-Karl, Baron de la Motte Fouque. In this story of a water-spirit who married a mortal and gained a human soul there is a delicate finness of craftsmanship which makes it notable in any department of literature, and an easy naturalness which places it close to the genuine folk-myth. It is, in fact, derived from a tale told by the Renaissance physician and alchemist Paracleus in his Treatise on Elemental Sprites. Undine, daughter of a powerful water-prince, was exchanged by her father as a small child for a fisherman's daughter, in order that she might acquire a soul by wedding a human being. Meeting the noble youth Huldbrand at the cottage of her foster-father by the sea at the edge of a haunted wood, she soon marries him, and accompanies him to his ancestral castle of Ringstetten. Huldbrand, however, eventually wearies of his wife's supernatural affiliations, and especially of the appearances of her uncle, the malicious woodland waterfall-spirit Kugleborn; a weariness increased by his growing affection from Bertalda, who turns out to be the fisherman's child for whom Undine was exchanged. At length, on a voyage down the Danube, he is provoked by some innocent act of his devoted wife to utter the angry words which consign her back to her supernatural element; from which she can, by the laws of her species, return only once--to kill him, whether she will no, if ever he prove unfaithful to her memory. Later, when Huldbrand is about to be married to Bertalda, Undine returns for her sad duty, and bears his life away in tears. When he his buried among his fathers in the village churchyard a veiled, snow-white female figure appears among the mourners, but after the prayer is seen no more. In her place is a little silver spring, which murmurs its way almost completely around the new grave and empties into a neighbouring lake. The villagers show it to this day, and say that Undine and her Huldbrand are thus united in death. Many passages and atmospheric touches in this tale reveal Fouque as an accomplished artist int he field of the macabre; especially the descriptions of the haunted wood with its gigantic snow-white man and various unnamed terrors, which occur early in the narrative. Not so well known as Undine, but
Saving...
prev
next
20 THE FANTASY FAN, October, 1934 SUPERNATURAL HORROR IN LITERATURE by H. P. Lovecraft Part Thirteen (copyright 1927 by W. Paul Cook) VI. Spectral Literature on the Continent On the continent literary horror fared well. The celebrated short tales and novels of Ernst Theodor Wilhelm Hoffmann (1776-1822) are a byword for mellowness of background and maturity of form, though they incline to levity and extravagance, and lack the exalted moments of stark, breathless terror which a less sophisticated writer might have achieved. Generally they convey the grotesque rather than the terrible. Most artistic of all the continental weird tales is the German classic Undine, (1814) by Friedrich Hein-Karl, Baron de la Motte Fouque. In this story of a water-spirit who married a mortal and gained a human soul there is a delicate finness of craftsmanship which makes it notable in any department of literature, and an easy naturalness which places it close to the genuine folk-myth. It is, in fact, derived from a tale told by the Renaissance physician and alchemist Paracleus in his Treatise on Elemental Sprites. Undine, daughter of a powerful water-prince, was exchanged by her father as a small child for a fisherman's daughter, in order that she might acquire a soul by wedding a human being. Meeting the noble youth Huldbrand at the cottage of her foster-father by the sea at the edge of a haunted wood, she soon marries him, and accompanies him to his ancestral castle of Ringstetten. Huldbrand, however, eventually wearies of his wife's supernatural affiliations, and especially of the appearances of her uncle, the malicious woodland waterfall-spirit Kugleborn; a weariness increased by his growing affection from Bertalda, who turns out to be the fisherman's child for whom Undine was exchanged. At length, on a voyage down the Danube, he is provoked by some innocent act of his devoted wife to utter the angry words which consign her back to her supernatural element; from which she can, by the laws of her species, return only once--to kill him, whether she will no, if ever he prove unfaithful to her memory. Later, when Huldbrand is about to be married to Bertalda, Undine returns for her sad duty, and bears his life away in tears. When he his buried among his fathers in the village churchyard a veiled, snow-white female figure appears among the mourners, but after the prayer is seen no more. In her place is a little silver spring, which murmurs its way almost completely around the new grave and empties into a neighbouring lake. The villagers show it to this day, and say that Undine and her Huldbrand are thus united in death. Many passages and atmospheric touches in this tale reveal Fouque as an accomplished artist int he field of the macabre; especially the descriptions of the haunted wood with its gigantic snow-white man and various unnamed terrors, which occur early in the narrative. Not so well known as Undine, but
Hevelin Fanzines
sidebar
