The most curious record of him is, however, in two books, the materials for which he furnished, and whose composition and illustration he superintended, Der Weise King, and Theurdank, of both of which he is well known to be the hero. The White, or the Wise King, it is uncertain which, is a history of his education and exploits, in prose. Every alternate page has its engraving, showing how the Young White King obtains instruction in painting, architecture, language, and all arts and sciences, the latter including magic—which he learns of an old woman with a long-tailed demon sitting, like Mother Hubbard’s cat, on her shoulder—and astrology. In the illustration of this study an extraordinary figure of a cross within a circle appears in the sky, which probably has some connection with his scheme of nativity, for it also appears on the breast of Ehrenhold, his constant companion in the metrical history of his career, under the name of Theurdank.

The poetry of Theurdank was composed by Maximilian’s old writing-master, Melchior Pfinznig; but the adventures were the Kaisar’s own, communicated by himself, and he superintended the wood-cuts. The name is explained to mean “craving glory,”—Gloriæmemor. The Germans laugh to scorn a French translator, who rendered it “Chermerci.” It was annotated very soon after its publication, and each exploit explained and accounted for. It is remarkable and touching in a man who married at eighteen, and was a widower at twenty-two, that, in both books, the happy union with his lady love is placed at the end—not at the beginning of the book; and in Theurdank, at least, the eternal reunion is clearly meant.

In this curious book, König Römreich, by whom every contemporary understood poor Charles of Burgundy—thus posthumously made King of Rome by Maximilian, as the only honour in his power, betroths his daughter Ehrenreich (rich in honour) to the Ritter Theurdank. Soon after, by a most mild version of Duke Charles’s frightful end, König Römreich is seen on his back dying in a garden, and Ehrenreich (as Mary really did) despatches a ring to summon her betrothed.

But here Theurdank returns for answer that he means first to win honour by his exploits, and sets out with his comrade, Ehrenhold, in search thereof. Ehrenhold never appears of the smallest use to him in any of the dire adventures into which he falls, but only stands complacently by, and in effect may represent Fame, or perhaps that literary sage whom Don Quixote always supposed to be at hand to record his deeds of prowess.

Next we are presented with the German impersonation of Satan as a wise old magician, only with claws instead of feet, commissioning his three captains (hauptleutern), Fürwitz, Umfallo, and Neidelhard, to beset and ruin Theurdank. They are interpreted as the dangers of youth, middle life, and old age—Rashness, Disaster, and Distress (or Envy). One at a time they encounter him,—not once, but again and again; and he has ranged under each head, in entire contempt of real order of time, the perils he thinks owing to each foe. Fürwitz most justly gets the credit of Maximilian’s perils on the steeple of Ulm, though, unfortunately, the artist has represented the daring climber as standing not much above the shoulders of Fürwitz and Ehrenhold; and although the annotation tells us that his “hinder half foot” overhung the scaffold, the danger in the print is not appalling. Fürwitz likewise inveigles him into putting the point (schnäbel) of his shoe into the wheel of a mill for turning stone balls, where he certainly hardly deserved to lose nothing but the beak of his shoe. This enemy also brings him into numerous unpleasant predicaments on precipices, where he hangs by one hand; while the chamois stand delighted on every available peak, Fürwitz grins malevolently, and Ehrenhold stands pointing at him over his shoulder. Time and place are given in the notes for all these escapes. After some twenty adventures Fürwitz is beaten off, and Umfallo tries his powers. Here the misadventures do not involve so much folly on the hero’s part—though, to be sure, he ventures into a lion’s den unarmed, and has to beat off the inmates with a shovel. But the other adventures are more rational. He catches a jester—of admirably foolish expression—putting a match to a powder-magazine; he is wonderfully preserved in mountain avalanches and hurricanes; reins up his horse on the verge of an abyss; falls through ice in Holland and shows nothing but his head above it; cures himself of a fever by draughts of water, to the great disgust of his physicians, and escapes a fire bursting out of a tall stove.

Neidelhard brings his real battles and perils. From this last he is in danger of shipwreck, of assassination, of poison, in single combat, or in battle; tumults of the people beset him; he is imprisoned as at Ghent. But finally Neidelhard is beaten back; and the hero is presented to Ehrenreich. Ehrenhold recounts his triumphs, and accuses the three captains. One is hung, another beheaded, the third thrown headlong from a tower, and a guardian angel then summons Theurdank to his union with his Queen. No doubt this reunion was the life-dream of the harassed, busy, inconsistent man, who flashed through the turmoils of the early sixteenth century.

The adventures of Maximilian which have been adverted to in the story are all to be found in Theurdank, and in his early life he was probably the brilliant eager person we have tried in some degree to describe. In his latter years it is well known that he was much struck by Luther’s arguments; and, indeed, he had long been conscious of need of Church reform, though his plans took the grotesque form of getting himself made Pope, and taking all into his own hands.

Perhaps it was unwise to have ever so faintly sketched Ebbo’s career through the ensuing troubles; but the history of the star and of the spark in the stubble seemed to need completion; and the working out of the character of the survivor was unfinished till his course had been thought over from the dawn of the Wittenberg teaching, which must have seemed no novelty to an heir of the doctrine of Tauler, and of the veritably Catholic divines of old times. The idea is of the supposed course of a thoughtful, refined, conscientious man through the earlier times of the Reformation, glad of the hope of cleansing the Church, but hoping to cleanse, not to break away from her—a hope that Luther himself long cherished, and which was not entirely frustrated till the re-assembly at Trent in the next generation. Justice has never been done to the men who feared to loose their hold on the Church Catholic as the one body to which the promises were made. Their loyalty has been treated as blindness, timidity, or superstition; but that there were many such persons, and those among the very highest minds of their time, no one can have any doubt after reading such lives as those of Friedrich the Wise of Saxony, of Erasmus, of Vittoria Colonna, or of Cardinal Giustiniani.

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