The Germanic Heldenlied and the Poetic Edda : Speculations on Preliterary History

Abstract

One of the proudest inventions of German scholarship in the nineteenth century was the Heldenlied, the heroic song, which was seen by scholars as the main conduit of Germanic heroic legend from the Period of Migrations to the time of their being written down in the Middle Ages. The concept stems indirectly from the suggestions of several eighteenth-century Homeric scholars that since the Homeric poems were much too long to have been memorized and performed in oral tradition, they must have existed as shorter, episodic songs. Friedrich August Wolf's well-known Prolegomena ad Homerum (1795) collected evidence for the idea that writing was not used for poetry until long after Homer's time. He argued for a thorough recension of the poem under (or perhaps by) Pisistratus in the sixth century BCE as the first comprehensive written Homer. These ideas were almost immediately applied to the Middle High German Nibelungenlied by Karl Lachmann (1816), who was trained as a classical philologist and indeed continued to contribute in that area at the same time that he was one of the most influential members of the generation that founded the new discipline of Germanistik. On the basis of rough spots and contradictions (not only Homer nods!) Lachmann thought he could recognize twenty separate Lieder in the Middle High German epic. At the same time that Lachmann was deconstructing the German medieval epic, Elias Lönnrot was assembling the Finnish epic he called Kalevala from shorter songs in conscious imitation of the Homer (or Pisistratus) described by Wolf. The Liedertheorie advanced by Wolf and Lachmann was revised by Andreas Heusler in the early years of the twentieth century. Heusler (1905) used the songs of the Poetic Edda as his models and decided that the way from song to epic was not by stringing the songs together with clumsily [End Page 43] composed bridge passages, but by a process of expansion (Aufschwellung).1 The individual song contained within it the entire story (Fabel) and the epic poet simply expanded material contained within the song to produce his work. The relationship between Lied and Epos was, Heusler argued, like that between an acorn and a tree, not the relationship between individual pearls and a necklace. A by-product of these theoretical musings is the concept of the Germanic Heldenlied, which was essentially a product of cogitation at the writing desk. Few of its spiritual fathers ever heard an oral heroic song or epic of any kind, and they worked out the form mainly from a conviction of what the transmission of heroic legend would have had to be, rather than from a consideration of the surviving evidence. Preliterate poetry, they argued, must have been composed just like literate poetry, that is, by a poet who composed by "writing" on the tablet of his memory, very much as the literate poets of the nineteenth century wrote on paper. The theory came first and the evidence was adjusted to fit. The fact that there is not a single Germanic Heldenlied of the type described by Lachmann or Heusler surviving from anywhere outside of Iceland never seems to have bothered them.2 Heusler used the heroic poems of the Icelandic Poetic Edda as his models for the Heldenlied, the assumption being that the Icelanders had maintained the form and content of Old Germanic heroic poetry until they were written down in the late thirteenth century. In the summation of his theory in Die altgermanische Dichtung Heusler characterizes the genre in his typical style (1923:147): Auch das Heldenlied ist ein größeres Werk, etwa zwischen 80 und einigen 200 Langzeilen; vorbedacht und auswendig gelernt, für Einzelvortrag bestimmt. Es gehört zu den objektiven Gattungen, ohne ausgesprochene Beziehung auf die Gegenwart. Sein Inhalt ist eine heroische Fabel aus zeitlosem Einst; eine einkreisige Geschichte von straffem Umriß, sparsam mit Auftritten und Menschen. Die Darstellung ist episch-dramatisch zu nennen: Erzählung...