Part 2

(6) Hugdietrich, Wolfdietrich and Ortnit, whose legend, like that of Siegfried, is of Frankish origin. It is preserved in four versions, the best of which is the oldest, and has an historical foundation. Hugdietrich is the "Frankish Dietrich" (= Hugo Theodoric), king of Austrasia (d. 534), who like his son and successor Theodebert, was illegitimate; both had to fight for their inheritance with relatives. The transference of the scene to Constantinople is a reminiscence of the events of the Crusades and Theodebert's projected campaign against that city. The version in which Hugdietrich gains access to his future wife by disguising himself as a woman has also a foundation in fact. As the myth of the Harlungen is connected with Ermanaric, so another Dioscuri myth (of the Hartungen) is combined with the Ortnit-Wolfdietrich legend. The Hartungen are probably identical with the divine youths (mentioned in Tacitus as worshipped by the Vandal Naharvali or Nahanarvali), from whom the Vandal royal family, the Asdingi, claimed descent. Asdingi ([Greek: Astiggoi]) would be represented in Gothic by Hazdiggos, "men with women's hair" (cf. _muliebri ornatu_ in Tacitus), and in middle high German by Hartungen. (7) Rother, king of Lombardy. Desiring to wed the daughter of Constantine, king of Constantinople, he sends twelve envoys to ask her in marriage. They are arrested and thrown into prison by the king. Rother, who appears under the name of Dietrich, sets out with an army, liberates the envoys and carries off the princess. One version places the scene in the land of the Huns. The character of Constantine in many respects resembles that of Alexius Comnenus; the slaying of a tame lion by one of the gigantic followers of Rother is founded on an incident which actually took place at the court of Alexius during the crusade of 1101 under duke Welf of Bavaria, when _King Rother_ was composed about 1160 by a Rhenish minstrel. Rother may be the Lombard king Rothari (636-650), transferred to the period of the Crusades. (8) Walther of Aquitaine, chiefly known from the Latin poem _Waltharius_, written by Ekkehard of St Gall at the beginning of the 10th century, and fragments of an 8th-century Anglo-Saxon Epic _Waldere_. Walther is not an historical figure, although the legend undoubtedly represents typical occurrences of the migration period, such as the detention and flight of hostages of noble family from the court of the Huns, and the rescue of captive maidens by abduction. (9) Wieland (Volundr), Wayland the Smith, the only Teutonic hero (his original home was lower Saxony) who firmly established himself in England. There is absolutely no historical background for his legend. He is a fire-spirit, who is pressed into man's service, and typifies the advance from the stone age to a higher stage of civilization (working in metals). As the lame smith he reminds us of Hephaestus, and in his flight with wings of Daedalus escaping from Minos. (10) Hogni (Hagen) and Hedin (Hetel), whose personalities are overshadowed by the heroines Hilde and Gudrun (Kudrun, Kutrun). In one version occurs the incident of the never-ending battle between the forces of Hagen and Hedin. Every night Hilde revives the fallen, and "so will it continue till the twilight of the gods." The battle represents the eternal conflict between light and darkness, the alternation of day and night. Hilde here figures as a typical Valkyr delighting in battle and bloodshed, who frustrates a reconciliation. Hedin had sent a necklace as a peace-offering to Hagen, but Hilde persuades her father that it is only a ruse. This necklace occurs in the story of the goddess Freya (Frigg), who is said to have caused the battle to conciliate the wrath of Odin at her infidelity, the price paid by her for the possession of the necklace Brisnigamen; again, the light god Heimdal is said to have fought with Loki for the necklace (the sun) stolen by the latter. Hence the battle has been explained as the necklace myth in epic form. The historical background is the raids of the Teutonic maritime tribes on the coasts of England and Ireland.

Famous heroes who are specially connected with England are Alfred the Great, Richard Coeur-de-Lion, King Horn, Havelok the Dane, Guy of Warwick, Sir Bevis of Hampton (or Southampton), Robin Hood and his companions.

_Celtic Heroes._

The Celtic heroic saga in the British islands may be divided into the two principal groups of Gaelic (Irish) and Brython (Welsh), the first, excluding the purely mythological, into the Ultonian (connected with Ulster) and the Ossianic. The Ultonianis grouped round the names of King Conchobar and the hero Cuchulainn, "the Irish Achilles," the defender of Ulster against all Ireland, regarded by some as a solar hero. The second cycle contains the epics of Finn (Fionn, Fingal) mac Cumhail, and his son Oisin (Ossian), the bard and warrior, chiefly known from the supposed Ossianic poems of Macpherson. (See CELT, sec. _Celtic Literature_.)

Of Brython origin is the cycle of King Arthur (Artus), the adopted national hero of the mixed nationalities of whom the "English" people was composed. Here he appears as a chiefly mythical personality, who slays monsters, such as the giant of St Michel, the boar Troit, the demon cat, and goes down to the underworld. The original Welsh legend was spread by British refugees in Brittany, and was thus celebrated by both English and French Celts. From a literary point of view, however, it is chiefly French and forms "the matter of Brittany." Arthur, the leader (_comes Britanniae, dux bellorum_) of the Siluri or Dumnonii against the Saxons, flourished at the beginning of the 6th century. He is first spoken of in Nennius's _History of the Britons_ (9th century), and at greater length in Geoffrey of Monmouth's _History of the Kings of Britain_ (12th century), at the end of which the French Breton cycle attained its fullest development in the poems of Chretien de Troyes and others.

Speaking generally, the Celtic heroes are differentiated from the Teutonic by the extreme exaggeration of their superhuman, or rather extra-human, qualities. Teutonic legend does not lightly exaggerate, and what to us seems incredible in it may be easily conceived as credible to those by whom and for whom the tales were told; that Sigmund and his son Sinfiotli turned themselves into wolves would be but a sign of exceptional powers to those who believed in werewolves; Fafnir assuming the form of a serpent would be no more incredible to the barbarous Teuton than the similar transformation of Proteus to the Greek. But in the characterization of their heroes the Celtic imagination runs riot, and the quality of their persons and their acts becomes exaggerated beyond the bounds of any conceivable probability. Take, for instance, the description of some of Arthur's knights in the Welsh tale of _Kilhwch and Olwen_ (in the _Mabinogion_). Along with Kai and Bedwyr (Bedivere), Peredur (Perceval), Gwalchmai (Gawain), and many others, we have such figures as Sgilti Yscandroed, whose way through the wood lay along the tops of the trees, and whose tread was so light that no blade of grass bent beneath his weight; Sol, who could stand all day upon one leg; Sugyn the son of Sugnedydd, who was "broad-chested" to such a degree that he could suck up the sea on which were three hundred ships and leave nothing but dry land; Gweyyl, the son of Gwestad, who when he was sad would let one of his lips drop beneath his waist and turn up the other like a cap over his head; and Uchtry Varyf Draws, who spread his red untrimmed beard over the eight-and-forty rafters of Arthur's hall. Such figures as these make no human impression, and criticism has busied itself in tracing them to one or other of the shadowy divinities of the Celtic pantheon. However this may be, remnants of their primitive superhuman qualities cling to the Celtic heroes long after they have been transfigured, under the influence of Christianity and chivalry, into the heroes of the medieval Arthurian romance, types--for the most part--of the knightly virtues as these were conceived by the middle ages; while shadowy memories of early myths live on, strangely disguised, in certain of the episodes repeated uncritically by the medieval poets. So Merlin preserves his diabolic origin; Arthur his mystic coming and his mystic passing; while Gawain, and after him Lancelot, journey across the river, as the Irish hero Bran had done before them to the island of fair women--the Celtic vision of the realm of death.

The chief heroes of the medieval Arthurian romances are the following. Arthur himself, who tends however to become completely overshadowed by his knights, who make his court the starting-point of their adventures. Merlin (Myrddin), the famous wizard, bard and warrior, perhaps an historical figure, first introduced by Geoffrey of Monmouth, originally called Ambrose from the British leader Ambrosius Aurelianus, under whom he is said to have first served. Perceval (Parzival, Parsifal), the Welsh Peredur, "the seeker of the basin," the most intimately connected with the quest of the Grail (q.v.). Tristan (Tristram), the ideal lover of the middle ages, whose name is inseparably associated with that of Iseult. Lancelot, son of Ban king of Brittany, a creation of chivalrous romance, who only appears in Arthurian literature under French influence, known chiefly from his amour with Guinevere, perhaps in imitation of the story of Tristan and Iseult. Gawain (Welwain, Welsh Gwalchmai), Arthur's nephew, who in medieval romance remains the type of knightly courage and chivalry, until his character is degraded in order to exalt that of Lancelot. Among less important, but still conspicuous, figures may be mentioned Kay (the Kai of the _Mabinogion_), Arthur's foster-brother and seneschal, the type of the bluff and boastful warrior, and Bedivere (Bedwyr), the type of brave knight and faithful retainer, who alone is with Arthur at his passing, and afterwards becomes "a hermit and a holy man." (See ARTHUR, MERLIN, PERCEVAL, TRISTAN, LANCELOT, GAWAIN.)

_Heroes of Romance._

Another series of heroes, forming the central figures of stories variously derived but developed in Europe by the Latin-speaking peoples, may be conveniently grouped under the heading of "romance." Of these the most important are Alexander of Macedon and Charlemagne, while alongside of them Priam and other heroes of the Trojan war appear during the middle ages in strangely altered guise. Of all heroes of romance Alexander has been the most widely celebrated. His name, in the form of Iskander, is familiar in legend and story all over the East to this day; to the West he was introduced through a Latin translation of the original Greek romance (by the pseudo-Callisthenes) to which the innumerable Oriental versions are likewise traceable (see ALEXANDER III., KING OF MACEDON; sec. _The Romance of Alexander_). More important in the West, however, was the cycle of legends gathering round the figure of Charlemagne, forming what was known as "the matter of France." The romances of this cycle, of Germanic (Frankish) origin and developed probably in the north of France by the French (probably in the north of France) contain reminiscences of the heroes of the Merovingian period, and in their later development were influenced by the Arthurian cycle. Just as Arthur was eclipsed by his companions, so Charlemagne's vassal nobles, except in the _Chanson de Roland_, are exalted at the expense of the emperor, probably the result of the changed relations between the later emperors and their barons. The character of Charlemagne himself undergoes a change; in the _Chanson de Roland_ he is a venerable figure, mild and dignified, while later he appears as a cruel and typical tyrant (as is also the case with Ermanaric). The basis of his legend is mainly historical, although the story of his journey to Constantinople and the East is mythical, and incidents have been transferred from the reign of Charles Martel to his. Charlemagne is chiefly venerated as the champion of Christianity against the heathen and the Saracens. (See CHARLEMAGNE, _ad fin._ "The Charlemagne Legends.")

The most famous heroes who are associated with him are Roland, praefect of the marches of Brittany, the Orlando of Ariosto, slain at Roncevaux (Roncevalles) in the Pyrenees, and his friend and rival Oliver (Olivier); Ogier the Dane, the Holger Danske of Hans Andersen, and Huon of Bordeaux, probably both introduced from the Arthurian cycle; Renaud (Rinaldo) of Montauban, one of the four sons of Aymon, to whom the wonderful horse Bayard was presented by Charlemagne; the traitor Doon of Mayence; Ganelon, responsible for the treachery that led to the death of Roland; Archbishop Turpin, a typical specimen of muscular Christianity; William Fierabras, William au court nez, William of Toulouse, and William of Orange (all probably identical), and Vivien, the nephew of the latter and the hero of Aliscans. The late Charlemagne romances originated the legends, in English form, of _Sowdone of Babylone_, _Sir Otnel_, _Sir Firumbras_ and _Huon of Bordeaux_ (in which Oberon, the king of the fairies, the son of Julius Caesar and Morgan the Fay, was first made known to England).

The chief remains of the Spanish heroic epic are some poems on the Cid, on the seven Infantes of Lara, and on Fernan Gonzalez, count of Castile. The legend of Charlemagne as told in the _Cronica general_ of Alfonso X. created the desire for a national hero distinguished for his exploits against the Moors, and Roland was thus supplanted by Bernardo del Carpio. Another famous hero and centre of a 14th-century cycle of romance was Amadis of Gaul; its earliest form is Spanish, although the Portuguese have claimed it as a translation from their own language. There is no trace of a French original.

_Slavonic Heroes._--The Slavonic heroic saga of Russia centres round Vladimir of Kiev (980-1015), the first Christian ruler of that country, whose personality is eclipsed by that of Ilya (Elias) of Mourom, the son of a peasant, who was said to have saved the empire from the Tatars at the urgent request of his emperor. It is not known whether he was an historical personage; many of the achievements attributed to him border on the miraculous. A much-discussed work is the _Tale of Igor_, the oldest of the Russian medieval epics. Igor was the leader of a raid against the heathen Polovtsi in 1185; at first successful, he was afterwards defeated and taken prisoner, but finally managed to escape. Although the Finns are not Slavs, on topographical grounds mention may here be made of Wainamoinen, the great magician and hero of the Finnish epic _Kalevala_ ("land of heroes"). The popular hero of the Servians and Bulgarians is Marko Kralyevich (q.v.), son of Vukashin, characterized by Goethe as a counterpart of the Greek Heracles and the Persian Rustem. For the Persian, Indian, &c., heroes see the articles on the literature and religions of the various countries.

AUTHORITIES.--On the subject generally, see J. G. T. Grasse, _Die grossen Sagenkreise des Mittelalters_ (Dresden, 1842), forming part of his _Lehrbuch einer Literargeschichte der beruhmtesten Volker des Mittelalters_; W. P. Ker, _Epic and Romance_ (2nd ed., 1908). TEUTONIC.--B. Symons, "Germanische Heldensage" in H. Paul's _Grundris der germanischen Philologie_, iii. (Strassburg, 1900), 2nd revised edition, separately printed (_ib._, 1905); W. Grimm, _Die deutsche Heldensage_ (1829, 3rd ed., 1889), still one of the most important works; W. Muller, _Mythologie der deutschen Heldensage_ (Heilbronn, 1886) and supplement, _Zur Mythologie der griechischen und deutschen Heldensage_ (_ib._, 1889); O. L. Jiriczek, _Deutsche Heldensagen_, i. (Strassburg, 1898) and _Die deutsche Heldensage_ (3rd revised edition, Leipzig, 1906); Chantepie de la Saussaye, _The Religion of the Teutons_ (Eng. tr., Boston, U.S.A., 1902); J. G. Robertson, _History of German Literature_ (1902). See also HELDENBUCH.

CELTIC.--M. H. d'Arbois de Jubainville, _Cours de litterature celtique_ (12 vols., 1883-1902), one vol. trans. into English by R. I. Best, _The Irish Mythological Cycle and Celtic Mythology_ (1903); L. Petit de Julleville, _Hist. de la langue et de la litt. francaise_, i. _Moyen age_ (1896); C. Squire, _The Mythology of the British Isles: an Introduction to Celtic Myth and Romance_ (1905); J. Rhys, _Celtic Britain_ (3rd ed., 1904). SLAVONIC.--A. N. Rambaud, _La Russie epique_ (1876); W. Wollner, _Untersuchungen uber die Volksepik der Grossrussen_ (1879); W. R. Morfill, _Slavonic Literature_ (1883).

HERO AND LEANDER, two lovers celebrated in antiquity. Hero, the beautiful priestess of Aphrodite at Sestos, was seen by Leander, a youth of Abydos, at the celebration of the festival of Aphrodite and Adonis. He became deeply enamoured of her; but, as her position as priestess and the opposition of her parents rendered their marriage impossible they agreed to carry on a clandestine intercourse. Every night Hero placed a lamp in the top of the tower where she dwelt by the sea, and Leander, guided by it, swam across the dangerous Hellespont. One stormy night the lamp was blown out and Leander perished. On finding his body next morning on the shore, Hero flung herself into the waves. The story is referred to by Virgil (_Georg._ iii. 258), Statius (_Theb._ vi. 535) and Ovid (_Her._ xviii. and xix.). The beautiful little epic of Musaeus has been frequently translated, and is expanded in the _Hero and Leander_ of C. Marlowe and G. Chapman. It is also the subject of a ballad by Schiller and a drama by F. Grillparzer.

See M. H. Jellinek, _Die Sage von Hero und Leander in der Dichtung_ (1890), and G. Knaack "Hero und Leander" in _Festgabe fur Franz Susemihl_ (1898). A careful collection of materials will be found in F. Koppner, _Die Sage von Hero und Leander in der Literatur und Kunst des Altertums_ (1894).

HERO OF ALEXANDRIA, Greek geometer and writer on mechanical and physical subjects, probably flourished in the second half of the 1st century. This is the more modern view, in contrast to the earlier theory most generally accepted, according to which he flourished about 100 B.C. The earlier theory started from the superscription of one of his works, [Greek: Heronos Ktesibiou belopoiika], from which it was inferred that Hero was a pupil of Ctesibius. Martin, Hultsch and Cantor took this Ctesibius to be a barber of that name who lived in the reign of Ptolemy Euergetes II. (d. 117 B.C.) and is credited with having invented an improved water-organ. But this identification is far from certain, as a Ctesibius _mechanicus_ is mentioned by Athenaeus as having lived under Ptolemy II. Philadelphus (285-247 B.C.). Nor can the relation of master and pupil be certainly inferred from the superscription quoted (observe the omission of any article), which really asserts no more than that Hero re-edited an earlier treatise by Ctesibius, and implies nothing about his being an _immediate_ predecessor. Further, it is certain that Hero used physical and mathematical writings by Posidonius, the Stoic, of Apamea, Cicero's teacher, who lived until about the middle of the 1st century B.C. The positive arguments for the more modern view of Hero's date are (1) the use by him of Latinisms from which Diels concluded that the 1st century A.D. was the earliest possible date, (2) the description in Hero's _Mechanics_ iii. of a small olive-press with one screw which is alluded to by Pliny (_Nat. Hist._ viii.) as having been introduced since A.D. 55, (3) an allusion by Plutarch (who died A.D. 120) to the proposition that light is reflected from a surface at an angle equal to the angle of incidence, which Hero proved in his _Catoptrica_, the words used by Plutarch fitting well with the corresponding passage of that work (as to which see below). Thus we arrive at the latter half of the 1st century A.D. as the approximate date of Hero's activity.

The geometrical treatises which have survived (though not interpolated) in Greek are entitled respectively _Definitiones_, _Geometria_, _Geodaesia_, _Stereometrica_ (i. and ii.), _Mensurae_, _Liber Geoponicus_, to which must now be added the _Metrica_ recently discovered by R. Schone in a MS. at Constantinople. These books, except the _Definitiones_, mostly consist of directions for obtaining, from given parts, the areas or volumes, and other parts, of plane or solid figures. A remarkable feature is the bare statement of a number of very close approximations to the square roots of numbers which are not complete squares. Others occur in the _Metrica_ where also a method of finding such approximate square, and even approximate cube, roots is shown. Hero's expressions for the areas of regular polygons of from 5 to 12 sides in terms of the squares of the sides show interesting approximations to the values of trigonometrical ratios. Akin to the geometrical works is that _On the Dioptra_, a remarkable book on land-surveying, so called from the instrument described in it, which was used for the same purposes as the modern theodolite. It is in this book that Hero proves the expression for the area of a triangle in terms of its sides. The _Pneumatica_ in two books is also extant in Greek as is also the _Automatopoietica_. In the former will be found such things as siphons, "Hero's fountain," "penny-in-the-slot" machines, a fire-engine, a water-organ, and arrangements employing the force of steam. Pappus quotes from three books of _Mechanics_ and from a work called _Barulcus_, both by Hero. The three books on _Mechanics_ survive in an Arabic translation which, however, bears a title "On the lifting of heavy objects." This corresponds exactly to _Barulcus_, and it is probable that _Barulcus_ and _Mechanics_ were only alternative titles for one and the same work. It is indeed not credible that Hero wrote two separate treatises on the subject of the mechanical powers, which are fully discussed in the _Mechanics_, ii., iii. The _Belopoiica_ (on engines of war) is extant in Greek, and both this and the _Mechanics_ contain Hero's solution of the problem of the two mean proportionals. Hero also wrote _Catoptrica_ (on reflecting surfaces), and it seems certain that we possess this in a Latin work, probably translated from the Greek by Wilhelm van Moerbeek, which was long thought to be a fragment of Ptolemy's _Optics_, because it bore the title _Ptolemaei de speculis_ in the MS. But the attribution to Ptolemy was shown to be wrong as soon as it was made clear (especially by Martin) that another translation by an Admiral Eugenius Siculus (12th century) of an optical work from the Arabic was Ptolemy's _Optics_. Of other treatises by Hero only fragments remain. One was four books on _Water Clocks_ ([Greek: Peri hydrion horoskopeion]), of which Proclus (_Hypotyp. astron._, ed. Halma) has preserved a fragment, and to which Pappus also refers. Another work was a commentary on Euclid (referred to by the Arabs as "the book of the resolution of doubts in Euclid") from which quotations have survived in an-Nairizi's commentary.