Legends of the Rhine — Background and Themes

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In Category - Folklore
Ruland, Wilhelm, 1869-1927 Project Gutenberg 2007 Not confirmed
Legends -- Rhine River; Legends -- Rhine River Valley Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 56,955
Reading time 248 min
Text sections 9

This digital edition of Legends of the Rhine — Background and Themes is described by source-level measurements including 56,955 words, 4 hr 8 min estimated reading time, and 9 detected text sections.

The text analysis averages about 20.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Legends -- Rhine River,” connecting these edition facts with the source record’s subject description.

Wilhelm Ruland's collection of Rhine legends, framed by an author's encounter with English-speaking travelers, presents tales of knights, emperors, and miraculous events, marked by contrasts between hospitality and treachery, and between natural beauty and human strife.
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surrounded by enemies, and very hard pressed on all sides. A troop of discontented citizens made a shameful compact with the besiegers to help them to conquer the town. It was arranged one dark night that exactly as the clock was striking twelve the attack was to be made from within and without. The traitors were all ready, waiting for midnight in great excitement, having no evil presentiments of what was about to happen.

The expected hour approached. Accidentally the watchman of the tower heard of the proposed attack, and no time being left to warn the commander of the garrison or the guard, he quickly and with great presence of mind determined upon a safe expedient; he put forward the hand of the great clock one hour, so that instead of striking midnight, the clock struck one.

The traitors in the town looked at each other aghast, believing the enemies outside had neglected or perhaps betrayed them. General doubt and misunderstanding reigned in both camps. While they were debating what plan they must now adopt, the sharp-witted watchman had time to communicate with the magistrate and with the governor of the town. The alarm was raised, the citizens warned, and the treacherous plan completely wrecked. The enemy at last, tired of the useless siege, retired discouraged.

The magistrate in remembrance of this remarkable deed ordered that the town-clock should remain in advance as the courageous watchman had set it that eventful night. This singular regulation continued till the year 1798, and although the honest inhabitants of Basle were, as talkative tongues asserted, a century behind-hand in everything else, yet with regard to time they were always one hour in advance.

The Toy of the young Giantess

In olden times a race of giants is said to have lived in Alsace. Castle Niedeck in the valley of the Breusch was their residence, but even the ruins of this fortress have long since disappeared. The legend however remains to tell us that they were a peaceable people, well disposed to mankind.

The daughter of the master of the castle was one day leisurely walking through the adjoining wood. On approaching the fields and meadows of the valley, she perceived a peasant ploughing. The young giantess looked in great astonishment at the tiny man who seemed to be so busily engaged trudging along after his little team, and turning up the ground with his small iron instrument. She had never before seen anything so wonderful and was very much amused at the sight.

It seemed to her a nice little toy, and she clapped her hands in childish glee, so that the echo sounded among the mountains; then picking up man, horse, and plough, she placed them in her apron and hurried back gaily to the castle. There she showed her father the nice little toy, greatly pleased at what she had found.

The giant however shook his enormous head gravely, and said in a displeased tone, "Don't you know, child, who this trembling little creature with his struggling tiny animal is, that you have chosen for a plaything? Of all the dwarfs down in the valley below, he is the most useful; he works hard and indefatigably in scorching heat as well as in windy cold weather, so that the fields may produce fruit for us. He who scoffs at or maltreats him will be punished by Heaven. Take the little labourer therefore back to the place he came from."

The young giantess, greatly ashamed and deeply blushing with embarrassment, put the amusing little toy back into her apron, and carried it obediently down to the valley.

The Cathedral was finished, and the city magistrates resolved to place an ingenious clock on the upper tower. For a long time they searched in vain, but at last a master was found who offered to create a work of art such as had never been seen in any land. The members of the council were highly satisfied with this proposal, and the master began his work.

Wilhelm Ruland opens Legends of the Rhine with a personal anecdote: aboard a Rhine steamer, he overhears an English-speaking family reading his own work aloud. This framing device establishes the collection as a bridge between German folklore and an international audience, particularly English-speaking travelers. The prefatory note reveals Ruland's awareness of his readership, as he compliments the family on making the Rhine "the home of romance for the English speaking nations." The tales themselves, such as "Genovefa" and "Hammerstein," are steeped in medieval motifs: faithful vassals, unjust accusations, and the tension between filial devotion and paternal disappointment. Ruland's prose often shifts from serene landscapes to sudden violence, as when the count in "Genovefa" returns to confront the treacherous Golo. These contrasts—between the idyllic river scenery and the dark deeds of its legends—form a recurring pattern throughout the work.

Hospitality and Betrayal in the Castle Hall

Two legends in the excerpts hinge on the violation of hospitality. In "Genovefa," the count Siegfried leaves his wife in the care of his steward Golo, who betrays that trust by falsely accusing her. The cavern where Genovefa suffers becomes a site of both abandonment and eventual vindication. In "Hammerstein," the old knight Wolf welcomes two strangers who turn out to be the Emperor Henry IV and his son—the latter having usurped the crown. The emperor's murmured confession, "My son," underscores a betrayal within the family, mirroring the domestic treachery of the earlier tale. Both stories use the castle as a stage where the duties of host and kin are tested and found wanting.

The Landscape as Witness and Reward

Ruland repeatedly ties moral resolution to physical landmarks. In "Genovefa," the count builds a church on the spot where a white doe first appeared to him, transforming a site of suffering into one of gratitude. The narrator notes that even now "the wanderer is shown the church and the tombstone, also the cavern where she suffered." This gesture turns the landscape into a repository of memory. Similarly, the ruins of Hammerstein castle stand on a "dreary sandstone rock" that has endured storms for a thousand years, as if the rock itself absorbs the history of the emperor's flight and the knight's disappointment. The river, though not always described in detail, remains the connective thread between these sites, a silent witness to the events recounted.

The Weight of an Heir: Gender and Legacy

Wolf von Hammerstein's lament that he would "willingly have exchanged his halfdozen daughters for a single male heir" reveals a stark preference that shapes the family dynamic. The daughters respond with "constant love and tender care," yet their father remains "sour" and "peevish." This tension between female devotion and male disappointment is not resolved within the excerpt; the emperor's arrival shifts focus to political betrayal. In "Genovefa," the countess's suffering and eventual sainthood elevate her above her accuser, but her role remains that of a patient, forgiving figure. These portrayals reflect the limited agency of women in the source material, even when they are central to the legend's moral arc. The collection thus presents a world where male inheritance and honor drive the plot, while women endure or intercede.

Readers approaching Legends of the Rhine will find a work that intertwines personal recollection with inherited folklore. Ruland's prefatory note invites attention to the act of storytelling itself—how legends travel across languages and generations. The tales reward attention to recurring motifs: the testing of loyalty, the transformation of natural sites into sacred or memorial spaces, and the quiet persistence of female characters in narratives dominated by male conflict. These patterns, rather than any single plot, give the collection its coherence.

The rain tapped against my window that afternoon as I drifted through Wilhelm Ruland’s Rhine tales, half-lost between the ferocity of knights and the quiet patience of rivers. A passing mention of coastal folklore lingered, and somehow I found myself reaching for a different shore—thinking of West Highland storms, their legends softer, more tangled in heather. That’s how I ended up with Nether Lochaber The Natural History, Legends, and Folk-lore of the West Highlands — Edition Insights, another rainy afternoon, another world.

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