Undine first graced the literary world a year before the famed Grimm brothers unveiled their seminal collection of fairy tales, which drew heavily from German oral traditions. During the German Romantic era, there was a resurgence of interest in the past and the old-world beliefs enshrined in folklore. Prominent figures of this movement, like Friedrich de la Motte-Fouqué, sought to capture the quintessence of the Germanic spirit in their writings, blending authentic tradition with a refined artistic touch.

The Fabric of Folklore

La Motte-Fouqué’s Undine is an exemplary Kunstmärchen, or art folktale, that draws upon a prevalent folkloristic motif: a mortal man marries a supernatural woman, only to lose her upon breaking a pivotal condition of their union. Edward Hartland, in his 1891 work The Science of Fairy Tales, categorizes such tales as “swan-maiden” stories, named after a version collected by the Grimm brothers. This motif transcends cultures, echoing in tales such as Melusine, reimagined by Goethe in “The New Melusine,” and later literary renditions like Hans Christian Andersen’s “The Little Mermaid” and Oscar Wilde’s “The Fisherman and His Soul.”

Elementals and Settings

The supernatural beings in Teutonic mythology are intrinsically linked with nature, unlike the faerie creatures of French lore. Elementals embody the four classical elements: kobolds with earth, sylphs with air, salamanders with fire, and undines with water. In Austria, the setting of Undine, these water spirits are associated with the river Danube. The river’s journey from the wild, forested mountains to the cultivated plains and urban Vienna mirrors the characters’ symbolic journey from untamed nature to so-called civilization. For Huldbrand and Undine, this journey is fraught with challenges, culminating in a tragic climax when the forces of nature reclaim their own.

Chivalry and Civilization

Huldbrand represents civilized values, steeped in the chivalric ideals of the legendary knights who helped forge Christendom’s empire. Yet, his initial choice of Undine over Bertalda seems a departure from the straightforward seduction seen in traditional folklore. Undine, having replaced Bertalda at infancy, reflects the latter’s idealized, untainted self. Despite becoming fully human and forsaking her origins, Undine embodies a deception—an impossibility for Huldbrand to reconcile with his expectations of authenticity and virtue.

Journeys and Consequences

Bertalda’s quest through the Black Valley is obstructed by Kühleborn, the supreme water spirit, until Huldbrand and Undine intervene. Although Huldbrand initially favors Undine and chooses to seal the well, the dynamics shift as they journey along the Danube. His inner conflict and confusion lead to betrayal, severing his bond with the innocently deceptive Undine and preventing a lasting union with the matured Bertalda. Ultimately, Undine’s soul, gained through their union, comes back from the well’s depths to claim Huldbrand’s life as recompense.

Allegory of Nature and Humanity

On its surface, Undine serves as an allegory for the eternal struggle between nature and humanity, a relationship in which nature ultimately holds dominion through the inevitability of death. As a Romantic, la Motte-Fouqué extends his empathy towards Undine, lamenting Huldbrand’s inability to remain true and achieve harmony with her. Yet, even the most ardent Romantics must acknowledge that nature’s forces are not as benign as they appear. Humanity’s contest with nature is one it cannot win; bravery and chivalric values can falter against seduction and human frailty.

The Inevitable Triumph of Nature

Throughout the narrative, the spirits’ relentless harassment of Huldbrand underscores the futility of human defiance against nature. Despite his bravery and youthful vigor, Huldbrand is not immune to time’s unyielding progression. In the end, the natural order asserts itself, reclaiming what belongs to it, leaving Huldbrand’s aspirations and humanity’s broader struggle with nature unresolved but poignantly illustrated.