The vines were imported in the reign of Bela — by Italian colonists, but the best quality of Tokay wine can be obtained only from one small hill called " Mezes- Male " honey-eake , the greatest part of which is in the pos- session of the crown. SRut ntd;t laug gefragt! Set rufyig, freunbtid; Clement! Firc was usually considered as a higher order of hostile being, and therefore the devil calls it Ins friend. The word, wliich is found also in the English and Swedish languages, is probabiy a corrup- tion of " hoc est corpus meum," the words used by the Roman Catholic priest in the celebration of the Eucharist.
The raeta- thesis in pocus corpus is evidently for the sake of rhyme. The scene is in- tended as a warning against such excess, which by disturbing our reason, makes us see things in a very false light. Unb merft eud;, tote ber Teufel frage! The two oil-paintings spoken of in that note, representing Faust in the performance of this feat, are still preserved in Leipsic in Auerbach's cellar. One of thera bears the following quaint inscription: Vive, bibe, obgregare, memor Fausti hujus et hujus Poense.
Aderat clauda hsec Ast erat amplo gradu. Live, drink, be sociable, ever mindful of Faust and his punishment ; It came with slow pace limping but it came with avengeance. It is equivalent to the Swedish " men! Sine 9ft e e r! In describing thus graphically the low, brutal licence of those who called themselves the disciples of Apollo, Goethe wished to improve their morals and tastes ; he therefore tries to excite in bis readers the feelings of shame and disgust, as well as to open their eyes to the dangers and inconsistencies into which atheists are apt to fall, for Goethe well knew that the infidel, the seeptie, and the atheist are ever the readiest to believe in tbe juggling tricks of witch- craft.
We have seen one essay and its failure on the part of the devil to induce Faust's higher nature to take any interest in the drunken revelry of the licentious students ; we now nieet Mephistopheles and his master in a still lower scene — and see symbolically his great inquiring spirit sinking deeper in dfgradation. Instead of thunder, lightning, and storm, the pelting rain and the distant murderous battle — there is burning quietly on a low hearth a comfortable fire, over which is hanging a large cauldron ; before the fire are two monkeys, a male and female, the former is sitting with the young ones and warming himself, while the latter is engaged in skimming the cauldron and watch- ing that it does not boil over.
As in Shakespeare's play " horrors are aecumulated on horrors," so in Goethe's scene is lt Satire heaped on satire ; " the loathsome animals are introduced to show the lowering, brutalizing iniluence of a superstitious belief in witchcraft. He has passed all his life in fruit less learning. Fait'h and regulated knowledge bave never found a place in his heart, and accordingly the struggle he makes, before giving himself up to the degrading influence of Wiitchcraft, wise and learned doctor though he be, is miserably feeble.
How deep a moral is there in this scene! The evil spirit in this ironical Bpeech gives us really sound advice as to the best means of en- suring good old age, yet the advice is given in so uninviting a form as to make the doctor's over-educated mind shrink from following it. These bookworm philosophers never attempt to make themselves socially useful ; they keep aloof from every trial or suffering of life ; the very thought of earning a practical livelihood is a horror to them, and they there- fore pamper and nurse their body in slnggish indolence, tili their diseased and restless spirit has undermined all their happiness, nay, too often the happiness of some fellow creature as well.
Many passages in this scene are also directed against the class of superficial literary men who plagued Geimany in Goethe's time with their paradoxical doubting sophisms; they would have done m uch better to take the spade in their band and dig, than to waste their time in boilding up their false and unstable Systems.
The " devil's stones " are some huge rocks which the devil is said to have dropped in erecting one of his buildings, or aecording to another legend, were rocks which he once used as missiles in an attack on a consecrated church. The diphthong au so characteristically introduced into the speech of the monkeys is an Imitation of the peculiar howl of these anirnals. The witeh her- self is supposed to be feasting at present on some cross-road.
The monkey after having himself played with the world, now begins to moralize and advises his son not to follow his example, and not to waste his years in early youth. In the Middle Ages the customs of sieve-turning, sieve- hunting, sieve-running and sieve-dancing were very generally practised for the purpose of detecting thieves and other offenders.
The sieve-turning was very similar to the modern " table turn- ing," and was performed in the following manner: Two persona held a sieve between their middle fingers very lightly, after breathing some magic words over it, they proeeeded to pronounce one after another the names of the suspected persons, the one at whose name the sieve began to turn was considered the eulprit. The words "to know the thief," — and "not to be allowed to name him" are probably used to imply that the brutes were aware tbat Mephisto was doing all he could to rob Faust of his Heaven, but were not allowed to speak of it.
St femtt nid;t ben Xopf, St fennt nid;t ben tfeffel! Den SBebel nimm I ier, Unb fetf btd? This art is here practised by the devil to seduce Faust, and at the same time to ridicule his pretended wisdom. To extol the human form was one of Goethe's favourite themes. Sfcutt tft cS gcfcfyetw! Some coramentators have contended that Goethe wished to in- dicate by the monkeys' breaking the crown and jumping about with the pieces, that from the overthrow of despotism nothing could result but anarchy ; though there is much in Goethe' s writings which could justify this explanation for he was a thorough aristoerat, but then an aristoerat in the highest sense of the term: He sneers at the rhyming animals, and though dissatisfied with their freedom yet praises them as, at least, sincere poets ; he at the same time expresses his incredulity in the value of freedom, a view which quite aecords with the character of a " chainedand fettered demon" — as he is described in the following powerful verses of Caedmon an Anglo-Saxon poet and monk of Whitby, who died about the year But around me lie Iron bonds: Me have so hard The clasps of hell So firmly grasped!
My feet are bound, My hands manacled. Of these hell doors are The ways obstrueted About me he Huge gratings Of hard iron, Porged with heat. S33cr fetb ttyr fyier? WhitaJcer gives an amusing ac- count of a piece called " The Creation of the World," as acted in the theatre of Lisbon: Soll tcfy mid; etwa felber nennen? We find in the oldest German writings frequent exclamations, and warnings against ravens as spirit? Hence we may derive the idiomatic expressions: He was also frequently de- picted in eai ly times as a black goat, a form in which he was worshipped by witches.
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It is probable that this idea arose from the symbolical ceremony instituted among the Jews Levit. In the " Ancient Mysteries," devoted especially to the English " Miracle plays " London we find thefollow- ing remarks on the representation of the devil. Attested by divers letters of men of very good " credit in thls town. Printed for confutation of those that believc " there are no such things as spirits or devils. Goethe's witch exhibits her delight in the same manner at seeing gentleman Runter Satan, as she may well expect some deed of enormity. Hence our phrase " I don't care a fig for him.
Southern Germany and throughout Austria, where it is a stereo- typed question among servants. The name cab- bala, lhat is " traditional doctrine," original ly comprehended all Holy Books which were not written by Moses. In after times about A. In the writings of Philo in the first Century A. In the latter part of the twelfth Century the word Cabbala had extended its signification so as to include any metaphysical exegesis, and from this it gradually became a mere sy9tem of mystic, religious superstitions.
In the three following centuries there appeared under the same title innumerable works, which professed to explain the' Scriptures of the Old Testament, among which we may notice the Hagadas, a symbolic interpretation of the Jewish lawa and customs ; all, however, are but a confused jumble of unintelligible commentaries, miraculous signs and mysterions names.
Philoso- phers and Talmudists soon stood forward to oppose these ruystico- cabbalistic Interpreters, who, it was shown, had actually attributed their own spurious writings to the pen of more celebrated and influential authors. Hub toet ntebt benft, Dem toirb fie gefcfyenft, fr fyat fie efyue Sorgen. Goethe is speaking ngain only of false or rather of obscure knowledge, and very sarcastically makes the witch say, that those who trouble themselves least with thoughts fre- quently sueeeed best in scientific matters.
Other commentators have seen in the above lines an analoo-y to the famous verses of our author: It was doubtless this feeling of pain which drew forth the bitter words " Who does for idiots eare! The name sibyls or sibyllists came to be applied, in the second Century of the Christian era, to certain inspired women who pro- fessed to be able to predict future events.
In process of time any women "who practised witchcraft were called sibyls, so that, in fact, the word became simply a synonym of witck, and in this sense Mephisto here uses it. This latter work may be considered as the first book of the kind worthy of the progress made in this science. Again, in the time of the Crusades, the ' Old man of the mountains ' is said to have enchanted bis youthful followers by narcoiic and exhilarating draughts. The victiras of the Inquisition, similarly pre- pared, frequently slept in the raidst of their torments, and M. Taboureau assures us that the merciful jailers rnade their prisoners swallow soap dissolved in water the vehicle doubtless of some more powerful drug , to enable them to bear the agonies of torture.
The draught prepared for Faust is one of these narcotie " love potions," used to excite his physical faculties. Walpurga, or Walburga, was of English birth, and went over to Germany about the middle of the eighth Century to aid in preachlng the Gospel in that country. The dampness that drips from the walls of the vault is called the " oil of Walburga," and possesses i.
All misfortunes in the crops, cattle, vines, Jcc. As the first of May was always looked upon as the commencement of the agricultural year, and as the lower classes firmiy believed that on the night preceding this day, Walpurga's night witches, cobolds, and demons of every description assembled on the Blocksberg, see note and other mountainheightstoconcoctand arrange a programme of mischief for the ensuing year ; it was customary among the peasants to keep up a constant firing of guns, and to run wildly about with blazing torches all night long, in order to chase away the witches in confusion from their meeting before they had settled on any plan.
In other parts of Germany the sarae night is still observed, but in a different and more rational way, as rural entertainments are held to celebrate the commencement of the spring. Some of these loose sheets bear very curious inscriptions, and are believed by some, even in our enlightened days, to have been discovered in wells, tombs, and other secret places. This custom is happily given up entirely in the modern writings of Germany, and both Becker and Heyse condemn most strongly the introduetion of foreign words.
It is but the old German adage: The witch and her monkeys were ex- plained to be the "Muses of nonsense" the mirrorthat of litera- ture; the image seen in it, the ideal of puie poetry; while the potion itself was said to represent Goethe's Inspiration for the beau- tiful! As there is nothing, however, in hisown remarksto Eckermann or to Schiller that will at all favour such an Interpretation, we are fully justified in rejeet- ing it. We leave metaphysics and witchcraffc to see Faust " in love " ; yet we can still trace the same character ; the gigantic spirit that refused to recognize any bounds in science and knowledge, love seizes as a rapturous, violent and indomitable passion: In Roman Catholic towns as Vienna, Paris, Rome it is too often that courtships commence in these holy buildings, for the Churches being continually open, are used for purposes little in accordance with tbeir sacred character, thus in some towns they are actually used as a cool promenade in the heat of summer as in the case of St.
Stephen's cathedral in Vienna , white nothing is more common than to select churches as a place of meeting for secular, if not for worse purposes. After the confessional it is customary for gentlemen and ladies to enter into conversation, and to discuss sometimes in the most frivolous way the quantity of penance received, or the various sins confessed. It is, however, probable that these words convey a deeper meaning. Even the evil spirit is surprised at the reckless vehemence of Faust's passion ; he now feels certain that he can secure his victim by his favourite temp- tation " the love of woman," which he has ever found mosteffec- tual against the chosen servants of God — a temptation to which OOETHE'S FAUST.
He calls Faust " almost Frenchman " in allusion to the licentious- ness in which that people indulged. His talent as author is thua described by Jean Faul triederich Richter: Mht ofyne dnmpf unb ofyte pafj! May not the name " Welsh " have been given to the conquered Brilons by the Saxons to dis- tinguish them as " foreigners " from other bodies of Saxons, settled in different parts of Britain?
ITe seems iike Romeo to sigh: That T mgiht touch that cheek! Unb foll fie fclw? It is with good reason that gold is made an all- powerful instrument in the hands of the tempter, its power is well painted in the following lines of Cowley A. D nimm micfy auf! The great and learned Faust, who once had cursed all the nobler feelings of the human heart as he sat within his narrow study, can feel happy here, because a modest stillness breathes around him ; and his weary mmd is overcome by a holy peace inspired by the feeling of contentment!
It is for sucli meetings that the father spares his wisest exhortations to his children, the mother her sweetest kisses — on this blessed night Christ's commandments of love, forbearance and forgiveness hallow the poorest as well as the riebest family eircle, and one universal religious feeling seems to shed delight and happiness on every heart throughout the land. Goethe has given us a most masterly description of the pure and glorious feelings of love, and with great consistency raakes his hero share the same fate in the realms of love as in his previous attempts to gain the empire of knowledge ; and it is because he allows himself to soar after ideals without resting on the support of religion that he sinks so lamentably into the depths, at one time of vain wisdom and false philosophy, at another of passion and vice.
Margarete mit einer Satnpe. By pretending to think Faust avaricious, he urges hirn on to make the present, which becomes Margaret's ruin. In tbese simple lines, devoid of figurative word or metaphorical Ornament, Goethe has painted the gloomy forebodings which so often haunt us in moments of impending calamity. Virgil mentions Thule Georgiea Lib. Thule, Terrarum- ultima quas antiqui noverint, et maxime septemtrionalis versus oeeidentem.
Ortelius putat esse tractum illum Norvegiae, quem incolae Tilemarh mark meaning frontier, the Tile-frontier appellant. Camdenus Schetlandias insu las oceani Caledonii, sub ditione regis Dauiae ; quas nautse dieunt Thylensel Thyl-or Thul-island. Caeteri Islandiam, ejusdem ditionis maxime Borealem insulam ; ubi mons est nive perpetua opertus, flammis aestuans.
I never in my life saw such a thing! The idea is the more striking as it convejs at the same time an exaet picture of the state of Faust's mind. Luther indeed was firmly convineed that, Papacy once overthrown, Satan would lose his stronghold on earth and Mephistopheles is made, with great severity, to describe this covetous, grasping Church a3 able to d igest any illgotten wealth, so strong a stoniach does she possess.
Sei Teufel bocfy nur nid;t roie 33ret, 50? Unb fefyaff' einen neuen Sdmiud fyerbei! M The whole of this simile is taken from pyrotechny. Such a portrait we have in Martha, who is now introduced as a contrast to Margaret ; and what a contrast there is! Margaret is capable of love, and in her love forgets all the laws of society and morality, falling a victim to her thoughtlessness as soon as passion assaults her. Martha inpro- fessing sentiments of tenderuess, seeks only to conceal a mean selfishness ; she is selfishness embodied, vulgarity iuearnate ; what an insight into her real character is given us in the last couplet of her hypoeritical speech, " Perhaps he is now dead — Oh misery, — Had I only a certificate of his death!
Yet it is to such a woman as this that Margaret goes for ad vice ; we see her now standing before this She- Mephistopheles holding in her hand another casket glittering with still brighter jewels than before ; — how truly characteristic is the result — Martha bids her to hide the gems from her mother, to deeeive in iact her dearest friend — alas! Sftartlje ftukt fte auf. SD bu gtM jel'ge Kreatur! SSir fyabeu unfre greube bran.
MS This line sho-vvs that Margaret is not yet entirely lost, her conscience still can warn, and she therefore hesitates to appro- priate a treasure acquired in so suspicious a manner, Another proof that conscience is still at work within her. A sense of guilt prodaces in her a nervous dread, and she Starts on hearing a knock at the door! Among the lower classes in Germany the doors of rooms are generally provided with a small window, before which a curtain white or green can bedravvn atpleasure, it is through such a window that Margaret is here supposed to he looking.
Mittage 5 9 toieber fommen. SR arg ax etc. S21 58 Martha has already led the poor girl into one sin bj in- ducing her to conceal the casket from her mother. Mephisto now goes a little farther, and through flattering her vanity by pretending to take her for a lady of rank, dravvs her again one stt p ncarer to the blink of the preeipice over which he is seek- ing to hurl her.
M3 In aecordance with the old adages: He was a disciple of the famous Francis of Assisi, the founder of the order of Franciscan monks. During a vovage to Africa, in N.: Hediedin , and wascanonized thefollowingyear by Gregory IX. The custorn of bury- ino- within the walls of churches is much more general in Roman Catholic countries than in ours, and was not abolished in Rome and Naples tili the beginning of the present Century Tbe Germans have preserved with a holy veneration the traditions of their first heroie race, when people loved and were loved with a fervour and a censtancy that led the man to risk, and the woman to sacriliee everything but morality for their love.
Vergab' fie mir nur nodj in biefcm Seben! This ficlileness of opinion is highly cbaracteristic, and is common among the low and heartless, who alter their views according as it serves their interests, praising one minnte and abusing the next. J7 She becomes good-tempered and affectionate again, as the thought strikes her that her husband may have buried some treasure.
M I would modestly moLini for him a twelvemonth. A Germanized FreDch word, only al- lowable in a coraie style. The custora of exchanging rings, which was practised by the Greeks and Romans, as well as by the ancient German races, refers here rather to the betrothal than to the actual marriage - ceremony. In many parts of Germany, the interchange of rings is entirely dispensed with in the marriage service.
This reminds us of Butler's satire on the puritanical notions in England during the Commonwealth, described in the lines: Sie ftefyt es benn mit ifyrem ipeqen? The devil's speech, as these elisions would argue, seems to be written in the Viennese dialect. Unb tyier bie 3ungfrcw ift and? Mephisto acknowledges that tvvo witnesses are neces- sary to prove a point satisfactorily, and at the same time volun- teers a second, in order to bring in Faust as a party to his tissue of lies.
The mean- ing of the sentence is, t'jat he is polite to every young lady. Any attempt to enlarge on the particular beauties of this scene appears superfluous ; we may, however, observe that its beauty does not consist in its metaphors or its verbal grandeur, but rather in the grapbic and truthful picture it affords of characters that are tco real. Margaret sufFers whenever Mephistopheles chooses to provoke her com- miseration. Martha too has her sufferings, but they are onlj the anguish caused by jealousy, wounded pride, disappointed hopes and covetousness.
Contrast has always been the principal ingredient of ridicule, the more so when this contrast takes place between semblance and reality, an aim and the means of attaining it. Is it in train? M Faust jumps to the conclusion that they must first travel to Padua to procure the required certificate. His sen3e of right is not yet entirely gotie. If you refuse it on the present occasion you will not be so particular always.
Unb 3U ar oon Sperren. Nothing could hit Faust harder tban such words, es- pecially when uttered by the devil. Vide Notes , We must admire che really pathetic beauty with which the poet describes the intoxication of love, and the despair implied by Faust's question at the conclusion: We have seen at times a sense of his moral dignity flashing up within him, but he is at last compelled to submit to Mephisto who, as the personification of doubt and sensualism, now assumes the mastery over his conquered foe.
Sie tft f o garfttg, tft f o raufy! This double scene, in which, be it noticed, the lovers pasa al- ternately before us three several times, each time exhibiting tlieir various characters in exquisite contrast, must be considered as one of the most charming creations of poetry. If we compare the parts acted by the two pairs what a contrast we find. In Margaret a bashful, diffident, innocent love, which grows gradually into frantic passion. In Martha a seducing bad-concealed lust, which ultimateiy becomes utterly uncontroliable.
Achim F. Sorge
Hu8 ben Singen, an 8 ben 'Sinn. In her diffidence she thiriks lt impossible that a learned man like Faust should lavish upon her more than mere courtesies. What seemsso very learned, isoften nothing but vanity, narrow-minded- ne ss. Sin Sngel, teenn btr'8 glid? Besides the poetic beauty, there is a mine of sound, practical sense throughout these lines ; they show us what should be the education of the girls of the middle classes: The evil spirit is of course jesting with her.
Se fd;ien xi xx gletd; nur anjutoanbetn, yjdit biefcr Time g'rabe fyin ju fyanbeln. How very difierent is the conduet of the cold scheming widow, who tries to gain not the heart but the hand of the stranger, to that of the simple straight-forward Margaret, who does not dare to indulge even in the thouo-ht of e;aininp; or de- serving the love of one so noble as Faust. Sr liebt mtcfy — Siebt miety nid t. The plan adopted is simple enough. A starflower, which seems to be the favourite, is selected, and the person Consulting it repeats the words: This childish game of love is introduced by the poet to show the simplicity and in- nocence of Margaret's nature.
It betrays that an overpowering love, so overpowering indeed that it will lead to any sacrifice, has bound her from that moment to Faust for ever. Paradise Lost, Book IV. All that the epic poet expressed in the words " thy gentle hand Seized me — I yielded" — is beautifully amplified in Goethe's dramatic masterpiece, and the reader cannot but be Struck with the extreme power of the line, u Let this pressure of the hand teil thee what is inexpressible," and with the terror with which Faust remembers that his happiness may not be eternal ; the thought of Adam's curse overcomes him, and despair is mingled with his joy, as the fallen man bewails with fearful remorse his lost earthly immortality.
Throughout this contest between the extremes, happiness and despair, we can trace symbolically the interference of the evil spirit, who hates the very idea of happiness, to whom the sight of Miss is torment; thus, we find throughout the same fiend who " eyed with jealous leer " our first parents " imparadised in one another's arms," now marring with maddening doubts the enraptured dreams of Faust. Unb fic tym aucfy. Faust who had once cursed all the brighter side of human life, the blissful feeling of hope, the comforting virtue of patience, nay, even the deepest delights that a tender love can impart, is beginning to acknxwledge to himself that pure and noble feel- ings may still exist, that mau may still be rendered really happy, when, at the very moment this change of feeling is taking place, the devil suddealy reappears and the unhappy man is again dragged down from the spiritual heaven to which Margaret' s last simple words had raised him.
Margarete, Stuf baldig Sieberfefyn! S5tn bod; ein arm, untmffenb fibtfc, begreife nicfyt, roa8 er an mir finb't. The word arm, poor, does not refer to poverty in earthly goods, but to her spiritual or mental poverty, vvhich she cannot but contrast with Faust' s great learning. And here again Goethe exhibits in Margaret the same feeling of Subordination to the stronger sex, that Eve feit when she confessed "How beauty is exeelled by manly grace And wisdorn, which alone is truly fair.
See Note 30 " Thou art equal to the spirit thou canst conceive, and not to nie! The thanks can on no aecount be addressed to Mephistopheles, as the devii caunot be taken as a messenger of that spirit of earth who weaves the living garments of God. Love has now for the first time made Faust dimly acquainted with the Almighty ; he feels himself indeed nearer to his philo- sophical coneeption of a deified nature, but still does not believe in a higher power — standing above nature. He does not in fact go further than Plato when he uttered his celebrated words: He feels himself able now to look on nature's mysterious working, " as into the bosom of a friend.
Solitude has ever been sought bj superior men ; among the Heathen philosophers Socrates cherished solitude, as Plato teils us in his dialogue " De Amore. Pliny made her a pretext u vacare deo et studiis. Now, we find Faust harassed and perplexed seeking a refuge amidst its soothing in- fluenae. The analogy between his own feelings, and the gloominess of the cavern to which he has retired for shelter amitl the storms and thunderings of nature, is wonderfully drawn out.
Love has made him aequainted with feelings hitherto unknown, and the mental struggle that ensues has compelled him to seek for solitude. Far from every human being he lives to his thoughts and begins to realize the paradox of Scipio, " nunquam minus solus, quam quum solus, "he studies nature, and the contempla- tion of her book lays befoie him the tranquil waters of the brook, the peaceful air, the solemn woods with their soulless in- habitants — then his thoughts pass on to his fellow creatures, and at last to his own seif.
In his retirement he might perhaps have discovered some raj of light amid the mysterious darkness of his existence, or sorne soothing oecupa- tion for his mind in its restless uncertainty — but no — his soul, fiiled with raging passion, burns only for sensual gratification; his serenest and loftiest feelings are marred by grovelling desire, and torturing doubt — and alas! It is thus that Goethe represents the voice of conscience, that is ever at work within us, now warning, now advising.
In the Paradise Lost, too, we have the same picture painted perhaps irore graphically, but still the sarae ; ihough the conscience which guided and protected our first parents in their State of innocence is impersonated in the Archangel Raphael, who " Through the vast ethereal sky, " Sails between worlds and worlds, with steady wing" — to aid weak mortals by his warning voice.
God has indeed left man's destiny to his own free- will, but knowing how mutable and infirm this is, He has given him both reason and conscience to control it, and woe to those who remse to allow to conscience the upper hand in its conflict with the flesh ; the consequences must and will be as ruinous to the Individuell as Adam's fall was to Eumanity. What in Milton's work is represented as intuition from hioher beino-s, is in Faust that inward voice, which is our surest guide in every doubtful moment.
It is not without signifieation that Goethe so often puts allusions to the Bible in the rnouth of Mephisto- pheles ; it was a favourite theory of the Middle Ages that the devil was thoroughly conversant with the whole of Scripture, and used this knowledge to cause doubts, confusion, and controver- sies among mankind. This idea is frequently to be met with in the Sermons and other writings of Luther, who, however, goes further, and adds by way of consolation, that the devil, once foiled in argument, cannot again attack his conqueror on the sarae ground.
Though the passage issomewhat obscure, as the devil speaks only by hints. Arnim, twocelebrated Ger- man poets of the romantic school. His writings are of three distinct classes: Litera- ture and r ine Arts, Theology, History and Pbilosophy. All his writings are inspired by the noblest feelhigs, and tlie heart oJ the reader is lost in descriptions and sentiments of the most sublime and exquisite grandeur.
Its beauties are intended to aid in exciting Faust's wildest passions. Nor Was Herder less great as a poet; bis parables, Paramyths a tale founded on a myth and serving to prove some general tmth, a form of poetry first introduced by him into Gernaan literature , bis legends, his tian- scriptions of Spanish Romances in bis Cid, and his Epigrama will alwajB form rlie brightest gems of German classical literature.
He died , and the Grand Duke Charles Augustus of Sax- Weimar caused a monument to be placed over his grave bear- ing the inscription: In our Lord's mouth they were an Order to a baffled tempter to depavt, and were spoken with a glorious consciousness of Spiritual superiority ; but as Faust utters them, they are rather an entreaty than a command, a feeble outcry of despair, a fainthearted confession that he finds his strength fast failing him, and that he is no longer able to wrestle against his wily seducer.
Goethe transiated the Song of Songs into German during the autumn of He argues that God rather countenances the acts to which Faust's passion is urging him, and hints that the Creator is really the one to blame for such sins ; just in the same way as in Eden the serpent strove to ex- cite in Eve's heart a distrust of God's sincerity by hinting that the prohibition of the forbidden tree was simply the effect of a jealous selfishness — "'For God," he said, " doth know that in the day ye eat thereof ye shall be as gods.
God therefcre cannot hurt ye, and be just ; Not just, not God ; not fear'd then, nor obey'd: Your fear itself of death removes the fear, Why then was this forbid? What can your knowledge hurt him, or this tree Impart against his will, if all be his? Such argument3 as these afford indeed a specimen of sophistry well worthy of the devil.
The reasoning he now uses has exercised the most pernicious influence on man's morals, a3 it has furnished us with the enervating argument of " Fatalism," which assumes that all our struggles to improve are vain, as the Creator himself has decreed the fall of his creature by his having created him with evil inclinations. We find an instance of this accusation of God in the words of the already guilty Adam, Gen. It may not be out of place to contrast here the modern and ancient draraa.
The ancient Greek tragedians do not dwell upon individual characters so much as represent them as types of general ideas in conflict with fate or adverse deities. The ancient drama generalizes, and in this generalization sacrifices everything to a stern unity of time, place and action. In the modern es- pecially Romantic drama some passion or virtue, or simply some trait of character is selected for illustration. It is the tendency of the modern drama to individualize, and in doing so to produce like nature an unlimited variety of characters.
These are involved in complicated intrigues, the unravelling of which though apparently beyond our powers tends really to one aim ; which is to show us Man not as the ancient poets represented, struggling with dark fate, but with the events of the external world. Which last is now regarded as under the guidance of an all-powerful Providence, distributing with unswerving justice happiness or misery, aecording as we observe or disobey His laws.
Tut bift bod fonft fo jiemlid eingeteufdt. The use of gel? When a rescue team from Earth arrives in a faster-than-light space ship, everyone is overjoyed that they can now return to Earth. But Moonbase Commander John Koenig, having undergone an experimental brain soothing process after receiving a concussion in a crash on the Lunar surface, sees not friends from Earth but gruesome monsters which have telepathically caused all others on Alpha to see an illusion of an Earth party. The aliens are desperate for radiation and plan to manipulate the Alphans into detonating nuclear waste on the Lunar surface, reducing the Moon and everyone on it to dust.
Koenig must expose this conspiracy to save his people. Salis-Seewis entstammt dem Adelsgeschlecht der von Salis. Hier ernannte man ihn zum Generalinspektor der helvetischen Truppen. Wie lieblich, wenn dein roter Schein. Jahrhunderts errichteten Neuen Schloss bezeichnet. Nach diente die Burg nur noch Verwaltungszwecken. Mai in Meersburg am Bodensee war eine deutsche Schriftstellerin.
She was educated by private tutors and began to write as a child, but did not publish any of her work until she was forty years old. Her early intellectual training was largely influenced by her cousin, Clemens August Freiherr von Droste zu Vischering, who, as archbishop of Cologne, became notorious for his extreme ultramontane views see below.
She received a wider liberal education than it was common for women of her time. Despite her withdrawn and restricted life she corresponded with intellectual contemporaries such as the Brothers Grimm. As her health continually worsened, earning a living through her writing was never an option. Despite this, she took her literary work very seriously. She was able to break from her circumstances during a trip to Lake Constance, originally only to visit relatives.
Her verse is strong and vigorous, but often unmusical, if not to say harsh; one looks in vain for a touch of sentimentality or melting sweetness in it. As a lyric poet, she is at her best when she is able to attune her thoughts to the sober landscape of the Westphalian moorlands of her home. Her narrative poetry, and especially Das Hospiz auf dem Grossen St. He was educated for the career of a civil official under the Palatinate government, but on the outbreak of the campaign of he raised a volunteer corps in the Palatinate and was made its colonel. This corps excited the mirth of the well-drilled Austrians with whom it served, but its colonel soon brought it into a good condition, and it distinguished itself during Kray's retreat on Ulm.
Wrede soon made himself very popular, and distinguished himself in opposing the Austrian invasions of and Just before the Battle of Leipzig he negotiated the Treaty of Ried between Austria and Bavaria and fought with the allies against Napoleon. After Leipzig, he tried to block the French escape at Hanau but was beaten by Napoleon. In he was created prince and field marshal, Wrede represented Bavaria at the Congress of Vienna.
Heinrich Wilhelm von Gagern ur. Geplanzt wurde sie etwa nach dem Neubau des Schlosses. Bis blieb die Burg im Besitz derer von Vincke. Oktober in Konstantinopel war ein deutscher Diplomat aus dem Adelsgeschlecht von Wangenheim. Afterwards, he made several unsuccessful attempts to gain a foothold in the politics of the German Empire. He would keep his seat until the November Revolution of During the First World War, the Prince was active as a volunteer in the military hospitals as well as the General Delegate to the Eastern Front and Imperial Commissioner and military inspector.
He was also sent in as a special envoy to Constantinople and the Balkans. All Images From Book. Click here to view book online to see this illustration in context in a browseable online version of this book. Dieser lehnt sich, aus Backstein errichtet, an den Stumpf eines ehemaligenTurmes an. Einfaches barockes Portal mit starker Bossengliederung. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Jahrhunderts der Rastplatz Ringenwalde. Ebenfalls wird auf dem Rittergut eine moderne Destillationsanlage errichtet. Vor Kriegsende ist es zwitweise Lazarett. Jahrhundert, teils aus Backstein, teils in Fachwerkbauweise errichtet. November ebenda war ein deutscher Industrieller und Politiker. Im Reichstag trat er der Fraktion der Freikonservativen bei. Johann Sigmund auch Siegmund oder Sigismund Ulitsch bzw. April in Bad Segeberg war ein deutscher evangelisch-lutherischer Pfarrer pietistischer Richtung.
You seem to be using an unsupported browser. Please update to get the most out of Flickr. Explore Trending More More. Related groups — freiin. View all All Photos Tagged freiin. Jesuitenkirche Mannheim by Sebastian Fischer. Freiin Gertrud von Le Fort. Der Knabe im Moor by anwarnieninqe. Gottes Fried ist euch gegeben, Nehmet ihn mit Freuden an.
Mit dem edlen seelenfried' Er uns alles teilet mit. In dem Krieg ist er mit Frieden, In der Armut gleichwohl reich. Alles in der Welt vergeht, Nur der Seelen Ruh' besteht. Catharina Regina von Greiffenberg Melodie: Hammerich, Altona und Leipzig, Thema: Schloss Hohenkammer by lensflare Wikipedia Thanks for watching: Die Posaune, sie gebeut's. In , the Brooks ver- sion was made the subject of a careful review by Mrs. Corson writes in part: Vanity, ambition, innumerable errors through which he must wade to arrive at truth, necessarily mislead him in the labyrinths of this life.
His whole existence is spent in search- ing for the right path, and he reaches old age, to die in sight of the cherished object of his life-long pursuit. Corson, if Margaret were absolutely blameless. Martha was her friend before she met Faust. It is true that her sense of propriety revolted at the audacious insolence of the seducer's first addresses, and she answered him accordingly. But we are told also that she cast a furtive glance at the comely adventurer, and thought him hand- some and of good station.
Thus does her ill-guarded innocence afford many assailable points to her adversary, and we may almost say that she met him half way. The marsh which Faust wishes to drain is a symbol of the "ignorance, prejudice, superstition, oppression, that lies in the way of progress, and generates those flitting will-o'-the-wisps which dazzle only to mislead," but which is gradually yielding to the efforts of succeeding genera- tions. The effect of this discriminating article is largely undone by the editor, who, as he does not entirely agree with his contrib- utor, adds a foot-note, in which he admits the truth of much that has been written, but is compelled to warn against the deadly fallacy of Faust's philosophy.
Still, it is an encourag- ing sign of a coming true appreciation of the value of Goethe's work that such a journal as the New 'Englander, which is religious in tone, ventures to print an article that would have been rank heresy a few years before. Universal interest in FoMst was aroused by Bayard Taylor's masterly translation. The outlines and discussions of the drama, although almost without exception favorable, show no advance over the article by Mrs.
Corson, and need not be en- tered into here. However, the poet is not forgotten, as the more important German publications were read with great interest. With the ex- ception of a few critical and biographical articles, which will be discussed below, his name rarely appears excepting in con- nection with translations of ballads and lyrics.
In the case of such authors as Goethe and Heine, almost each arti- cle was a challenge to some one who held radically different views, and hastened to reply. No such reason existed in the case of Schiller, and the number of articles is correspondingly small.
As these treat SchlUer only aa a subject of secondary interest, they can not be regarded as showing special inter- est in him. The dramas produced after are merely mentioned iu the critical portion of the article, but are represented in the translations, which are taken from Don Carlos, Mary Stuart, The Maid of Orleans, and William Tell. During the sixth decade mention of Schiller is confined to short reviews of translations, and to a few brief biographical sketches.
The numerous celebrations of the hundredth anniversary of the poet 's birth might be expected to have brought his name prominently before the American public. However, no such effect is noticeable in the journals. Besides a few brief descriptions of the festivities in Europe, only one long article which may be at- tributed to the anniversary was found, the address by W.
Furness, referred to above. He writes in part: He is undoubtedly more popular among his country- men than Goethe. Indeed, he is more read, if not more prized, everywhere. There is more human sympathy in his writings than in those of his illustrious fellow-countryman and friend, although the latter 's are more artistic and more beautiful as creations than the former. In this country, as well as in Germany, his name is invested with a certain degree of sacred- ness. Parry takes for granted in America in the years immediately following the centennial.
German American Annals, new series, 3: Court Intrigue and Love is marked by the general characteristics of the Bobbers, so far as design and tendency are concerned. Rank and artificial civilization are attacked as fiercely in one as in' the other; while humility of station and simplicity of manners are made the nurses of every virtue. There are no baser villains in any rank of life than Bok, [sic] Kalb, and Wurm ; indeed, only those who entertain a very low opinion of human nature, would be willing to admit that any such exist at all in civilized life.
But assuming that they are caricatures, as many respectable critics maintain, there is still sufficient in the piece to indicate the genius of the author. Schiller himself always re- garded Wallenstein as his greatest work. Artistically consid- ered, it is certainly his chef d'oeuvre; but it is equally certain that the production which exhibits most genius is the Bobbers. His views of human life were lofty, but not comprehensive. If he did not despise, he neglected to study many common lowly realities. His poetry is therefore the antithesis of such poetry as was written by our English realist, George Ctabbe.
Schiller looked around him, but more frequently upwards and onwards, as we see him in one of his portraits. He despised, or he de- fied, low realities, and boldly uttered his belief that, after the failures of which history is the record, men shall enjoy, first moral, then political and social freedom. In a comparison of the two, Schiller is made decidedly secondary.
The asso- ciation, however, of these two great German minds does some injustice to the lesser greatness. We instinctively begin our estimate of Schiller by the profession that he has produced no Faust — a confession which is perfectly true, but highly un- necessary in respect to any other poet. Even the visionary part of him is all human, Christian, natural; and when he touches upon the borders of the supernatural, as in those miraculous circumstances which surround his Maid of Orleans, it is still pure humanity and no fantastic archdemoniac inspiration which moves him.
Wallenstein is emphasized, while The Maid of Orleans is given a fair amount of space. Tell is passed over with the remark that, while it is "a fine, animated, and picturesque production, full of life and action, and with many passages of great poetical merit, The latter is almost superhuman in holding aloof from the great mass of humanity; the former is full of sympathy and fellow-feeling; Goethe is the sharp observer, who analyzes everything within his ken and paints an accurate portrait of what he has found, while SehiUer is an idealist, who describes conditions, not as they are, but as he be- lieves they will be in some happier period of the world's history; Goethe always introduces himself as the principal hero, while Schiller suppresses his personality, never thrusting himself on the reader.
In regard to their relative importance, Goethe is considered the stronger personality, while Schiller is reduced almost to the rank of a dependent. It is also worthy of note that the dramas especially discussed are those of his youth and Wallenstein, while those written in the last five years of his. It was apparently impossible for the average American to sympathize with a movement which was so far removed from all practical things, "never based on a natural foundation.
The movement is divided into two sections. Novalis, the "embodiment of 'magic idealism' — a kind of hyper-mysticism based on Schelling's philosophy of the absolute, in which thoughts are confounded with things, and all natural phenomena reduced to symbols of ideas, ' ' represents one side; E. Hoffmann and his associates, — "common conjurors, who resembled the Arabian sorcerers, who, with all their supematuralism, never lose their hold on terrestrial realities, control the forces of the physical world, and at will animate stones or petrify life," represent the second.
The two have a common basis. The reviewer, on the whole, agrees with the attitude of Heine as outlined. The Romantic School, although it resulted in much that is commendable, "was the product of a morbid and perverse spirit, in conflict with every healthy, progressive tendency of the age, and fully deserving the severity of Heine's sentence. The disease of Romanticism consisted in excessive sub- jectiveness, intense egoism, and hyperidealism. Even the sweetest poems and most charming romances of this school are tainted by the infection, and betray their origin as products of an imagination that has outgrown its normal and healthy rela- tions to the other faculties, and thereby destroyed all intellectual equilibrium and symmetry.
They are like a pate de foie gras, which is indeed a rare and dainty dish, but always presupposes a sick goose. By far the most scholarly treatment of the Romantic School is embraced in a series of three articles by Hjalmar H. Boyesen in the Atlantic Monthly. The association of Friedrich Schlegel with Dorothea Veit, as represented in Lucinde, and the more innocent friendship be- tween Schleiermacher and Henrietta Herz are cited as practical illustrations of their theories.
The second essay, Novalis and the Blue Flower," treats Novalis, and especially Eeinrich von Ofterdingen, as the most complete interpretation of Romanti- cism. Tieck may be called "a kind of Goethe in miniature;" not because he followed ia Goethe's foot- steps, but because he fulfilled in a different sphere a similar mission. Wackenroder gave "the first impetus to that extravagant Madonna worship which, in con- nection with his medieval yearnings, at last assumed the phase of ' artistic Catholicism, ' and ended with sending more than half of the prominent Romanticists to the bosom of the 'only saving church'.
The riddle is still unsolved. The estima- tion of the author is of interest: The latter 's abandonment of the Romantic School is noted in the announce- ment of his death, referred to in a previous chapter. Among these are the following: Christiaftity, or Europe, by Rev. There is about his stories a naturabiess of incident and character that charms us beyond measure. We never read one of them that we do not feel con- scious of being elevated by it to a higher and deeper love of humanity and truth.
By far the most popular of all members of the Romantic School was Richter, "the greatest German humorist.
His works were also liberally reviewed. Walt and Vult, or the Twins, translated from the Flegeljahre,. Boston, , was frequently reviewed. One critic finds Richter "a most difficult and complicated theme" on account of his "No. For a number of years, nothing of importance appeared, untU W.
Alger,"" in , published a discussion of Tiian, trans- lated by Brooks, Boston, He is as much at home in the sublime as in the ridiculous. He laughs and weeps, loves and adores,, with the same rhapsodic sincerity. He is a three-headed, three- hearted giant, equipped with an equal perception of the droll and the dread, an equal feeling of the tender and the absurd,, vibrating swiftly through all that lies between the extremes. His moral influence, both the conscious teaching and the unconscious suggestion, is good, with the exception of occasional "mawkish and sickly" passages, the result of toa tender feelings.
HEINE In view of the fact that the members of Yoimg Germany were at their strongest when our period opens, an active interest in them might be expected. This, however, is not the case.
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Na article devoted exclusively to this school was found, and inci dental references to it are almost invariably in an unfavorablt tone. This is best illustrated in the introduction to an essay on Heine by W. He was a chief support of the fierce satirists of Halle; and in his last collection of poems The Beisebilder and Das Buck der Lieder are almost invariably praised as the products of a true poetic spirit, while his political writings are criticized for tlieir bitter personalities.
His private life is, of course, unani- mously condemned. Later articles make sympathetic reference to his long and painful illness. Hurlbut says in part: The Beisebilder is a collection of pictures drawn from the experiences and observations of the poet during his travels. Few works of the kind have even at- tained a success at once so immediate, so extensive, and so last- ing as this charming book. To all readers of German in France, England, and America, its name, at least, is familiar; and it holds a high place among the literary favorites of all who are acquainted with it on more intimate terms.
Entire inde- pendence and freshness of thought and feeling, and the true poetic power of description and representation, these two seals of genius, are stamped upon the greater part of this book. A certain careless audacity, which, ia his later and more evil days, Heine affected to a painful extent, is the very spirit of his move- ments in these travels. We know few books of the kind so thor- oughly 'cleared of cant'.
De I'Allemagne is characterized as a "systematic attempt to discredit those authors and those opinions which he regarded as obstacles in the way of the great terrestrial kingdom that the propagandists wished to establish. Roman- ticism, Anglicism, pietism, are riddled by his piercing arrows. The respectability of Gerviaus and the religious enthusiasm of Horn refuse to oc- cupy the same shelf with the diablerie, the raillery, the invective of this Parthian critic.
But we have rarely met a more bril- liant specimen of the 'Free Companion' in literature, than Heine as he appears in this ease, sweeping remorselessly down upon Tieck, Schlegel, and their brethren, dealing fatal side thrusts at the solemn philosophers, riding full tilt against even the divine Goethe himself, and barely dropping his lance in time to avoid the crime of sacrilege. But the Buch der Lieder and Neue Oedichte deserve the highest praise; only occasionally are they marred by Heine 's characteristic skep- ticism. A number of poems are quoted to illustrate the ex- quisite lyric qualities.
With all his poetic gifts, there was a fatal element in' Heine's character, the lack of the "resolute hewrt of a man who knew what he would hwve;" there was no "resolute, determined ad- herence to a great and noble purpose. These gifts, how- ever, are spoiled by impiety and lack of reverence. Knickerbocker, on the contrary, finds this number of the trans- lations all too small, and prints several extracts from it. Heinrich Heiwe, was twice reprinted. In part, the estimate is as f oUows: But, compared with any true fdeal of humanity, Heine was not a man to command approval or love.
The scoff- ing element in his nature was predominant over the suggestions of truth. Devoted to the worship of beauty, his life-plan left no place for the pursuit of good. He seems never to have recog- nized the presence of an ethical principle in the constitution of man. The voice of duty was never heard amidst the seductive melodies of his song. He was possessed, like many other men of genius, with a gigantic selfishness, but this was not tempered, as is often the case, by the innate kindness which, in some sense, supplies the want of conscience.
Unscrupulous in the ex- ercise of his wit, he made fewer friends than admirers, and his enemies were more than either. No one can say that he did not deserve his fate. His personality was one from which the heart " No. It was a noble fight, but, nevertheless, Arnold is forced to conclude: A half -result, for want of moral bal- ance, of nobleness of soul and character.
No other de- scriptions of travel can compare with these in their lifelike character. But the praise bestowed on them is not without qual- ification. Brilliant and widely read they may be; but "it is the boldness and severity with which he attaclts friend and foe alike that have contributed most to render the book famous, although there are many of those attacks which show that, if he was not utterly insensible to kindness, he had certainly but little gratitude; for he does not spare even his own teachers, those who not only gave him all the aid in their power to attain the success for which he was ambitious, but also exercised the influence of their friends in his behalf.
And, despite all his faults, his genius can not be denied. For Sears, see above, p. His tragic death removed much of the harshness from the criticism of his opponents, and, as time went on, the memory of "the irregularities in his life faded away. Beiseiilder and Das Buck der Lieder are recognized as poetic products of the high- est order. His mistakes in life are attributed to various causes, and are being judged with increasing charity.
Parker is fairly representative. He says in the conclusion of his article on Heine: Much of his service to literature' and to man- kind was of a very positive character. As a man of letters, he created a prose style unequalled in clearness and brilliancy by anything previously known in German literature — Goethe's prose is ponderous in comparison — and its influence will be felt long after certain mannerisms have passed into oblivion.
His wit is destined to immortality by reason of the serious purpose that underlies it. It has a spontaneity which no wit exercised merely for its own ends can ever have. Those who call Heine frivolous and a mocker, simply because he can jest at serious things, can only know him very superficially or else must be ignorant of the real part which humor has to play in the world. Perhaps there never was a writer who shook himself so free of all convention- alities of style. His very mannerisms — and his writings aboimd in them — have a spontaneity about them, and only become af- fectations in the innumerable imitations which cluster around all his literary productions.
This is his service to literature ; his serv- ice to posterity was as great. He did some goodly service in the 'War of liberation of humanity,' if in no other way, by setting " Cf. The conflict of opinions as to the possibility or advisability of admitting German literature into America on a par with other literatures came to a close at about the middle of the century..
The inclination of the Germans to indulge in philosophic specu- lations that were considered either as incomprehensible or as. The impression of apparently unintelligible, wearisome details of characterization and of dull,, prosy style, which many American students had gained, was at- tributed to a lack of knowledge of the language on the part of the reader, or to unsatisfactory translations, rather than to faults: The conviction gained ground that the authors of Ger- many, possibly more than those of any other foreign country, could teach the Americans much that was not only intrinsically valuable, but that would be of great benefit in helping build up- the newly developing native literature.
As it would be folly for a young nation to close its ears to the teachings of an older people, it was the duty of American scholars to assist in gaining access to the great storehouse of knowledge and inspira'cion which was at their doors. Goethe was better understood as the years passed ; much of what had seemed to be immoral and anti-religious in his writings was.
Interest in individual members of the Eomantic School was marked during the earlier years covered by this investigation, but disappeared almost entirely before the close of the period. The little attention paid to the poets of the "War of Liberation is as difficult to account for as is the neglect of Wilhelm Tell.
Of Young Germany, Heine is the only prominent author. The atti- tude towards him is practically the same as that towards Goethe in the first part of the century. His literary ability is undis- puted; his moral tone, which had at first been severely con- demned, finding scarcely a single champion, is receiving milder judgment. There is, throughout the period, a warm undercurrent of feel- ing for the lyric poets of Germany, of whom Uhland is considered the best exponent.
This feeling shows itself on the surface only occasionally in discussions, but its existence is always evidenced by the appearance of translations. In the last decade of the period, the great production of novels absorbed the interest in German literature to such a degree that almost all other authors excepting Goethe were practically ex- cluded. Opinions naturally varied at first, but finally it was generally conceded that the realistic portrayals of every-day life and the minute soul-analysis, as well as the fearless discus- sions of political and social problems, were worthy of attention.
The judgment of the journals was, on the whole, good. For, while considerable attention was paid to the ephemeral novel, most of the serious discussion is directed to such authors as Auer- bach, Spielhagen, Freytag, and Renter. However, we must not overlook the fact that no mention is made of the most artistic spirits, such as Storm and Keller, whose works were also slow in gaining recognition in Germany. The drama — now considered artistically the greatest of the pro- ductions of the second and third quarters of the nineteenth cen- tury — is practically unknown to American periodicals.
A general characteristic of all the discussions is the emphasis laid on the ethical side of German literary productions as opposed to the esthetic.
To be sure, we often meet in the journals warm praise of the artistic elements, but there is an almost total lack of incisive criticism from this poiat of view. The subjects that at- tract the American critic are of another kind. Examination of the most important journals of the last twO' decades of the nineteenth century shows that the number of ref- erences in periodicals of a more general character decreases slightly.
This, however, can not be taken as indicating dimin- ished interest in German literature. Until the eighth decade, literary critics were confined almost entirely to the general mag- azines for the publication of their articles. After , specific- ally literary journals were founded. Moreover, in the latter part of the century, German literature was studied to such an extent in America that book publications on the subject began to appear. Reference to a number of these has already been made.
While, there- fore, a study of the journals for the first eight decades of the nineteenth century presents a comprehensive view of the attitude of the American critics to German literature during that time, these book publications, as well as the literary periodicals, must be taken as the basis of a history of literary criticism in the closing decades of the century. Articles dealing with theology and history were excluded, as w;ere also announcements of books which contain no expression of opinion', and brief personal notes which do not assist in giving an insight into the attitude towards the subject of the item.
The writer felt that these could safely be omitted, as the value of such notices is only to testify to an interest in German literature, with- out indicating the trend of that interest. While this is important in dealing with the earlier part of the century, the number of references which remain after eliminating these short notes is abundant testimony to the fact that such interest was very strong in the second half of the century, and their insertion would only needlessly increase the length of the list.
For the sake of brevity and convenience in reference, no at- tempt has been made to reproduce the exact titles of books as found in the journals, only so much being given as is necessary to identify the title of the work discussed. In cases where a large number of unimportant book-titles are gathered into one group review, and only a few words are devoted to each book, the general heading alone is given.
The attempt has been made to give a very brief characterization of all articles of importance. In the case of each article which has been discussed in the his- torical portion of the dissertation, reference is made to the page on which it is considered. The German titles of translations have been added in a few instances, but no attempt has been made to carry this out systematically.
The length of translations of well-know selections has not been indicated, as they naturally coincide with the German originals in this respect. In searching for material, the tables of contents were depended on whenever they seemed reliable. The arrangement of the journals in' each year is alphabetic, while the individual references are arranged according to the vol- ume and page of the joumal. A free version of Schiller, Pantasie an Laura. By William Allen Butler.
For continuation, see No. Condemns rest of German lit. Song, with music, adapted from the German by W. Or the Young Painter. Imitated from Anastasius Grun by A. New Yobk Illtjstkated Magazine. A Legend of the old Sea Kings. Tr from the German by Mary E. A "Gossiping Letter" from "a new Contribu- tor. Columbian Ladies' and Gentlemen's Magazine. Dick, from painting by S. Der Deutschen Auswanderer Fahrten una Schicksale. A Romance from the German. Miiller, Achelous and the Sea. Altered from the German of Spindler. Extract from Letters by W. Wanderings and Eortunes of some German Emigrants.
Or, the Value of Self- Dependence. After the manner of Ludwig Uhland. Extract from Corre- spondence of Korner. Selected from the German by Mrs. From the German by W. From the unpublished Journal of Therese. Repr from New Monthly Mag. A free trans, from the Ger- man. A fragment from the German. Faustus puhUshed in Leipzig. From an unpub- lished tr. From the Saxon Dialect. B [rooks] to supply the 4 stanzas missing In Mrs.
Gaudy, The Beggar of the Pont Neuf. By Talvl 12 pp. From the German of Geibel, by "W. By Miss Harriette J. From the Ger- man. Schlegel, John the Baptist in the Wilderness- Tr. By Henri de Coissy. On the Death of a Beloved Wife. Sonder- land, Bilder und Randzeichnungen. Selection from Carlyle, Life of Schiller.
From the German Festkalender. Nieritz, The Little Drummer. Tr- by Henry B. From the German by Azlm. A Tale from the German.
- A Highlander Christmas.
- New Year, New Rules.
- .
Hoffmann, A Chapter of Errors. By Donald Mac- Leod. A free paraphrase from the German. IWas frag' ich viel nach Geld und Gutfi Tr. Paraphrase of a story by Dr. From a German air. Selection from Die Glooke. I Norton's Literaet Gazette. Goethe und dem Staatsrat G. Selection from Reineke Fuchs. Leisure Hours with the Ger- man Poets. Kleine Ghronik von Auerbachs Keller. Panorama op Lite and Literatctee. Lyrische Gedichte; Das Bilderiuch aus meiner Knabenzeit.
Extract from Lewes, Memoirs. Based on Lewes, Life and. Se- lection from Der Tote Gast. Extract from Lewes, Life and Works of Goethe. From a German Patois Song. Free trans, of Europaisches Sklavenleben. Die deutsche komische und humoristische Dioh- tung. Trans, ty Brooks; JBar- tung. Ungelehrte Erklarungen; Diintzer, Faust. Aus den Pamieren eines Frem. Stephen's Illttsteated New Monthly. South fiEN Literabt Messenger. Ballou's Dollar Monthly Magazine. A Sketch of Literary Hist. Davesies de Pontes, Poets and Poetry of Germany.
An Incident In the life of Goethe. Humboldt to Varnhagen v. Holland of New York. The Revenge of the Flowers. Illus- trated by Kaulbach. Based on works of Jeremias Gotthelf. Oerr, The Bells of Spire. J Southern Literary Messenger. Tales of the Day. Adapted from the Ger- man by Hannah Clay. Poem by Bayard Taylor. Herder, Ton und an Herder.. Goethe and Schiller; p.
His Genius, his Theories, and Ms Works. Two four-line stanzas written just he- fore his death: Am Morgen des Mai, ; Auf den Tod eines Kindes. Based on translations or Household Stories and Fairy Tales. From the Low German Original of the 15th Century. Foreign cor- respondence of the Transcript. U Atlantic Monthly. Berlin and Sans Souci. Schefer, The Artist's Married Life. Evans, Abriss der deutschen Literaturgesch,.
By a student of Ger- man lit. Parts I to IV. The Country House on the Rhine. Letzte Gedichte und Gedanken. Evans, Abriss der deutschen Literaturgesch. Trans, taken from London Quarterly. Praises him as a man, but denies his artistic ability. By Alice As- bury.
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Les oeuvres expUquees par la vie. Saym, Die Romantische Sohule. Disc, of Goethe's Corre- spondence with a Child. Critical disc, of his vforks. Sympathetic disc, of worka See p. Adapted to a cantata of Schumann by Henry Cobb. Detlef, Must it Be? Correspondence from Ger- many. From the German of Arnim. From the German by H. By John Esten Cooke. Growth of the Novel. After the Ger- man of Dr. The Story of Goethe's Life. An Episode in Goethe's Life.
Autumn Days in Weimar. The Romantic School in Germany. Wilmanns, Die EntwicTcelung der Gudrundichtung. The Hist, of Switzerland. Original, with trans, from Wagner, Die Meistersinger. Illustriert von Baur- Rev. By Air- bur Forestier. By Edmund Will- iam Gosse. In Essays on Literary Criticism. Euro- pas una, Amerikas.
By Junius Henri Brown. By William Henry Goodyear. A Tale from France. By Edward Barring- ton Fonblanque. By Gus- tave J. By Samuel Os- good. By Simeon Tucker Clark. Band 1, Iste Hdlfte. Edward Zeller, by Edwin D. Emphasizes Heine's position as a Jew. From our regular correspondent. Sime, Lessing; Zimmern, Lessing. United 2 ] pp. Ooethe and Schiller; Faust I, ed.
Imitated from the fables of Gel- lert. Short Hist, of German Lit. Original with trans, by C.