Germany from the Earliest Period

Germany from the Earliest Period.

by Wolfgang Menzel.

PART XXI

THE RISE OF PRUSSIA

(CONTINUED)

CCXLIV. Art and Fashion

Although art had, under French influence, become unnatural, bombastical, in fine, exactly contrary to every rule of good taste, the courts, vain of their collections of works of art, still emulated each other in the patronage of the artists of the day, whose creations, tasteless as they were, nevertheless afforded a species of consolation to the people, by diverting their thoughts from the miseries of daily existence.

Architecture degenerated in the greatest degree. Its sublimity was gradually lost as the meaning of the Gothic style became less understood, and a tasteless imitation of the Roman style, like that of St. Peter"s at Rome, was brought into vogue by the Jesuits and by the court architects, by whom the chateau of Versailles was deemed the highest chef-d"oeuvre of art. This style of architecture was accompanied by a style of sculpture equally unmeaning and forced; saints and Pagan deities in theatrical att.i.tudes, fat genii, and coquettish nymphs peopled the roofs of the churches and palaces, presided over bridges, fountains, etc. Miniature turnery-ware and microscopical sculpture also came into fashion. Such curiosities as, for instance, a cherry-stone, on which Pranner, the Carinthian, had carved upward of a hundred faces; a chessboard, the completion of which had occupied a Dutchman for eighteen years; golden carriages drawn by fleas; toys composed of porcelain or ivory in imitation of Chinese works of art; curious pieces of mechanism, musical clocks, etc., were industriously collected into the cabinets of the wealthy and powerful. This taste was, however, not utterly useless. The predilection for ancient gems promoted the study of the remains of antiquity, as Stosch, Lippert, and Winckelmann prove, and that of natural history was greatly facilitated by the collections of natural curiosities.

The style of painting was, however, still essentially German, although deprived by the Reformation and by French influence of its ancient sacred and spiritual character. Nature was now generally studied in the search after the beautiful. Among the pupils of Rubens, the great founder of the Dutch school, Jordaens was distinguished for brilliancy and force of execution, Van Dyck, A.D. 1541, for grace and beauty, although princ.i.p.ally a portrait painter and incapable of idealizing his subjects, in which Rembrandt, A.D. 1674, who chose more extensive historical subjects, and whose coloring is remarkable for depth and effect, was equally deficient. Rembrandt"s pupil, Gerhard Douw, introduced domestic scenes; his attention to the minutiae of his art was such that he is said to have worked for three days at a broomstick, in order to represent it with perfect truth. Denner carried accuracy still further; in his portraits of old men every hair in the beard is carefully imitated. Francis and William[1] Mieris discovered far greater talent in their treatment of social and domestic groups; Terbourg and Netscher, on the other hand, delighted in the close imitation of velvet and satin draperies; and Schalken, in the effect of shadows and lamplight. Honthorst[2] attempted a higher style, but Van der Werf"s small delicious nudities and Van Loos"s luxurious pastoral scenes were better adapted to the taste of the times. While these painters belonged to the higher orders of society, of which their works give evidence, numerous others studied the lower cla.s.ses with still greater success. Besides Van der Meulen and Rugendas, the painters of battle-pieces, Wouvermann chiefly excelled in the delineation of horses and groups of hors.e.m.e.n, and Teniers, Ostade, and Jan Steen became famous for the surpa.s.sing truth of their peasants and domestic scenes. To this low but happily-treated school also belonged the cattle-pieces of Berchem and Paul de Potter, whose "Bull and Cows" were, in a certain respect, as much the ideal of the Dutch as the Madonna had formerly been that of the Italians or the Venus di Medici that of the ancients.

Landscape-painting alone gave evidence of a higher style. Nature, whenever undesecrated by the vulgarity of man, is ever sublimely simple. The Dutch, as may be seen in the productions of Breughel, called, from his dress, "Velvet Breughel," and in those of Elzheimer, termed, from his attention to minutiae, the Denner of landscape- painting, were at first too careful and minute; but Paul Brill, A.D.

1626, was inspired with finer conceptions and formed the link between preceding artists and the magnificent Claude Lorraine (so called from the place of his birth, his real name being Claude Gelee), who resided for a long time at Munich, and who first attempted to idealize nature as the Italian artists had formerly idealized man. Everdingen and Ruysdael, on the contrary, studied nature in her simple northern garb, and the sombre pines of the former, the cheerful woods of the latter, will ever be attractive, like pictures of a much-loved home, to the German. Bakhuysen"s sea-pieces and storms are faithful representations of the Baltic. In the commencement of last century, landscape-painting also degenerated and became mere ornamental flower-painting, of which the Dutch were so pa.s.sionately fond that they honored and paid the most skilful artists in this style like princes. The dull prosaic existence of the merchant called for relief. Huysum was the mosrt celebrated of the flower-painters, with Rachel Ruysch, William von Arless, and others of lesser note. Fruit and kitchen pieces were also greatly admired. Hondekotter was celebrated as a painter of birds.

Painting was, in this manner, confined to a slavish imitation of nature, for whose lowest objects a predilection was evinced until the middle of the eighteenth century, when a style, half Italian, half antique, was introduced into Germany by the operas, by travellers, and more particularly by the galleries founded by the princes, and was still further promoted by the learned researches of connoisseurs, more especially by those of Winckelmann. Mengs, the Raphael of Germany, Oeser, Tischbein, the landscape-painters Seekatz, Hackert, Reinhardt, Koch, etc., formed the transition to the modern style. Frey, Chodowiecki, etc., gained great celebrity as engravers.

Architecture flourished during the Middle Ages, painting at the time of the Reformation, and music in modern times. The same spirit that spoke to the eye in the eternal stone now breathed in transient melody to the ear. The science of music, transported by Dutch artists into Italy, had been there a.s.siduously cultivated; the Italians had speedily surpa.s.sed their masters, and had occupied themselves with the creation of a peculiar church-music and of the profane opera, while the Netherlands and the whole of Germany were convulsed by b.l.o.o.d.y religious wars. After the peace of Westphalia, the national music of Germany, with the exception of the choral music in the Protestant churches, was almost silent, and Italian operas were introduced at all the courts, where Italian chapel-masters, singers, and performers were patronized in imitation of Louis XIV., who pursued a similar system in France. German talent was reduced to imitate the Italian masters, and, in 1628, Sagittarius produced at Dresden the first German opera in imitation of the Italian, and Keyser published no fewer than one hundred and sixteen.

The German musicians were, nevertheless, earlier than the German poets, animated with a desire to extirpate the foreign and degenerate mode fostered by the vanity of the German princes, and to give free scope to their original and native talent. This regeneration was effected by the despised and simple organists of the Protestant churches. In 1717, Schroeder, a native of Hohenstein in Saxony, invented the pianoforte and improved the organ. Sebastian Bach, in his colossal fugues, like to a pillared dome dissolved in melody,[3]

raised music by his compositions to a height unattained by any of his successors. He was one of the most extraordinary geniuses that ever appeared on earth. Handel, whose glorious melodies entranced the senses, produced the grand oratorio of the "Messiah," which is still performed in both Protestant and Catholic cathedrals; and Graun, with whom Frederick the Great played the flute, brought private singing into vogue by his musical compositions. Gluck was the first composer who introduced the depth and pathos of more solemn music into the opera. He gained a complete triumph at Paris over Piccini, the celebrated Italian musician, in his contest respecting the comparative excellencies of the German and Italian schools. Haydn introduced the variety and melody of the opera into the oratorio, of which his "Creation" is a standing proof. In the latter half of the foregoing century, sacred music has gradually yielded to the opera. Mozart brought the operatic style to perfection in the wonderful compositions that eternalize his fame.

The German theatre was, owing to the Gallomania of the period, merely a bad imitation of the French stage. Gottsched,[4] who greatly contributed toward the reformation of German literature, still retained the stilted Alexandrine and the pseudo-Gallic imitation of the ancient dramatists to which Lessing put an end. Lessing wrote his "Dramaturgy" at Hamburg, recommended Shakespeare and other English authors as models, but more particularly nature. The celebrated Eckhof, the father of the German stage, who at first travelled about with a company of actors and finally settled at Gotha, was the first who followed this innovation. He was succeeded by Schroeder in Hamburg, who was equally industrious as a poet, an actor, and a Freemason. In Berlin, where Fleck had already paved the way, Iffland, who, like Schroeder, was both a poet and an actor, founded a school, which in every respect took nature as a guide, and which raised the German stage to its well-merited celebrity.

At the close of the eighteenth century, men of education were seized with an enthusiasm for art, which showed itself princ.i.p.ally in a love for the stage and in visits for the promotion of art to Italy. The poet and the painter, alike dissatisfied with reality, sought to still their secret longings for the beautiful amid the unreal creations of fancy and the records of cla.s.sical antiquity.

Fashion, that masker of nature, that creator of deformity, had, in truth, arrived at an unparalleled pitch of ugliness. The German costume, although sometimes extravagantly curious during the Middle Ages, had nevertheless always retained a certain degree of picturesque beauty, nor was it until the reign of Louis XIV. of France that dress a.s.sumed an unnatural, inconvenient, and monstrous form. Enormous allonge perukes and ruffles, the fontange (high headdress), hoops, and high heels, rendered the human race a caricature of itself. In the eighteenth century, powdered wigs of extraordinary shape, hairbags and queues, frocks and frills, came into fashion for the men; powdered headdresses an ell in height, diminutive waists, and patches for the women. The deformity, unhealthiness, and absurdity of this mode of attire were vainly pointed out by Salzmann, in a piece ent.i.tled, "Charles von Carlsberg, or Human Misery."

[Footnote 1: Also his brother John, who painted with equal talent in the same style.--_Trans_.]

[Footnote 2: Called also Gerardo dalle Notti from his subjects, princ.i.p.ally night-scenes and pieces illuminated by torch or candle-light. His most celebrated picture is that of Jesus Christ before the Tribunal of Pilate.--_Ibid_.]

[Footnote 3: Gothic architecture has been likened to petrified music.]

[Footnote 4: He was a.s.sisted in his dramatic writings by his wife, a woman of splendid talents.--_Trans_.]

CCXLV. Influence of the Belles-Lettres

The German, excluded from all partic.i.p.ation in public affairs and confined to the narrow limits of his family circle and profession, followed his natural bent for speculative philosophy and poetical reverie; but while his thoughts became more elevated and the loss of his activity was, in a certain degree, compensated by the gentle dominion of the muses, the mitigation thus afforded merely aggravated the evil by rendering him content with his state of inaction. Ere long, as in the most degenerate age of ancient Rome, the citizen, amused by sophists and singers, actors and jugglers, lost the remembrance of his former power and rights and became insensible to his state of moral degradation, to which the foreign notions, the vain and frivolous character of most of the poets of the day, had not a little contributed.

After the thirty years" war, the Silesian poets became remarkable for Gallomania or the slavish imitation of those of France. Unbounded adulation of the sovereign, bombastical _carmina_ on occasion of the birth, wedding, accession, victories, fetes, treaties of peace, and burial of potentates, love-couplets equally strained, twisted compliments to female beauty, with pedantic, often indecent, citations from ancient mythology, chiefly characterized this school of poetry.

Martin Opitz, A.D. 1639, the founder of the first Silesian school,[1]

notwithstanding the insipidity of the taste of the day, preserved the harmony of the German ballad. His most distinguished followers were Logau, celebrated for his Epigrams;[2] Paul Gerhard, who, in his fine hymns, revived the force and simplicity of Luther; Flemming, a genial and thoroughly German poet, the companion of Olearius[3] during his visit to Persia; the gentle Simon Dach, whose sorrowing notes bewail the miseries of the age. He founded a society of melancholy poets at Konigsberg, in Prussia, the members of which composed elegies for each other; Tscherning and Andrew Gryphius, the Corneille of Germany, a native of Glogau, whose dramas are worthy of a better age than the insipid century in which they were produced. The life of this dramatist was full of incident. His father was poisoned; his mother died of a broken heart. He wandered over Germany during the thirty years" war, pursued by fire, sword, and pestilence, to the latter of which the whole of his relations fell victims. He travelled over the whole of Europe, spoke eleven languages, and became a professor at Leyden, where he taught history, geography, mathematics, physics, and anatomy. These poets were, however, merely exceptions to the general rule. In the poetical societies, the "Order of the Palm" or "Fructiferous Society," founded A.D. 1617, at Weimar, by Caspar von Teutleben, the "Upright Pine Society," established by Rempler of Lowenthal at Strasburg, that of the "Roses," founded A.D. 1643, by Philip von Zesen, at Hamburg, the "Order of the Pegnitz-shepherds,"

founded A.D. 1644, by Harsdorfer, at Nuremberg, the spirit of the Italian and French operas and academies prevailed, and pastoral poetry, in which the G.o.d of Love was represented wearing an immense allonge peruke, and the coquettish immorality of the courts was glowingly described in Arcadian scenes of delight, was cultivated. The fantastical romances of Spain were also imitated, and the invention of novel terms was deemed the highest triumph of the poet. Every third word was either Latin, French, Spanish, Italian, or English. Francisci of Lubeck, who described all the discoveries of the New World in a colloquial romance contained in a thick folio volume, was the most extravagant of these scribblers. The romances of Antony Ulric, duke of Brunswick, who embraced Catholicism on the occasion of the marriage of his daughter with the emperor Charles VI., are equally bad.

Lauremberg"s satires, written A.D. 1564, are excellent. He said with great truth that the French had deprived the German muse of her nose and had patched on another quite unsuited to her German ears.

Moscherosch (Philander von Sittewald) wrote an admirable and cutting satire upon the manners of the age, and Greifenson von Hirschfeld is worthy of mention as the author of the first historical romance that gives an accurate and graphic account of the state of Germany during the thirty years" war.

This first school was succeeded by a second of surpa.s.sing extravagance. Hoffman von Hoffmannswaldau, A.D. 1679, the founder of the second Silesian school, was a caricature of Opitz, Lohenstein of Gryphius, Besser of Flemming, Talander and Ziegler of Zesen, and even Francisci was outdone by that most intolerable of romancers, Happel.

This school was remarkable for the most extravagant license and bombastical nonsense, a sad proof of the moral perversion of the age.

The German character, nevertheless, betrayed itself by a sort of nave pedantry, a proof, were any wanting, that the ostentatious absurdities of the poets of Germany were but bad and paltry imitations. The French Alexandrine was also brought into vogue by this school, whose immorality was carried to the highest pitch by Gunther, the lyric poet, who, in the commencement of the eighteenth century, opposed marriage, attempted the emanc.i.p.ation of the female s.e.x, and, with criminal geniality, recommended his follies and crimes, as highly interesting, to the world. To him the poet, Schnabel, the author of an admirable romance, the "Island of Felsenburg," the asylum, in another hemisphere, of virtue, exiled from Europe, offers a n.o.ble contrast.

Three Catholic poets of extreme originality appear at the close of the seventeenth century, Angelus Silesius (Scheffler of Breslau), who gave to the world his devotional thoughts in German Alexandrines; Father Abraham a Sancta Clara (Megerle of Swabia), a celebrated Viennese preacher, who, with comical severity, wrote satires abounding with wit and humorous observations; and Balde, who wrote some fine Latin poems on G.o.d and nature. Pratorius, A.D. 1680, the first collector of the popular legendary ballads concerning Rubezahl and other spirits, ghosts and witches, also deserves mention. The Silesian, Stranizki, who, A.D. 1708, founded the Leopoldstadt theatre at Vienna, which afterward became so celebrated, and gave to it the popular comic style for which it is famous at the present day, was also a poet of extreme originality. Gottsched appeared as the hero of Gallomania, which was at that time threatened with gradual extinction by the Spanish and Hamburg romance and by Viennese wit. a.s.sisted by Neuber, the actress, he extirpated all that was not strictly French, solemnly burned Harlequin in effigy at Leipzig, A.D. 1737, and laid down a law for German poetry, which prescribed obedience to the rules of the stilted French court-poetry, under pain of the critic"s lash. He and his learned wife guided the literature of Germany for several years.

In the midst of these literary aberrations, during the first part of the foregoing century, Thomson, the English poet, Brokes of Hamburg, and the Swiss, Albert von Haller, gave their descriptions of nature to the world. Brokes, in his "Earthly Pleasures in G.o.d," was faithful, often Homeric, in his descriptions, while Haller depictured his native Alps with unparalleled sublimity. The latter was succeeded by a Swiss school, which imitated the witty and liberal-minded criticisms of Addison and other English writers, and opposed French taste and Gottsched. At its head stood Bodmer and Breitinger, who recommended nature as a guide, and instead of the study of French literature, that of the ancient cla.s.sics and of English authors. It was also owing to their exertions that Muller published an edition of Rudiger Maness"s collection of Swabian Minnelieder, the connecting link between modern and ancient German poetry. Still, notwithstanding their merit as critics, they were no poets, and merely opened to others the road to improvement. Hagedorn, although frivolous in his ideas, was graceful and easy in his versification; but the most eminent poet of the age was Gellert of Leipzig, A.D. 1769, whose tales, fables, and essays brought him into such note as to attract the attention of Frederick the Great, who, notwithstanding the contempt in which he held the poets of Germany, honored him with a personal visit.

Poets and critics now rose in every quarter and pitilessly a.s.sailed Gottsched, the champion of Gallomania. They were themselves divided into two opposite parties, into Anglomanists and Graecomanists, according to their predilection for modern English literature or for that of ancient Greece and Rome. England, grounded, as upon a rock, on her self-gained const.i.tution, produced men of the rarest genius in all the higher walks of science and literature, and her philosophers, naturalists, historians, and poets exercised the happiest influence over their Teutonic brethren, who sought to regain from them the vigor of which they had been deprived by France. The power and national learning of Germany break forth in Klopstock, whose genius vainly sought a natural garb and was compelled to a.s.sume a borrowed form. He consecrated his muse to the service of religion, but, in so doing, imitated the Homeric hexameters of Milton; he sought to arouse the national pride of his countrymen by recalling the deeds of Hermann (Armin) and termed himself a bard, but, in the Horatian metre of his songs, imitated Ossian, the old Scottish bard, and was consequently labored and affected in his style. Others took the lesser English poets for their model, as, for instance, Kleist, who fell at Kunersdorf, copied Thomson in his "Spring"; Zacharia, Pope, in his satirical pieces; Hermes, in "The Travels of Sophia," the humorous romances of Richardson; Muller von Itzehoe, in his "Siegfried von Lindenberg," the comic descriptions of Smollett. The influence of the celebrated English poets, Shakespeare, Swift, and Sterne, on the tone of German humor and satire, was still greater. Swift"s first imitator, Liscow, displayed considerable talent, and Rabener, a great part of whose ma.n.u.scripts was burned during the siege of Dresden in the seven years" war, wrote witty, and at the same time instructive, satires on the manners of his age. Both were surpa.s.sed by Lichtenberg, the little hump-backed philosopher of Gottingen, whose compositions are replete with grace. The witty and amiable Thummmel was also formed on an English model, and Archenholz solely occupied himself with transporting the customs and literature of England into Germany. If Shakespeare has not been without influence upon Goethe and Schiller, Sterne, in his "Sentimental Journey," touched an echoing chord in the German"s heart by blending pathos with his jests. Hippel was the first who, like him, united wit with pathos, mockery with tears.

In Klopstock, Anglo and Graecomania were combined. The latter had, however, also its particular school, in which each of the Greek and Roman poets found his imitator. Voss, for instance, took Homer for his model, Ramler, Horace, Gleim, Anacreon, Gessner, Theocritus, Cramer, Pindar, Lichtwer, aesop, etc. The Germans, in the ridiculous attempt to set themselves up as Greeks, were, in truth, barbarians. But all was forced, unnatural, and perverted in this aping age. Wieland alone was deeply sensible of this want of nature, and hence arose his predilection for the best poets of Greece and France. The German muse, led by his genius, lost her ancient stiffness and acquired a pliant grace, to which the sternest critic of his too lax morality is not insensible. Some lyric poets, connected with the Graecomanists by the _Gottingen Hainbund_, preserved a n.o.ble simplicity, more particularly Salis and Hlty, and also Count s...o...b..rg, wherever he has not been led astray by Voss"s stilted manner. Matthison is, on the other hand, most tediously affected.

The German, never more at home than when abroad, boasted of being the cosmopolite he had become, made a virtue of necessity, and termed his want of patriotism, justice to others, humanity, philanthropy.

Fortunately for him, there were, besides the French, other nations on which he could model himself, the ancient Greeks and the English, from each of whom he gathered something until he had converted himself into a sort of universal abstract. The great poets, who shortly before and after the seven years" war, put an end to mere partial imitations, were not actuated by a reaction of nationality, but by a sentiment of universality. Their object was, not to oppose the German to the foreign, but simply the human to the single national element, and, although Germany gave them birth, they regarded the whole world equally as their country.

Lessing, by his triumph over the scholastic pedants, completed what Thomasius had begun, by his irresistible criticism drove French taste from the literary arena, aided Winckelmann to promote the study of the ancients and to foster the love of art, and raised the German theatre to an unprecedented height. His native language, in which he always wrote, breathes, even in his most trifling works, a free and lofty spirit, which, fascinating in every age, was more peculiarly so at that emasculated period. He is, however, totally devoid of patriotism.

In his "Minna von Barnhelm," he inculcates the finest feelings of honor; his "Nathan" is replete with the wisdom "that cometh from above" and with calm dignity; and in "Emilia Galotti" he has been the first to draw the veil, hitherto respected, from scenes in real life.

His life was, like his mind, independent. He scorned to cringe for favor, even disdained letters of recommendation when visiting Italy (Winckelmann had deviated from the truth for the sake of pleasing a patron), contented himself with the scanty lot of a librarian at Wolfenb.u.t.tel, and even preferred losing that appointment rather than subject himself to the censorship. He was the boldest, freest, finest spirit of the age.

Herder, although no less n.o.ble, was exactly his opposite. Of a soft and yielding temperament, unimaginative, and gifted with little penetration, but with a keen sense of the beautiful in others, he opened to his fellow countrymen with unremitting diligence the literary treasures of foreign nations, ancient cla.s.sical poetry, that, hitherto unknown, of the East, and rescued from obscurity the old popular poetry of Germany. In his "Ideas of a Philosophical History of Mankind," he attempted to display in rich and manifold variety the moral character of every nation and of every age, and, while thus creating and improving the taste for poetry and history, ever, with childlike piety, sought for and revered G.o.d in all his works.

Goethe, with a far richer imagination, possessed the elegance but not the independence of Lessing, all the softness, pathos, and universality of Herder, without his faith. In the treatment and choice of his subjects he is indubitably the greatest poet of Germany, but he was never inspired with enthusiasm except for himself. His personal vanity was excessive. His works, like the lights in his apartment at Weimar, which were skilfully disposed so as to present him in the most favorable manner to his visitors, but artfully reflect upon self. The manner in which he palliated the weaknesses of the heart, the vain inclinations, shared by his contemporaries in common with himself, rendered him the most amiable and popular author of the day. French frivolity and license had long been practiced, but they had also been rebuked. Goethe was the first who gravely justified adultery, rendered the sentimental voluptuary an object of enthusiastic admiration, and deified the heroes of the stage, in whose imaginary fortunes the German forgot sad reality and the wretched fate of his country. His _fade_ a.s.sumption of dignity, the art with which he threw the veil of mystery over his frivolous tendencies and made his commonplace ideas pa.s.s for something incredibly sublime, naturally met with astonishing success in his wonder-seeking times.

Rousseau"s influence, the ideas of universal reform, the example of England, proud and free, but still more, the enthusiasm excited by the American war of independence, inflamed many heads in Germany and raised a poetical opposition, which began with the bold-spirited Schubart, whose liberal opinions threw him into a prison, but whose spirit still breathed in his songs and roused that of his great countryman, Schiller. The first cry of the oppressed people was, by Schiller, repeated with a prophet"s voice. In him their woes found an eloquent advocate. Lessing had vainly appealed to the understanding, but Schiller spoke to the heart, and if the seed, sown by him, fell partially on corrupt and barren ground, it found a fostering soil in the warm, unadulterated hearts of the youth of both s.e.xes. He recalled his fellow-men, in those frivolous times, to a sense of self-respect, he restored to innocence the power and dignity of which she had been deprived by ridicule, and became the champion of liberty, justice, and his country, things from which the love of pleasure and the aristocratic self-complacency, exemplified in Goethe, had gradually and completely Weaned succeeding poets. Klinger, at the same time, coa.r.s.ely portrayed the vices of the church and state, and Meyern extravagated in his romance "Dya-Na-Sore" on Utopian happiness. The poems of Muller, the painter, are full of latent warmth. Burger, Pfeffel, the blind poet, and Claudius, gave utterance, in Schubart"s coa.r.s.e manner, to a few trite truisms. Musaeus was greatly admired for his amusing popular stories. As for the rest, it seemed as though the spiritless writers of that day had found it more convenient to be violent and savage in their endless chivalric pieces and romances than, like Schiller, steadily and courageously to attack the vices and evils of their age. Their fire but ended in smoke. Babo and Ziegler alone, among the dramatists, have a liberal tendency. The spirit that had been called forth also degenerated into mere baccha.n.a.lian license, and, in order to return to nature, the limits set by decency and custom were, as by Heinse, for instance, who thus disgraced his genius, wantonly overthrown.

In contradistinction to these wild spirits, which, whether borne aloft by their genius or impelled by ambition, quitted the narrow limits of daily existence, a still greater number of poets employed their talents in singing the praise of common life, and brought domesticity and household sentimentality into vogue. The very prose of life, so unbearable to the former, was by them converted into poetry. Although the ancient idyls and the family scenes of English authors were at first imitated, this style of poetry retained an essentially German originality; the hero of the modern idyl, unlike his ancient model, was a fop tricked out with wig and cane, and the domestic hero of the tale, unlike his English counterpart, was a mere political nullity. It is perhaps well when domestic comforts replace the want of public life, but these poets hugged the chain they had decked with flowers, and forgot the reality. They forgot that it is a misfortune and a disgrace for a German to be without a country, without a great national interest, to be the most unworthy descendant of the greatest ancestors, the prey and the jest of the foreigner; to this they were indifferent, insensible; they laid down the maxim that a German has nothing more to do than "to provide for" himself and his family, no other enemy to repel than domestic trouble, no other duty than "to keep his German wife in order," to send his sons to the university, and to marry his daughters. These commonplace private interests were withal merely adorned with a little sentimentality. No n.o.ble motive is discoverable in Voss"s celebrated "Louisa" and Goethe"s "Hermann and Dorothea." This style of poetry was so easy that hundreds of weak-headed men and women made it their occupation, and family scenes and plays speedily surpa.s.sed the romances of chivalry in number. The poet, nevertheless, exercised no less an influence, notwithstanding his voluntary renunciation of his privilege to elevate the sinking minds of his countrymen by the great memories of the past or by ideal images, and his degradation of poetry to a mere palliation of the weaknesses of humanity.

[Footnote 1: He was a friend of Grotius and is styled the father of German poetry.--_Trans_.]

[Footnote 2: Of which an edition, much esteemed, was published by Lessing and Ramler.]

[Footnote 3: Adam Elschlager or Olearius, an eminent traveller and mathematician, a native of Anhalt. He became secretary to an emba.s.sy sent to Russia and Persia by the duke of Holstein.--_Trans_.]

PART XXII

THE GREAT WARS WITH FRANCE