Hugo und die gemeinen Prinzessinnen (Schreckliche-Kinder-Geschichten 8) (German Edition)

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Egestorff's Translation of Klopstock's " Messias. Germanic Etymologies Francis A.

Walther's " Fourth Group" of Bible Translations. James Taft Hatfield and Elfrieda Hochbaum. Wilhelm Hauff's " Lichtenstein. Eggert, Goethe's Iphigenie auf Tauris. As Volume I will soon be exhausted it has been found necessary to limit the sale of separate numbers. Back numbers can be had as follows: It must certainly be regarded as a curious fact that that very scene of the Classical Walpurgis-Night, which seems to have been conceived first of all, and was the principal cause for the composition of the whole Night, should finally neither have found a place in the second nor in the third act of Goethe's Faust.

Various explanations of this have been advanced. Loeper supposed that Goethe convinced himself that the scene might dramatically be dispensed with. But we now know that Goethe clung to it until after he had finished the entire Wal- purgis-Night. Calvin Thomas thinks that it was 'probably because, in addition to the intrinsic difficulties of the theme, Goethe perceived that it would not really render the fiction of the third act any more intelli- Evolution of the Walpurgis-Night and the Scene in Hades.

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Whatever of truth there may be in the one or other of these explanations they have not touched upon the principal reason. This principal reason must be sought in the peculiar and rather unforeseen evolution of the Walpurgis-Night, which shall be traced in the following pages.

The prose outline of the Classical Walpurgis-Night is gradu- allv evolved from June 10, , to December 17 of the same year, and mainly between November 9 and December During the next three years there are few evidences of work, though the great thought which changed the whole aspect of the Night, the transformation of Homunculus from a chemical manikin into an entelechy belongs to that period.

The bulk of the continuous poetical work was accomplished between Janu- ary 1? After an interruption of two months and a half the work was resumed again June 12, and apparently finished in a very short time, for June 18 an outline of the scene in Hades appears under the title of a prologue to the third act, and in a letter of June 25 the completion of the Classical Wal- purgis-Night is mentioned in a manner which shows that it is no longer uppermost in Goethe's mind. At some date between June 18, , and February 17, , the scene in Hades was also abandoned in the form of a prologue to the third act, for the entry of the latter date in Goethe's diary, which is corrobc- rated by a notice of Eckermann's, says: Theil des Faust in eine Mappe geheftet,' and three days later we read in the same place: The introduction to the Helena drama of June 10, , gives nothing but an adumbration of the scene in Hades.

The remainder of the Wal- purgis-Night is still wanting. The schemes of November 9 and 10? The scene in Hades is outlined more definitely, and even the arguments of the speech before Proserpina are given, while the name of the speaker, probably Manto, is not indicated. The Anki'nidiguiig of the Helena drama of December 17, based on a draft of December 15, gives an elaborate outline of all events between the close of the first part and the beginning of the Helena drama, in lines, of which are devoted to the Classical Walpurgis-Night, and 40 to the scene in Hades.

Now the laboratory scene is immediately connected with the Walpurgis-Night. Homunculus, who is a ' wohlgebildetes Zwerglein,' not an entelechy, declares that the classical Wal- purgis-Night is taking place during that very night and upon this statement Faust, Mephistopheles, Homunculus and Wagner start at once for Thessaly.

Strange to say, Wagner alone has a definite purpose in view. He takes a bottle with him in which to collect the elements for a chemical mate of Homunculus. At first the travelers meet with Hrichtho and Erichthonius. The latter soon develops an affection for Homunculus which elicits malicious remarks from Mephistopheles. Faust, not Mephistopheles, engages in an abstruse conversation with a Sphinx, which becomes still more confused by a Griffin and an Ant joining in it. Kmpusa, who here enters separately, causes restless impatience by ever new transformations.

The Sphinxes, Griffins and Ants appear multiplied innumerably, and all mon- sters of antiquity ' Chimaeren, Tragelaphe, Gryllen' and num- berless many-headed serpents are running to and fro. Harpies circle about like bats, Python comes in several specimens, and the Stymphalian birds are whizzing through the air. Part of those present rush toward the sea.

The travelers pay little attention to all this. Homunculus picks up phosphorescent atoms for the chemical woman. Wagner puts them in his bottle and is beset by countless ghosts of Pompejans and Csesareans who try in vain to possess themselves of those atoms with a view to a regular resurrection of their bodies. Then the attention is directed toward the centre of the plain where Enceladus, in order to glorify this night, is causing an earthquake and forming a new mountain ridge. Natural phil- osophers, Thales and Auaxagoras, who on such an occasion could not be lacking, get into a violent dispute concerning the phe- nomenon, the one upholding the Neptunistic and the other the Plutonic theory.

Auaxagoras predicts a shower of meteors which fall immediately thereafter from the moon. For that he is praised by the crowd as a demigod while his opponent is forced to retreat to the sea. After the shower of meteors and the retreat of Thales, Pygmies come swarming forth from the chasms of the new mountain and avail themselves of the upper arms and shoulders of the giant as a play and dancing ground,, while myriads of Cranes, screaming, circle about his head and his hair, as if the latter were impenetrable forests, and announce an enjoyable contest before the close of the general festival.

Meanwhile Mephisto has made the acquaintance of Enyo. Though her grand homeliness almost causes him to lose his composure and become insulting, he restrains himself, tries to gain her influence on account of her high ancestors and makes a treaty with her, the open conditions of which are not of much consequence, while the secret ones are all the more important. The transformation is not mentioned as such.

A pedagogical conversation with this 'Urhofmeister' is, though not interrupted, at least disturbed by the Lamiae who keep passing between Faust and Chiron and would have led Faust astray, if he had not received 'das hochste Gebild der Schonheit' in his mind. Chiron meanwhile explains the max- ims according to which he has instructed the Argonauts and Achilles, but is sorry to say that they lived and acted afterward just as if they had not been educated. When he hears of Faust's intention, he is glad to meet once more a man who desires the impossible, offers him his assistance, carries him through all the fords and sands of Peneus, shows him where Per- seus caught his breath on his flight from the Romans, and takes him to the foot of Mount Olympus.

There they meet a long pro- cession of Sibyls, many more than twelve. Chiron describes them as they pass by and commends his charge to Manto, the thoughtful and kindly daughter of Tiresias. The latter reveals to Faust that the way to Orcus is just about to open, and when it does open they begin the descent. On their path they meet the head of Gorgo and, if Manto had not thrown her veil over Faust, neither a trace of his body nor of his soul would ever have been found again in the uni- verse.

They arrive at the crowded court of Proserpina, by whom Faust is welcomed as another Orpheus though his request is found a trifle singular. Manto makes a speech in which she asks for Helena's release on the strength of the precedents in the cases of Protesilaus, Alceste, Eurydice and Helena herself. The queen is moved to tears and gives her consent. The three judges to whom they are directed find that the other time Helena had been allowed to return to Hades on condition that she be limited to the island of Leuce.

Now she is to return to Sparta only and to appear there truly alive, while it is left to her suitor to win her favor. Here the Helena drama begins. In this outline the four travelers wander through the Classi- 6 Evolution of the Walpurgis-Night and the Scene in Hades. Their adventures predominate over the description of the characters and events of the Walpurgis-Night proper at the ratio of two to one. The action of Seismos, now still called by the mythological name of Hnceladus, takes place and is duly commented upon by the philosophers, but the possibility of a living counterpart, which was contained in Hoinunculus, had not yet been discovered by the poet, nor did Galatea offset the Phorkyads.

All events are merely strung together and no attempt at real dramatic compo- sition has yet been made because a leading idea to bind up the whole is still lacking. The actors of the land are partly the same as in the final form, but their elemental natures or inter- ests have not yet been made prominent and only the Pygmies and Cranes are connected with Seismos.

The Sirens are so far the only representatives of the sea. The entrance of any of the great gods, except Proserpina, or of any of the heroes was con- templated now just as little as afterward. A month later, in January, , the speech before Proserpina, probably by a lapse of memory on the part of Goethe or Eckermann attributed to Faust instead of Manto, is mentioned once more.

After that there is no further information concerning the poet's occupa- tion with the work until Lines must have been composed on or after August 29? That is, leaving out of account the last item, because it is on the very threshold of the year , some desultory work on the scene with the Sphinxes, Griffins, Ants and Ari- maspeans, where Mephistopheles had taken the place of Faust, had been done previous to the last days of the year That Goethe's plans of the Classical Walpurgis-Night had in the mean time undergone far greater changes may, however, be A. Fanst was now so deeply affected with his longing for Helena that he had to be carried to Thessaly in order to be restored to consciousness.

Hence he could no longer be employed as a vehicle for the exposition and, as we have seen above, Mephis- topheles had taken that place. Mephistopheles went to Thes- saly to satisfy his amorousness with the Lamiae. Hence these had to be transferred from Faust to him. Homunculus had no longer a body but started out to find one.

Hence the adventures with Erichthonius and Erichtho and with the ghosts of the Pompejans and Cesareans had to be abandoned and the sea scene added. Wagner had lost his purpose and hence was compelled to stay at home. Thus the great outlines of the Classical Walpurgis-Night must have been fixed before, January 1, or thereabouts, the continuous work on it was begun.

January 17 Goethe reads to Eckermann the scene of Mephis- topheles with the Griffins and Sphinxes, parts of which had been written so long ago. January 20 he reads to him the scene 1 wo Faust nach der Helena fragt und der Berg entsteht,' the latter probably being a fragment, part of which at least had been composed during the last days of the preceding year. January 24 work has been commenced on the scene with Chiron which at that time was not intended to contain all it does now, because even in the revised form of the scheme of February 6, ' Chiron iiber Manto sprechend Fausten bey ihr einfuhrend.

Uberein- kunft ' still follows after the sea scene ; he hopes to be done ' in ein paar Monaten. Auch gehe der Gegenstand mehr ausein- ander als er gedacht. March 1 Eckermann expresses his astonishment at the size to which the manuscript had grown within the few weeks, that is about since January March 7 Goethe has been obliged to lay aside his Walpurgis-Night because of other pressing work. As the diary informs us, this time was utilized by the copyist for the ' Hauptmunclum. The same conclusion is reached from the fact that he then was still in hopes of finishing the whole Walpurgis-Night that includes at that time, as we shall see hereafter, the scene in Hades before Eckermann left for Italy, that is by the middle of April.

In spite of this the work comes to a sudden standstill no more than one week later, for after March 28 the entries in the diary concerning work on Faust cease. Only after a lapse of two months and a half the Walpurgis-Night is taken up again and apparently finished June 17 or 18, or very shortly afterward.

In order to discover the cause of this delay we must try to determine the exact state of the work during the period from March 28 to June In the first place the notes given above show that the work on the sea scene had been commenced, while the existence of lines , , , on the back of a play bill of June 12, , prove that it had not yet been completed. In the second place the scheme of February 6, as was mentioned above, gives part of the scene of Faust with Chiron after the sea scene which makes it probable that that part had not been finished either.

The fact that lines A. Hence apparently part of the close of the sea scene, part of the scene of Faust with Chiron and Manto and the scene in Hades were lacking at the time. A similar though not quite so definite a conclusion may be reached by a careful examination of Eckermann's letter to Goethe of September 14, , in which he says: Die drei ersten Acte waxen also vollkommen fertig, die ' Helena ' verbunden, und deinnach das Schwierigste gethan. Thence they were forwarded to Genoa where Eckermann and Goethe's son were staying at the time, who left there in the early morning of July The only notice concerning the Walpurgis-Night is in the letter of June 25 and reads: Die Walpurgisnacht sey vollig abgeschlossen, und wegen des fernerhin und weiter Nothigen sey die beste Hoffuung.

This inference of his own again can only be based on his knowledge of the manuscript of the Walpurgis- Night which Goethe let him have April 14, and which he dis- cussed with him on the 18th, four days before his departure. Hence the Walpurgis-Night had ' Liicken ' and lacked the ' Ende ' at that time. Now good fortune will have it that the Goethe and Schiller archives actually possess a manuscript which offers the Wal- io Evolution of the Walpurgis-Night and the Scene in Hades. It bears on its ' Umschlag ' in Goethe's own handwriting the title: In the former case it would contain at least all the continuous work down to March 13, and possibly also the not very large amount done during the next two weeks, in the latter it would comprise everything down to March This manuscript has Liicken ' and lacks the 1 Ende' though most of those ' Liicken ' were rather gaps on the paper than in the composition and hence never filled.

It is stitched together and hence was fit to be given out of the house. It is not only stitched together but it was also never completed though there are several empty pages at the close. Hence it represents the state of the work when it had come to a stand- still and reached a temporary conclusion. For all these reasons it may not only be maintained that this manuscript is the iden- tical one which Eckermann examined the ' zweyte Reinschrift ' does not seem to have been put together till February of the following year , but also that it represents the state of the Classical Walpurgis-Night between March 28 and June 12, barring some separate groups of lines and possibly a few addi- tions made by Goethe during that period which did not seem to him as of enough importance to chronicle in his diary.

The first scene was completed. The scene with Chiron ended with Chiron's account of Hercules, the relation of the Argo- nauts being put in parentheses.

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The following scene lacked only the twenty lines of the monologue of Mephistopheles, which precedes the entrance of the Lamiae, since lines and which are now not counted as part of the manuscript belonged to it formerly. The sea scene lacks the A. The important matters which had not yet been finished therefore were: That the scene in Hades was still being seriously con- templated at the time when the close of the scheme of February 6 was revised is proved by the very fact of that revision.

If Goethe had not actually thought of writing the scene, he would not have gone to the trouble of altering its plan. That it was still intended early in March, when the space for the remainder of the scene with Chiron was left, appears from the smallness of that space which suffices at most for lines. This could, therefore, have accommodated only the conversation about Helena and Manto so that at least the arrival at Manto's and her promise of aid must still have been planned for the place after the sea scene where we found them in the revised form of the scheme of February 6.

This arrival at Manto's and her promise of aid, however, could not stand alone and forlorn by themselves, but needed the scene in Hades for an appiti. That it had not been abandoned in April either may finally be inferred again from the letter of Eckermann quoted above. For if Goethe in his conversation with him on April 18 had hinted at the possibility of embodying the scene in Hades in the third act, Eckermann would not have said in reply to the com- munication concerning the completion of the Classical Walpur- gis-Night: What was now the cause of the sudden halt in the work and the long delay in its completion?

It was not Eckermann's absence because he did not leave till April 22 when Goethe had expected to be done. The only answer is that, as Goethe thought seriously of the conclusion of the sea scene, he became conscious of the great difficulty, if not impossibility, of retaining the scene in Hades under the circumstances and yet very naturally was extremely reluctant to sacrifice that very scene from which the entire Walpurgis-Night had grown and which would have furnished the most appropriate prepara- tion for the entrance of Helena.

Whether, as seems to result from our preceding deductions, this was the time when the scene in Hades was excluded, or whether it had been given up a little while before, the development of the poetic Walpurgis- Xight had deviated so far from the old prose outline that the scene had to be excluded for dramatic reasons. This is the proposition which will now be proved by an examination of the dramatic structure of the Walpurgis-Night.

Before beginning this examination, however, a word must be said upon the work as a whole. The Classical Walpurgis-Night contains a wonderful wealth of thought and imagery. The lover of Greek mythology finds here not only the characters of the land and the sea which speak and act and appear on the stage, but also much else which the study of Greek poetry and art has endeared to him. He beholds the Titans playing ball with Ossa and Pelion. He perceives Zeus with his thunderbolt enthroned on Mount Olympus or battling with his brother in the fury of storm and sea. He sees Leto ending her wanderings on the newly-risen island of Delos and her son Apollo leading a blissful life with the chorus of the Muses on Parnassus.

In the same way the characters and events of the heroic age unfold before his mental eye. Hercules, hero of heroes, is seen, and the Argonauts, each in turn ; L,eda and Zeus, Helena freed from Theseus and wedded to Achilles, Orpheus descending to Hades and Oedipus pausing before the A. Then is a vision of Paris and the Iliad extending to the fall of Troy, and of Ulysses and the Odyssy from the cun- ning of Circe and the horrors of the Cyclops to the hospitable shores of Scheria.

But the naturalist also finds much to interest him. Seismos is not only mythological personage but elemental phenomenon. The Sirens speak at times as representatives of Neptunism, while Anaxagoras and Thales maintain a scientific standpoint throughout. The ancient god of transformation expounds the modern laws of evolution and the flames of Homunculus on the sea are first regarded as a manifestation of Eros and immediately afterward as the element of fire.

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To mythology and science, which with the greatest art are blended into one is added much other thought and suggestion, and according to Goethe's own admission some ' gute Spasse ' and some ' Piquen ' withal. The examination of the dramatic structure of this wonderful work should be made from the standpoint of the work itself and not from that of the drama as a whole. The Faust tragedy does not conform to the ordinary dramatic rules, but has standards of its own.

Says Goethe to Eckermanu concerning the fourth act: Dem Dichter liegt daran, eine mannigfaltige Welt auszusprechen, und er beuutzt die Fabel eines beriihmten Helden bios als eine Art von durchgehender Schnur, um darauf aneinanderzureihen was er Lust hat. Its subject is the contrast of the world of the land and its wonder, the action of Seismos, which is followed by the fall of the rock from the moon, with the world of the sea and its wonder, the beginning by Homunculus of corporeal existence or the evolution of animal life.

These aristeias of the land and of the sea can of course not lead up to the appearance of Helena, but have another scope which was also acknowledged by Goethe himself when he wrote to Eckermann: Homunculus reveals to Mephistopheles the existence and the date of the Night and actuates him to go. Faust here retrieves his consciousness which he has lost at the close of the first act and, even without the scene in Hades, makes us reason- ably expect that his descent in the company of Manto and with her good cheer will have a share in bringing about the entrance of Helena in the third.

Mephistopheles meets the Phorkyads whose shape he considers so useful for himself that he assumes it until the end of the next act. But all this, possibly with the exception of the Phorkyads, is purely episodical from the stand- point of the leading events of the Walpurgis-Night proper. Faust himself disappears before they have really commenced. He appreciates Greece, but he does so because it is Helena's country. He has a glance for the Sphinxes, the Sirens, the Ants and the Griffins and expresses his sentiments concerning them and the recollections connected with them in the grand line: Gestalten gross, gross die Erinnerungen, A.

Hat eins der Kuren Helena gesehn? Indeed, it is almost surprising that this Faust should still engage in a conversation about the Argonauts instead of asking at once after Helena, and it is only natural that at one time Goethe actually thought of sacrificing that paragraph as is learned from the parentheses in the 'Erstes Mundum. He does not notice the rumble of the earthquake which disturbs the rest of Peneus, and he is gone when the action of Seismos begins in good earnest. Chiron and Manto, with whom he has most to do, do not meet with any of the other main actors of the Walpurgis-Night, and seem to exist only for him.

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Mephistopheles, to be sure, does not stand quite so much aloof from the central action. The amorousness which has been aroused in him by the prospect of meeting the Lamiae domi- nates his sentiments, but does not preoccupy him to the exclu- sion of everything else.

Until he sees the witches he is, therefore, especially on account of his ignorance of most things ancient, quite a suitable, and at the same time humorous, vehicle of dramatic exposition. After he has caught sight of the objects of his longing, however, only his fear of getting lost retains him for another moment between the Sphinxes and, as soon as that fear is allayed, he starts in pursuit of the Lamiae hoping for what he considers the greatest of pleasures. Denn wenn es keine Hexen gabe, Wer Teufel mochte Teufel sein! In Mephistopheles' eyes even the action of Seismos is a Brocken feat: Das heiss' ich frischen Hexenritt, Die bringen ihren Blocksberg mit.

Nothing of the geological standpoint here which he occupies in the fourth act. While thus the Night would not be any longer a Walpurgis-Night without Mephistopheles and the Lamiae, the action of Seismos, and what clusters around it, would be just as complete without them. The Lamiae do not seem to pay any attention to it at all, and Mephistopheles, though respecting it as a Walpurgis-Night feat, is filled by it only with the fear of not refinding his landmarks. Dramatically he does not become useful ag-ain until he elicits the words from the Oreas which contrast the old mountain with the new and lead over to the Phorkyads who, by their very nature, are debarred from joining the other characters.

In Xacht geboren, Nachtlichem verwandt, Beinah tins selbst, ganz alien unbekannt. Only Homunculus, as we shall see hereafter, is both a most attentive witness of the principal action of the land and an absolutely indispensable factor of the action of the sea. The Night begins with the prologue of Erichtho and the descent and separation of the travelers. This is followed by the exposition proper which prepares the way for the designs of Faust and Mephistopheles and introduces the three principal purely mythological actors of the land existing at that time, the Sphinxes, the Griffins and the Ants, and the Sirens, the chorus of the sea.

The great turmoil of monsters for which the prose outline provided has wisely been discarded. Seismos and Homunculus, the impersonations of the wonders of the land and of the sea, are A. While the Ants show greed for gold, the Griffins both that and inhospitability toward Mephistopheles, the Sphinxes kindness toward Mephistopheles and Faust but distrust toward the Sirens, the last proclaim love and joy and a cheerful welcome to every one. The first rumble of Seismos, which disturbs Peneus in his dreams, gives us a premonition of what is to come.

The real action of Seismos, which constitutes the wonder of the land, does not begin, however, till the episode with Chiron and Manto is closed and we return to the Sirens, Sphinxes, Griffins and Ants. In the very moment before the great earthquake the Sirens, speaking this time like philosophers whose mission it is to convince the ill-starred believers in the Plutonic theory of their sad error, proclaim their: Ohne Wasser ist kein Heil! Niemand dem das Wunder frommt. Horrified and ready to flee they extend a most courteous invitation to all to accompany them to the sea: Schauderhaft ist's um den Ort.

Now Seismos, mythological personage and elemental phe- nomenon in one, has his sway. The Sphinxes, who look upon his action from the mythological standpoint, detest and defy it. The Griffins and Ants make an effort to enrich themselves by it. His own larger creatures, the Pygmies, overbearingly enslave their smaller kin and the helpless Ants, and wantonly slay the peaceable Herons. The Cranes of Ibycus prepare revenge. Meanwhile the scene with the Lamiae and what follows pro- ceeds. The Oreas declares the mountain of Seismos a ' Gebild des Walius.

Allein was ich bisher gesehn, Hinein da mocht' ich mich nicht wagen. Then the philosophers appear. Referring to the feat of Seismos Anaxagoras proudly asserts: Durch Fenerdunst ist dieser Fels zu Handen. To this Thales confidently retorts: Im Feuchten ist Lebendiges entstanden and in the next moment Homunculus, who is to be the visible proof of this theory and to set the wonder of Seismos at naught, asks permission to join them.

Soon the Cranes begin to wreak bloody revenge upon the cruel Pygmies, and the rock from the moon by means of which Anaxagoras attempts to save his people crushes both friend and enemy. Thales turns away from this spectacle, saying: With this they leave for the sea, where Homunculus will stand a better chance. Nun fort zum heitern Meeresfeste, Dort hofft und ehrt man Wundergaste.

Now comes still the last manifestation of the land ; after the A. Thus we finally arrive by the sea, whose praise the Sirens have sung and where Thales expects more comfort for Homun- culus and himself. Nor are we disappointed. After the disgust, greed, bloodshed, hatred, death and hideousness which we have just witnessed, we find joy, good-will, peace, love, life and beauty.

While the principal action of the land was delayed by the scene with Chiron and Manto, retarded by the episode with the Iyamiae and only loosely connected with the Phorkyads, the sea scene is both well engrafted upon the preceding part of the Night and continuous and well rounded in itself. Two actions, closely intertwined from the outset and rising higher and higher, tend to a double climax in one. The one of these actions is the preparation for the appearance of Galatea which culminates in the arrival of her train, the other is the progress of Homunculus which reaches its supreme point when he commences corporeal existence at her feet.

The Sirens, the ' Damonen ' of the bay, call on fair Luna not to allow herself to be dragged impiously down from the sky, but to shine gracefully and peacefully on the concourse on the glit- tering waves below. The lovely sounds of this invocation allure the Nereids and Tritons from the deep. Both the Nereids and Tritons and the Sirens wish for the propitious presence of the Cabiri, and the former hasten to Samothrace in their quest.

In the mean time, Thales and Homunculus apply for advice to Nereus. The aged god tells them that his bad experiences with Paris and Ulysses have made him loath of counseling and begs them not to spoil his rare humor. He is looking forward to the arrival of his daughters, the Graces of the sea, whose beauty has no equal either in Olympus or on the land, and he rejoices especially in anticipation of seeing Galatea, the most beautiful of all, the heiress of Venus' temple and chariot of shell.

Yet the very thought of the honor and beauty of his most beloved daughter softens his heart and he realizes that he should not deny advice. Wie man entstehn und sich verwandeln kann.

Now the Nereids and Tritons return with the fabulous gods of Samothrace, the saviours of the shipwrecked, whose presence is another guarantee of the peace of the night. Wir bringen die Kabiren, Ein friedlich Fest zu fiihren; Denn wo sie heilig walten, Neptun wird freundlich schalten. While the Sirens affirm their devotion for them and both they and the Nereids and Tritons continue their praise, Homunculus and Thales exchange a less favorable remark which is echoed by Proteus, who though heard is not yet seen.

For a few moments the god of transformation eludes Thales and Homunculus by his usual tricks, but Thales is a friend of his and knows how to deal with him. So Proteus appears in human form, becomes interested in the ' leuchtendZwerglein,' and gives even more information than he was asked. He does not only state how Homunculus must commence existence, but adds to this a word about his further evolution, because unlike to the further development of the action of Seismos this could not be repre- sented on the stage. Im weiten Meere must du aubeginnen!

Da fangt man erst im Kleinen an Und freut sich Kleinste zu verschlingen, Man wachs't so nach und nach heran Und bildet sich zu hoherem Vollbringen. At the same time Proteus' words are as it were confirmed by Homunculus himself. He is pleased with the soft air of the sea and has a presentiment that it will be conducive to his growth.

Hier weht gar eine weiche Luft, Es grunelt so und mir behagt der Duft! Still further to assure the success of this procession, the Telchines of Rhodes arrive with the trident of Neptune as the most certain pledge of the continuance of the peace and tranquillity of the sea. Heartily welcomed by the Sirens, they speak wonderful lines in praise of Helios and Rhodes.

Yet what they say about the statues which they have pro- duced does not meet with the approval of Proteus and, once more and for the last time, land and sea are directly contrasted. Thus Homunculus is taken out into the sea in order to be wedded to the ocean, and both Thales and Proteus avail them- selves of this opportunity to emphasize once more his evolution. Not by any sudden or violent procedure, but according to eternal laws, he will slowly grow from stage to stage to man.

Now everything is ready for the double climax. Galatea's train with all its glory is at hand. Doves announce it ; Psylli and Marsi conduct it ; amid the circles of her sisters, who bring with them sailor boys they have lovingly saved from death, Galatea herself appears on her resplendent chariot of shell, drawn by her dolphins. The sight of her beauty inspires her aged father with joy and longing and raises Thales' conviction of the truth of his views and his enthusiasm for them to the highest pitch. Alles ist aus dem Wasser entsprungen! Alles wird durch Wasser erhalten!

Ocean, gonn' mis dein ewiges Walten. If the ocean did not send clouds and create brooks, rivers and streams, what would be the mountains, the plains and the world? Seismos claims are contradicted. A few moments more and Thales' dearest persuasion finds its visible and palpable demonstration. While in the volcanic disturbance of the land Homunculus could not find anything which appealed to him, in the gracious moisture of the sea all seems charmingly beautiful. In dieser holden Feuchte Was ich auch hier beleuchte 1st alles reizend schon. He can no longer control his longing.

He strives toward Galatea ; the waters seem to be touched with the pulses of love, his glass is shattered against her shell 1 ; the wonder of the sea is accomplished. Niemand dem das Wunder frommt 1 The idea of having Homunculus unite with the elements may have been prompted by the fate of the maids at the close of the Helena drama. The manner in which it is done is directly traceable to the Amor who guides Gala- tea's dolphins in Raphael's famous picture. While the other Amors are up in the air with bows and arrows, this one alone is on the water and without arrows, and his head seems almost to touch the chariot of shell.

J Valentin's Homunculus-Helena theory has been disproved by me in the Modern Language Notes, first in February, , and, after a rejoinder from Valentin, more fully in April, Helena has corporeal being within the revivified Greek world, but this world has not the material reality of most other parts of Faust.

Both the Helena drama and the Walpurgis-Night are phantas- magories and in the one as well as in the other the poet takes special pains to remind us now and then of this fact. The whole Helena drama was composed without any reference to Homunculus because half a year later Homunculus was still conceived as having a body from the start.

The union of Homunculus with the sea has nothing to do with Helena because according to the scheme of June 18, , Helena was to leave Hades only in the third act. Welch feuriges Wtinder verklart mis die Wellen and as once in Italy the nightly fire at the prow of a ship had suggested to Goethe the presence of Eros the son of Aphrodite 3 so the flames ot Homunculus suggest Eros now.

Yet this Eros is not the son of Aphrodite but the great god whom cosmogonies place at the beginning of all things. This Eros is to preside over the beginning of Homunculus' career. So herrsche denn Eros der alles begonnen! At the same time, however, the flames are taken in their elemental sense and fire and watei remind of the share which air and earth also have in the further development of animal life.

Thus the Classical Walpurgis-Night closes with a grand and universal homage to each and all of the elements. Von dem heiligen Feuer umzogen ; Heil dem Wasser! Heil dem seltnen Abentheuer! Heil den mildgewogenen Liiften! Hochgefeiert seid allhier, Element' ihr alle vier! Du erstaunest, und zeigst mir das Meer; es scheinet zu brennen. Wie bewegt sich die Fluth flammend urn's nachtliche Schiff!

Mich verwundert es nicht, das Meer gebar Aphroditen, Und entsprang nicht aus ihr uns eine Flamme, der Sohn? The connection of this epigram, quoted already by Taylor, with our scene is so clear that it seems better not to think of the passages from Calderon quoted by Max Koch in the Goethe-Jahrbuch V, f.

How intent Goethe was on bringing out this contrast between sea and land, and the victory of the former over the latter may be seen from the fact that much which emphasizes that contrast and victory is later addition. Addi- tions are in the 'Erstes Mundum,' not only the stanzas beginning ' Weg! An addition is lastly, and one by Goethe's own hand, both in H 73 and in the principal manuscript the double exclamation point which distinguishes the line ' Alles ist aus dem Wasser entsprungen! What was Goethe then to do with the scene in Hades when the connected work, apart from various separate groups of lines which no doubt existed, had advanced as far as the 'Erstes Mundum' extends?

If he wished to retain the scene at all he could only choose between inserting it in the gap after the scene with Chiron or placing it at the close of the act for which it had always been intended. Let us imagine for a moment he had inserted it in the gap together with the conversations about Helena and Manto, and the arrival at Manto's and the prom- ise of her aid which were actually accommodated there! In the first place, this would have made the Faust episode, which has become rather lengthy as it is, so long that the dramatic struc- ture of the Night would have been disrupted.

In the second place, and that is more important still, this would have destroyed all interest in the rest of the Night. For after the reader or spectator had once witnessed the grant of Helena's release, he would have looked forward to her appearance and would have been annoyed by anything else. Hence it is very natural that there should be no evidence whatever that Goethe ever intended to insert the scene in Hades in this place, nor would such a possi- bility have been considered in these lines, had not a number of A.

So there remained only the place at the close, either after the present grand finale, or after another ending. It requires no special proof that the former alternative was impossible. Noth- ing could stand after that finale without unbalancing the general dramatic structure. But the latter alternative was not much better either. After the sea scene had once been brought down to the point where the procession of Galatea enters, its close had to be in the main as it is now.

Even if some means had been devised for toning it down, the addition of the scene in Hades would still have disturbed the dramatic balance of the whole. This being the case there was nothing left but to make of it an independent introduction to the third act, and this was done in the scheme of June 18, which reads as follows: Prolog des dritten Acts. Manto tragt vor Die Konigin an ihr Erdeleben erinnernd. Unterhaltung von der verhiillten Seite, melodisch artikulirt scheinend aber unvernehmlich.

Faust wiinscht sie entschleyert zu sehen. Vorhergehende Entziickung Manto fiihrt ihn schnell zuriick. Jetzt auf Spartanischem Gebiet soil sie sich lebendig erweisen. Der Freyer suche ihre Gunst zu erwerben. Manto ist die Einleitung iiberlassen. It is evident that this scheme is based on the revised form of the scheme of February 6, and its very fullness proves that Goethe had given new thought to the matter and seriously intended to execute the scene.

Why he finally abandoned it after all can only be a matter of conjecture. He may have thought that a short prologue would not fulfill its object or that a long one would impair the dramatic balance of the act. We know only that Goethe ventured to leave the scene to the imagination of the reader or spectator for some reason or other, and it seems better to refrain from speculation where a definite result cannot be reached. The object of this paper will have been accomplished if it be regarded as a contribution to a clearer understanding of the Classical Walpurgis-Night, and if it has proved that the peculiar dramatic evolution of the prose outline of forced the scene in Hades out of the second act.

Earlham College, Richmond, Ind. I am under obligation to Carl Schiiddekopf for a com- munication with regard to the size of the space which was left after the first part of the scene with Chiron in the ' Erstes Mundum. He has arrived at conclusions which have the merit of fearless candor, but are, possibly, not acceptable on the ground of impartiality.

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As a student of English literature, and also of the literature of other nations, Professor Dowden has gained considerable reputation and influence, and for this reason it is impossible to pass his remarks over in silence, especially as they were made before a body of avowed students of Goethe, the English Goethe Society. In making this reply the present writer is animated only by that love of truth of which Goethe has said that it is shown in the capacity of finding everywhere the good ; and if he should emphasize more than necessary one or the other evident truth, he hopes to be pardoned in the spirit of Shakespeare's: These facts rest on good evidence — but what about the essential truth concerning the great poet?

We know that there never existed a great poet who was not the child of his times, and who did not, for this very reason, bear more or less the imprint of the good and bad features of these times. If we say that a certain author wrote for all time, we mean only that he expressed with great force and truth the essentials of human nature in the modulations and vicissitudes of his time. We know — Professor Dowden certainly knows — that all masterpieces are composed of elements which were accessible to all, having come down through the ages, or were the result of social, political, scientific or artistic activities, changes and revolutions.

We know that a great poet uses these elements with sovereign power, but yet under limitations imposed upon him by the influences that shaped his character and his life ; and, knowing all this, we feel justified in unhesitatingly assign- ing to a poet like Shakespeare the rank which he has so long held in the estimation of the most competent scholars.

But what is true and proper in this treatment of Shakespeare should be the rule with a poet like Goethe as well. I have no doubt Professor Dowden will readily admit this. Will he also admit that the following statements of his, taken from a brief outline of his paper which the London Chronicle gave at the time, do not conform to this rule, and differ from this treatment?

Whoever heard a real student of Goethe point to the volume of his work as a proof of his excellence as a great poet? Victor Cherbuliez once remarked of Goethe that he was the only poet who rcas at the same time a great philosopher, and the Charles A. Goethe himself refused to be ranked among the professional philoso- phers, but he was unquestionably a true philosopher in the more original sense of the word. He was a thinker of extraor- dinary power, depth and lucidity, and as a thinker he searched into whatever came into his reach and promised results for his intelligence.

That he wrote down what occupied his mind — though what is preserved is probably not more than a mere fraction of the work he did in his life — is at least no reason why he should not be valued as a thinker and a poet ; and to say that quality counts for more than quantity is to affirm that we must blame him for that portion of his mental activity which could not be all given to poetic production. In his long life Goethe made some mistakes ; some portions of his writings interest at present only those who make a specialty of Goethe-study, and who thus find matter of interest in every line he ever wrote ; his ' scientific ' labors have no longer their former intrinsic value, and none of them were perhaps needed to help the progress of science ; his thoughts on art, though still valuable and often of intense correctness, have long been incorporated in special treatises, or, possibly, have been distanced by later writers, and some portions of what we find in his collected works are only of secondary importance, or, let us admit the possibility, of no importance at all.

But what of that? Surely there is no reason to belittle Goethe on account of this evidence of a restless activity. The serious student finds even in these hors oToenvre of genius much that he has reason to value highly, but he would never think of establishing the fame of the great poet on labors that have little or no connec- tion with poetry.

A single work, the Divina Commedia, has given immortality to Dante, yet Dante wrote vastly more than this poem in his tolerably long life. The same is true of Petrarch whose sonnets form but a very small portion of his poetical activity, but are his only title to greatness as a poet. If Shakespeare had lived as long as Goethe, is it unreasonable 30 Goethe. Is a novel like the Wahlverwandt- schaften fragmentary? In what sense is Wilhelm Meister's Lehrjahre more fragmentary than, for instance, Hamlet? Hamlet is killed off by the poet — the drama comes to a forced and unnatural end by a process of stabbing and killing, apparently a concession to the bad taste of the public.

Wilhelm Meister ends his apprenticeship in a way that is surely as satisactory as any other possible solution. Faust is the standing- wonder of the age — it has been called a ' worldly Bible ' — it is read with ever new enthusiasm by succeeding generations, by young and old, by the ordinary reader and by the most learned critic. It has been made the subject of the deepest study, it has received the closest attention, the most genuine admiration of noted men in all the civilized nations.

All these students, critics, readers, admirers of the wonderful work may be said to form a court of inquiry, and the judgment of the overwhelming majority of this court is so unanimous and so favorable that even Pro- fessor Dowden might hesitate to set up his own private opinion against it. Who will be the judge? There is such a thing as sublimity of purpose which fails in some respects in the execution. You may pick flaws in Faust as you may in Hamlet or the Divine Comedy. It is possible to go even further without injuring the unique glory of Faust. We may admit that the second part of the poem is not popular reading ; that it does not appeal to the feelings and the intelligence of the aver- age man or woman, nay, that it is frigid, unsympathetic and, simply considered as poetry, vastly inferior to the first part.

The lecturer might hurl his shaft, provided with these two barbs, at some of the best known masterpieces in literature. The Iliad, for instance, is a fragment, for it lacks a beginning and an end: But this fragment is never- theless a whole, for the poet's intention was to sing only of the "wrath of Achilles. Must we call it fragmentary because it does not tell us of the zvhole life of the poet? In that case any poem would be fragmentary that singles out, say a part of a day, for instance the morning, because it does not include noon and evening.

Most novels, even those of such masters as Walter Scott, Dickens, Bulwer, would have to be classed as fragmentary, because they, as a rule, tell us only what happens to their hero up to the date of his wedding day. There is here a misconception in the mind of the lecturer which he would be ready enough to censure in one of his pupils who should be guilty of confounding the idea of unity in a composi- tion with the idea of completeness.

We demand the former, but regard the latter merely as a matter of convenience and indi- vidual preference. The foregoing remarks may suffice to show the nature of the extraordinary utterances of a scholar who assumes the role of a critic of Goethe ; and nothing further is, possibly, called for.

But the character of the meeting, and the wide publicity the lecture has received, seem to call for a more extended reply.

Professor Dowden makes the attempt of accounting for the imperfect work of the poet thus: Then the romantic historical tragedy of Shakespeare and the sentimentalism of Rousseau and Ossian captured his imagination ; Goetz and Werther were resonant echoes of voices borne to him on the wind rather than original utterances of his own. What would the lecturer say if such a charge were laid against the youthful Shakespeare? Does he not know where Shakespeare drew his inspiration?

Does he know w r hat use he made of the work of others? Nay — is he so ignorant as not to know, or so forgetful as not to remember this commonplace of literary history: In his Ein quidam spricht: To deny true originality to the poet who created Werther, while fresh from his experience in Wetzlar — who wrote Goetz, while yet full of enthusiasm from the reading of the life of the old knight, with an independence of plan and treatment that leaves the old story behind like the shadow of a giant — is, to say the least, a very bold act.

At any rate, will he limit this sort of treatment to Goethe, or extend it to all the other great poets of the ancient and the modern world? It is true that in Goetz the influence of Shakespeare's utter disregard of the unity of time and place is felt, but as each scene is characteristic and in the truest sense original by itself, the question of arrangement of the proper sequence of the scenes, for the purpose of presentation on the stage, is one quite distinct from the original poetry of the piece. Professor Dowden pursues his theme with fearless, or rather reckless, energy: Greek drama, Iphigenia y invested the ideal with a pseudo-epic grandiosity in Hermann und Dorothea, cultivated by an anachronism in art an artistic sensuality, not spontaneous, but second-hand, in rivalry with Catullus, imitated Martial in his epigrams, reverted to Racine query: The lecturer seems not to have had the slightest doubt that what he said must recommend itself to the Goethe Society, and yet he must have known that the members of this society laid some claim to having looked at Goethe's works with their own eyes, and used, in reading them, their own judgment.

The society was further treated to an examination of the late ' nerveless' eclecticism of the poet's decline. He experimented endlessly toward the creation of a new German literature, but a literature that grew from the soil and was not the manufacture of tentative culture. I believe that he has been long since very sorry to have given expression to these statements which for aimlessness, lack of point and irrelevancy cannot be easily matched. It, surely, is hardly necessary to inform any student of Goethe that, so far from consciously making experiments for the crea- tion of a new literature, he was distinguished among all his fellows and rivals for his unwearied endeavor to give an outward and artistic form to the realities he met in his life.

How flip- pant is this charge of aimless wanderings! I noticed in one of our magazines an article in which Professor Sloan praises the Perorations of Bismarck's great speeches, now recognized by the most competent German literary men as masterpieces of litera- ture. But Bismarck never wrote a peroration, and all his preparation consisted in a thorough mastery of the facts which he intended to present. That his genius was great enough to give a terse and proper expression to these facts procured him a prominent rank in the literature of his people.

In this respect he did only what Goethe had done before him, and the error of Professor Sloan is therefore as great as the error of Professor Dowden. Our interest in all that Goethe has written is so great, because we have the strongest reason to believe that he never wrote without having a definite experience in his mind, some fact or occurrence of greater or less importance which necessarily and naturally led to the verbal statement.

We must add, of course, that he used such experience as a poet, allowing his artistic instinct and his poetic fancy to shape the outcome ; but he never wrote aimlessly, never indulged in mere tentative work for the purpose of possibly making a hit some time; in short, he was genuine, not factitious ; and I think Professor Lkarles A. He could not help expressing the truth as he saw it, and what more original literature can there be than the product of such activity? Let us take an example. Goethe felt an irresistible desire to visit Italy. He starts suddenly for that country, and no sooner arrived, his attention is taken up by a variety of subjects.

He works on iphigeitie, Tasso, Egmont, Faust. He applies himself to the practice of painting and sculpture, to the study of Vitru- vius and Palladio, i. At the same time he is haunted by the problem of the morphology of the plant, and fascinated by the subject and its study ; everywhere he is on the lookout for impressions, and nowhere is he satisfied with anything at second hand. His activity is extraordinary, and that short period of less than two years ripens his" Zpkigenie, Tasso and Egmont, advances his Faust ; enables him to form a remarkable, and in the main accurate, theory of the evolution of the plant, and to enrich his mind by an extraordinary number of clear, definite and profound impressions in the world of art and nature.

While doing all this he was, in a sense, experi- menting, but the more proper term would be: It would be putting the truth on its head to speak here of aimless wanderings, for the whole movement was, in one sense at least, intended to be aimless. He means this as praise, because Germans, unlike so many writers of the French and other nationalities, do not write for literary effect, but in order to express exactly and individually whatever engages their attention.

In other words, there is no attempt at posing with the rep- resentative German authors. Many of the remarks which Professor D. One of the reasons why Moliere ranks as a truly great poet is that he, unlike so many of his countrymen, never poses. I might stop here and leave the subject to the judgment of the reader whose studies have no doubt enabled him to see at once the shallowness of this arraignment of a great poet.

But there are a few points in this arraignment which deserve special attention, because they express, to some extent, an undisputed fact. The one is that Goethe wrote some of his poems in imitation, though but rarely in conscious imitation, of Greek, Latin or French authors ; that he translated some of Voltaire's works, and that he found no great tradition in his own country to urge him on.

It would be difficult to prove that the fame of a poet, or his real originality, suffers on account of having occasionally imitated another author, especially one who has long been dead.

Whether that poet be Martial or Catullus, Propertius or Voltaire, can make but little difference. Much of the best Latin literature is an imitation of the Greek ; the Greek authors themselves used earlier models, and it may be truly said that even - succeeding phase of literature is in some degree influenced by some preceding phase. Thus English literature grew by imitating Italian and French models.

Shakespeare fertilized German literature, and Lessing, Herder, Schiller, Goethe and other German authors have in their turn left their mark on the literature of England, France and other countries. It is not at all true that a literary tradition in the country of the poet is needed to urge him on. He will be urged on by his own genius, by the example of the literatures of other nations, by his contemporaries, in fact by the entire magnificent bequest of past ages.

To call all the works of a poet ' tentative,' because some of them are not as perfect or as important as others, or to deny superiority to any, because some fall below the highest standard, is to play with words, or, at best, a most unfortunate attempt to enlighten the public on a subject in regard to which the speaker himself is sorely in need of light. What ' great literary tradition ' favored Dante or Shakespeare? A History for Peter , das so erfolgreich war, dass im Jahr darauf ein Fortsetzungsband folgte. What Did You Do?

Einer der bis heute beliebtesten amerikanischen Kinderbuchautoren ist der Cartoonzeichner und Schriftsteller Theodor Seuss Geisel , der seine phantasievollen und bizarren Arbeiten seit unter dem Pseudonym Dr. Das Buch The Cat in the Hat z. Eastman —; Go, Dog, Go! Grispino, Samuel Terrien und David H. Wice zusammengestellte, in einer Auflage von mehr als 4 Mio.

Das erste viel beachtete Kinderbuch, das von Rassismus und von der Diskriminierung Schwarzer handelte, war der Roman The Cay von Theodore Taylors — , von dem allein im Jahr mehr als 3 Millionen Exemplare verkauft wurden. Fitzgerald — , deren Handlung in Utah am Ende des In den er Jahren begannen zwei erfolgreiche Kinder-Krimiserien zu erscheinen: Frankweiler von E. Vorangetrieben wurde diese Entwicklung vor allem von drei Autoren: Die Handlung dieser Fantasy -Romane war in einer von walisischen Sagen inspirierten Mythenwelt angesiedelt.

Winterplanet ; am bekanntesten sind. An Introduction to the Pleasures of Art Mit der renommierten Caldecott Medal ausgezeichnet wurden u. Eine klassische Tiergeschichte bietet Allan W. Jahrhunderts zum Thema hatte. Higgins, the Great von Virginia Hamilton — , einer der profiliertesten Kinder- und Jugendschriftstellerinnen, die als vierte Amerikanerin den Hans Christian Andersen Preis erhielt.

The Story of an Armenian Girl Exemplaren erneut in die Bestsellerlisten gelangte. Vier weitere namhafte Bilderbuchillustratoren traten in den er Jahren erstmals in Erscheinung: Morehead und Kenneth N. Jahrhundert auf der Suche nach ihrem Vater in die Kolonie Virginia reist. Der autobiografische Roman Homesick: Helens , Volcano Galileo Galilei wurde er mit einer Caldecott Honor ausgezeichnet. Das Buch war so erfolgreich, dass Naylor daraus eine Trilogie schuf, die bald auch verfilmt wurde.

Afroamerikanische Themen gewannen in den er Jahren in der amerikanischen Kinderliteratur breiteren Raum als jemals zuvor. A Thai Lullaby Das Genre des Kinder-Abenteuerromans, das nach den er Jahren kaum noch Autoren gefunden hatte, erlebte am Ende des The Weetzie Bat Books , Parrot in the Oven: A Memoir von Ann Turner. Weitere viel gelesene Arbeiten sind Flowers and Showers: Das Buch wurde mit der Caldecott Medal ausgezeichnet und erschien auch als Film.

Martin Luther King, Jr. Kadohatas folgenden Arbeiten behandeln die japanisch-amerikanische Internierung im Zweiten Weltkrieg Weedflower , und den Vietnamkrieg Cracker! The Best Dog in Vietnam , Zu diesem Roman um einen Bauernjungen und seinen Drachen , der mehrere Jahre lang in den Bestsellerlisten erschien, hat Paolini inzwischen mehrere Sequels geschrieben Inheritance Cycle.

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