The German Classics of the Nineteenth and Twentieth Centuries, Volume 04. Коллектив авторов

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Permission Porter & Coates, Philadelphia.

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Permission Porter & Coates, Philadelphia.

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Ten o'clock.

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Of Jupiter Tonans.

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The body in the Pantheon, the head in Saint Luke's church.

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Strassburg.

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The hall of the Pantheon seems too low, because a part of its steps is hidden by the rubbish.

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This opening in the roof is twenty-seven feet in diameter.

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The Pole-star, as well as other northern constellations, stands lower in the south.

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The German texts read: Reben, vines. But the conjecture Raben as the correct reading may be permitted.—ED.

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Permission The Macmillan Co., New York, and G. Bell & Sons, Ltd., London.

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This appropriate expression was, if we mistake not, first used by M. Adam Müller in his Lectures on German Science and Literature. If, however, he gives himself out as the inventor of the thing itself, he is, to use the softest word, in error. Long before him other Germans had endeavored to reconcile the contrarieties of taste of different ages and nations, and to pay due homage to all genuine poetry and art. Between good and bad, it is true, no reconciliation is possible.

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This difficulty extends also to France; for it must not be supposed that a literal translation can ever be a faithful one. Mrs. Montague has done enough to prove how wretchedly even Voltaire, in his rhymeless Alexandrines, has translated a few passages from Hamlet and the first act of Julius Cæsar.

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It begins with the words: A mind reflecting ages past, and is subscribed I.M.S.

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Lessing was the first to speak of Shakespeare in a becoming tone; but he said, unfortunately, a great deal too little of him, as in the time when he wrote the Dramaturgie this poet had not yet appeared on our stage. Since that time he has been more particularly noticed by Herder in the Blätter von deutscher Art und Kunst; Goethe, in Wilhelm Meister; and Tieck, in "Letters on Shakespeare" (Poetisches Journal, 1800), which break off, however, almost at the commencement.

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The English work with which foreigners of every country are perhaps best acquainted is Hume's History; and there we have a most unjustifiable account both of Shakespeare and his age. "Born in a rude age, and educated in the lowest manner, without any instruction either from the world or from books." How could a man of Hume's acuteness suppose for a moment that a poet, whose characters display such an intimate acquaintance with life, who, as an actor and manager of a theatre, must have come in contact with all descriptions of individuals, had no instruction from the world? But this is not the worst; he goes even so far as to say, "a reasonable propriety of thought he cannot for any time uphold." This is nearly as offensive as Voltaire's "drunken savage."—TRANS.

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In my lectures on The Spirit of the Age.

And in the following:

Your love and pity doth the impression fill, which vulgar scandal stamp'd upon my brow.]

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In one of his sonnets he says:

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This is perhaps not uncommon still in some countries.

The Venetian Director Medebach, for whose company many of Goldoni's Comedies were composed, claimed an exclusive right to them.—TRANS.

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Twelfth Night, or What You Will—Act iii., scene 2.

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As You Like It.

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In one of the commendatory poems in the first folio edition:

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In the first volume of Charakteristiken und Kritiken, published by my brother and myself.

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A contemporary of the poet, the author of the already-noticed poem, (subscribed I.M.S.), tenderly felt this when he said:

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In Hamlet's directions to the players. Act iii., scene 2.