Chapter 2

"Frederigo degli Alberighi loves, without meeting with any return; roving in knightly fashion, he squanders all his substance, and has nothing left but one single falcon; this, when the lady whom he loves is led by chance to his house, and he has nothing else with which to prepare a meal for her, he places on the table before her. She learns what he has done, suddenly changes her resolution, and rewards his love by making him the lord of her hand and her fortune."

Heyse calls attention to the fact that in these few lines lie all the elements of a touching and delightful "novelle," in which the fate of two human beings is accomplished in the most charming manner, through an accidental turn of affairs, which, however, serves to give deeper development to the characters; and he therefore invites modern story-tellers, even when engaged on the most touching and rich materials, to ask themselves where "the falcon" is, the specific object that distinguishes this story from a thousand others.

In the demand he makes on the "novelle," he has especially characterized the task he has imposed on himself and faithfully fulfilled. He prefers eccentric to typical everyday instances. As a rule, we are quite as sure of finding "the falcon" in his prose narratives, as a certain judge was of finding a woman at the bottom of every crime. In "L' Arrabbiata," the biting of a hand is "the falcon"; in the "Bild der Mutter" (The Mother's Portrait) it is the elopement; in "Vetter [Cousin] Gabriel," it is the letter copied from the "lover's letter-writer." If the reader will himself search for the aforesaid wild bird, he will gain an insight into the poet's method of composition. It is not always so easily captured as in the cases just cited. With a power of investigation, a nimble grace, which is rare in a man who is not of Roman race, Heyse has understood how to tie the knots of events and disentangle them again, to present and solve the psychologic problem which he hasisolatedin the "novelle." He has the faculty of singling out exceptional, unusual cases from the general state of culture, and the condition of the society of which he is a member, and presenting them purely and sharply in the form of a "novelle," without permitting the action to play into the unreal and fabulous, as is the wont of romantic novelists, and without ever allowing it to run into a merely epigrammatic point. His "novellen" are neither brief romances nor long anecdotes. They have at the same time fulness and strictly-defined form. And circumscribed as this form may be, it has yet proved itself sufficiently flexible to be able to embrace within its limits the most diverse materials. The "novellen" of Heyse play on many strings; most abundantly on the tender and thespirituelle, but also on the comic (as in the amusing tale, "Die Wittwe von Pisa"—The Widow of Pisa), the fantastic (as in the Hoffman-like "Cleopatra"); indeed, in a single instance, the awful (in the painful nocturne, "Der Kinder Sünde der Väter Fluch"—The Sins of the Children the Curse of the Fathers). The "novelle" as it is treated by Heyse borders on the provinces of Alfred de Musset, Mérimée, Hoffman and Tieck; but has, however, its own special domain, as well as its very individual profile.

Meanwhile, ready as I am to recognize the significance of this sharp profile as the individual characteristic of the Heyse "novelle," and its significance for the novel in general as a work of art, it is equally hard for me to allow this to pass as the decisive norm for the estimation of individual stories.

The novel is, indeed, as every work of art, an organism in which beautiful proportions, relatively independent of one another and of a totally dissimilar character, contribute to produce a combined impression. We have been dwelling upon the characterizations, and the action; style is the third element. According to my convictions, these three elements are not subordinate one to the other, but co-ordinate; and each one of them, when developed in a masterly way, affords the reader an equally perfect enjoyment.

It is very certain, as Heyse makes evident, that a one-sided development of diction leads to clever capriciousness without any scheme; whoever places too great importance on "the plot" is in danger, on the other hand, of retrograding into mere sensational literature.

"Spring Floods," by Turgenief, is a novel whose action moves on in an unsatisfactory manner,—of the style, in the stricter sense of the word, I cannot judge, as I have never read the story in the original,—but is this lack of much importance in such a masterwork of individual characterization? Does not the description of the Italian family, in and by itself, outweigh every imperfection in the plan of occurrences? What matters it if the reader would rather have had the end somewhat different, and cannot read it a second time, even though he may read three-quarters of the novel over and over again with unchanged enjoyment?

Blicher's "Diary of a Village Sexton" is a novel in which the action is of but little moment, and most of the characters are absolutely repellant, on account of their coarseness; but it is, nevertheless, a work of the highest artistic worth; its main strength lies in its style, in the masterly execution of the honest sexton's language, which belongs to a period of almost two hundred years past. This language is a guarantee for the cutting truth of the narrative, a truth which is not reached by the path of idealism, and which, therefore, is neither sought nor found by Heyse; I mean that truth which by the French is designated "la vérité vraie."

And cannot Heyse be attacked with his own weapons? I think he can. By the stress he lays on what the novel within the novel is, he seems to oppose alike the overestimation of style, and of ideal purport. But of all his "novellen" in verse "Der Salamander" (The Salamander) appears to me to stand the highest; of his prose works "Der letzte Centaur" (The Last Centaur) is one of my favorites. The first of these seems to me to bear off the palm on account of the diction; the last, on account of the idea.

There is no need of taking pains to seek for a "falcon" in Salamander; there is no plot in it, the characters have no development worth mentioning, and yet every reader of any susceptibility will experience such lively enjoyment under the influence of the magic of these terzettos, that it will seem to him as if this poem, in addition to its own merits, possessed also all those which it lacks. Of the epic repose, of the objective style, which is Heyse's precise ideal in the domain of the "novelle," not much will here be found. This epic repose is perhaps less adapted on the whole to the restless spirit of our time. The realization of this ideal of Heyse's has, properly speaking, only perfectly succeeded in the few prose "novellen," which do not touch upon the civilization of modern society, as in those genial pasticcios of the olden time: "Die Stickerin von Treviso" and "Geoffroy und Garcinde," where the noble, simple style of the old Italian or Provençal form of narrative is idealized, or when the materials are taken from the life of the people in Italy or Tyrol; for the people in those lands are themselves a simple piece of the Middle Ages cast ina form. Such a story as that little jewel "L' Arrabbiata," which was the foundation of Heyse's fame, actually attains its rights through its plain, rigid setting; adorned with the decorations of style, or with psychologically polished facets, it would lose its entire beauty, if not become impossible. In the same way "Die Stickerin von Treviso," which probably, next to the work just named, has reaped the greatest harvest of applause, in its touching simplicity and grandeur, is so thoroughly one with its chronicle form, that it cannot be conceived of without this. But in instances where scenes from purely modern civilization are described, the style cannot be too individual and nervous. Heyse himself cannot avoid making his aim in this respect proportionate to his materials; how feverish is the recital in the pretty invalid story in letters "Unheilbar" (Incurable.) However, it is apparently with the utmost reluctance, and without the free exercise of his will, that he permits himself to be carried away into such a passionately surging and trembling style as in "Salamander." This creation is pure style, its beauty depends wholly and entirely on the captivating charm of its metric diction, and yet throughout not a word will be found that is not to the purpose. The entire work teems with active life, every change in style is deeply felt and transparent; the struggling soul of the writer lies like an open book before the reader. The situations are insignificant and commonplace; no Bengal illumination, not even a final tableau. But these remarkable, incredibly beautiful, unnaturally easy, nervously passionate terzettos, which question and answer, jest, sing and lament, invest the theatrical, the enamored yet thoroughly composed blasé coquette, the heroine, and the passion she inspires, with such a charm that no exciting story, with crisis and pole, could be more captivating. Toward the close of the poem the glorious terzettos, which throughout have been transformed into quite a new species of metre, ring out in a manner as surprising as it is genial and bold, in the chords of a triple ritornelle, invested with all the freshness of nature. Such a poem as this will maintain its place in spite of all theories.

Upon the whole, however, it seems to me that Heyse has formed an incorrect conception of the significance of poetic style. Theoretically, he fears its independent development, and cannot tolerate any works which are "mere diction and style." Nevertheless, in such poems as "Das Feenkind" (The Fairy Child), and still more in such poems as "Frauenemancipation" (Female Emancipation), he has himself furnished productions of this kind. The first of these poems is refined and graceful, but the raillery in it is of too ample length—we do not care to eat an undue amount of whipped cream; the other, whose tendency, however, is the best, suffers from a loquacity without any salt. But a distinctly marked style is by no means the same thing as the formal virtuosoship of diction. That an artist of language like Heyse, the translator of Giusti, of the troubadours, of Italian and Spanish folk-songs, must possess this in the fullest degree, is understood as a matter of course. And yet the truly artistic style is not that formal grace which spreads uniformly over everything. Style, in the highest sense of the word, is fulfilment, a form completed from every point of view. Where the coloring of language, the phraseology, diction, and personal accent, still possess a certain abstract homogeneousness, where the author has failed to mirror the character at every essential point in all the outer forms, the drapery of language, of however light a texture it may consist, will hang stiff and dead about the personality of the speaker. The perfect modern style, on the contrary, envelops it as the flowing robe envelops the form of the Grecian orator, serving to relieve the attitude of the body and every movement. The diction of the mere virtuoso, even when "brilliant," may be traditional and trivial; genuine style is never so. With the mode of narration of Heyse's "novellen," I have not much fault to find; his dramatic diction, on the contrary, does not please me so well.

There are no doubt many who think that if Heyse's historic dramas have not gained the recognition accorded his "novellen," it is because they are invested with too little action, and too much style. If the word style, however, be understood as I have here defined it, it should certainly rather be asserted that the iambic form used was worn threadbare, and that these works have not style enough. The diction in "Elizabeth Charlotte," for example, neither sufficiently bears the coloring of the period in which the scenes are laid, nor of the persons who speak. Only compare it with the dry posthumous memoirs of the princess. The poet who, with his fabulous facility for orienting himself in every poetic form, can produce a drama as easily as he can tell a story, has taken his task almost too easily. The little tragedy "Maria Moroni," a drama which may be ranked next to his "novellen," through its plan as well as through its characterization, might worthily stand side by side with the Italian dramas of Alfred de Musset, of which it reminds us, were not its language-coloring by far too dull and cold. The dialogues of Musset not only sparkle with wit, but glow with ardor and with life. In his dramas Heyse is not personally present with his whole soul at every point. And yet this "at every point" is the style.

Inasmuch, therefore, as I have placed the highest estimate on "Salamander," of all the versified "novellen," on account of its excellence of diction, so for the sake of its idea I would give a high place to the prose narrative, "Der letzte Centaur" (The Last Centaur), although the latter is, at the same time, farthest removed from the requirements of the definition. It does not treat of an occurrence or a conflict in a defined sphere of life, nor of any especial psychologic instance, but of life itself; it permits the entire modern life to be mirrored at once within a narrow frame. A shot at the central point is so refreshing; why deny it? The peripheric character of some others of Heyse's works is to blame for their not being of greater interest. After reading through a long series of "novellen" one cannot help longing for an art form which is capable of embracing the more significant, universally current ideas and problems in poetic form.

Heyse's dramas are in the highest degree heterogeneous: civil tragedies, mythological, historic, patriotic plays of the most dissimilar artistic nature. His talent is so pliant that he feels at liberty to enter upon any theme. A strong impulse for the historical, Heyse has never had; his historical dramas have all sprung from a patriotic sentiment, and are effective chiefly through this sentiment. The one of his groups of dramas for which the poet is most noted is that which deals with antique subjects. At a time when modern political action was everywhere demanded of the higher drama, this employment of old Grecian and Roman materials was lamented over and derided in Germany, with an utter lack of comprehension. People asked what in all the world there was in such a subject as the rape of the Sabine women, or Meleager, or Hadrian, that could possibly interest the poet or any one else. To those who read critically it is very evident what must have attracted Heyse to these themes. They incorporate for him his favorite ideas concerning woman's love and woman's destiny, and his own being is mirrored in them. Any one who will compare the warm-blooded drama "Meleager" with Swinburne's "Atalanta in Kalydon," which handles the same material, will find occasion for many interesting observations, concerning the peculiarity of the two poets. "Hadrian" has perhaps perplexed the critic the most. What could attract the poet to a relation so wholly foreign to us as that between Hadrian and Antinous, one, too, that is so decidedly a reminder of the shady side of antique life, seems almost incomprehensible. I, for my part, rank "Hadrian" highest of all of Heyse's dramas. I have never been able to read this tragedy of the handsome young Egyptian who, passionately loved by the ruler of the world, surrounded by all the pomp and splendor of the court, free in every respect, and bound alone to his imperial admirer, languishes for freedom,—I have never been able to read this tragedy, I say, without thinking of a certain young poet who, already in his earliest youth summoned to a South German court, soon became an object of envy as the favorite of an amiable and intelligent monarch, as the darling of fortune, while in many a secret moment he wished himself far from court, and in many a fettered moment felt how little even the favor of the best master weighed in the balance against the freedom of one who was entirely unprotected, but entirely independent.

In this drama, by way of exception, all that is scenic is of the highest effect. The actual reason why Heyse, with all his great ability for the stage, still failed to meet with decided success in his dramas, is unquestionably because he does not possess the German pathos proper, that of Schiller. Not until the pathos is broken, not until it has become half pathological, is he able to treat it with entire originality. Genuine dramatic pathos from the depths of the heart, with him easily becomes inartistically national, patriotic, and somewhat commonplace. This is the reason why the representation of manly action proper is not his province. To however high a degree he may have command in his poetry over the passive qualities of manhood, such as dignity, earnestness, repose, dauntless courage, he nevertheless, like Goethe, wholly lacks the active momentum. A vigorous, effective plan of action that follows a defined goal is as little the essential part of his dramas as of his novels and romances. If there now and then appear an energetic action, it is occasioned by despair; the individual is forced into a dilemma in which the only apparent means of escape may be gained through the utmost daring alone. (Compare the action of the young forester in "Mutter und Kind," when he kidnaps the son of his sweetheart, or the elopement in "Das Bild der Mutter"—The Mother's Portrait.) In the romance "Im Paradiese" a good example of this will be found in the scene where Jansen, in exasperation at all the incompleteness amid which his life has been passed, dashes to pieces the models of his saints. It was an unmanly thing in Jansen to carry on a saint factory,—the whole idea is amusing as a passing jest, but does not admit of being made permanent without disfiguring the character,—but it is a still more unmanly, aye, a truly womanish course of action, when he pours out the vials of his wrath against the dead plaster images. Although from the reason already cited the genuine dramatic nerve and sinew are almost always lacking in Heyse's works, the hindrances which are placed in the way of the poet's decided success on the stage are not of such importance that he may not overcome them with time and celebrate a scenic triumph. By way of preliminary, a few years ago he made his début, to the astonishment of every one, in a species of poetic composition which seemed to be wholly remote from his province, but in which, in a very short time, he won the greatest success.

It is still fresh in the public memory what an excitement the "Kinder der Welt" created when it first appeared in Spener's "Zeitung." For a whole month this feuilleton was the universal theme of conversation. The guileless novelist, who was so completely an alien to worldly life, had suddenly unveiled himself as a purely modern thinker, who ended a philosophic romance with the words of Hölderlin:—

"Cease not to guard with heav'nly bucklerFair innocence; thou guardian of the bold,Forsake her not!"

It had been apparently overlooked previous to this that through Heyse's insinuating poetry there ran a vehement demand for freedom, a complete independence of dogmas and conventional fetters. At his new departure, therefore, people were more astonished than they had any reason to be. Heyse is of a mixed origin: from his Teutonic father he has inherited the positive side of his character, the fulness and beauty of his disposition; from his mother, who was a Jewess, a critical vein. For the first time both sides of his nature were revealed to the great public. It must have produced a marked impression on the minds about him that this Fabius Cunctator who had so long held aloof from the problems of the day, now felt that the moment had come for him to take his position in their ranks, and fight the fight of the times. The romance is a dignified and noble protest against those who would fetter freedom of thought and instruction in our day. It has to back it all polemics against dogmas. All its main personages, with a clear consciousness of their position, are made to live in that atmosphere of freer ideas, which is the vital air of modern times. It is one of those works which possess the intensity of a long-repressed, late-matured personal experience, and therefore has a vitality to which no awkwardness of form, no lack of form, can be prejudicial. The book, as a first attempt, is wanting in many of the elements of the genuine romance; the hero, as might have been expected, lacks much in resolution, in active manly vigor; it does not concentrate itself in a single, absolutely dominating interest; the all-engulfing erotic element does not permit the idea to stand forth clear and central, as it was conceived by the poet. The decisive turning-point of the work seems to be impending where Franzelius, after the burial of Balder, is thrown into prison on the denunciation of Lorinser. Here Edwin says expressly:[22]"You desire open war, you yourself demand it, and there shall be no peace until it has been honestly fought out." But theopenwar does not take place; the entire little band of heroes of the book content themselves with the defensive, and when Edwin has finally completed his epoch-making work, the romance ends. Closely associated with this lack is the undue softness of feeling in those parts which treat of Balder. The absence of that strict observance of proportion and limits which distinguish Heyse's "novellen," is plainly felt in this romance. But how would it be possible that great merits in a work of such extent should not be purchased with some lacks. Not only have the ideal female characters here the same points of excellence as in the "novellen"; but the poet has also enlarged his sphere in a high degree; even the least ideal figures, Christiane, Mohr, Marquard, are incomparable. And what a flood of genuine humanity streams through this romance! What a fund of true, versatile culture it contains! It is not only a courageous book, it is also an edifying one.

On certain foul attacks which it drew down upon its author, I will not linger. The denunciations of a couple of insignificant German sheets alone interest me because one of these abusive articles, which so stated the purport of the book that it was represented as dealing solely with the coarsest sensuality, was brought out in Norway by the Norwegian translator of Goethe's "Faust," with an introduction in which all Norwegian fathers of families were warned against allowing the book to cross their thresholds.[23]

For a sharp thrust from France, Heyse had every reason to be prepared. It came not unmerited; for the remarks concerning the literature and intellectual tendency of that country occurring in his romance are quite in the style of the general German sentiment; but the cut might have been given in a more chivalrous and skilful manner than the very ignoble and narrow-minded article by Albert Réville in the "Revue des Deux Mondes," which was dictated by national hatred and a love of self-amusement.

Freedom of thought was the fundamental idea of the "Kinder der Welt"; freedom of moral action is the fundamental idea of the romance "Im Paradiese," yet not in such a way that this work must be considered an attempt at justification; for if the freedom of thought Heyse advocates may be designated as absolute, the freedom of moral action is only relative. Moreover, "Im Paradiese" is a work of quite a different character than the first romance. Even the fact that the scenes of the early romance are laid in keen, critical Berlin, the second one in merry, pleasure-loving Munich, indicates the difference. While the "Kinder der Welt" may be called a philosophic romance, "Im Paradiese" is a sort ofroman comique,light, graceful, and full of a raillery blended with earnestness. Its greatest value is in being the psychology of an entire city of importance, and the portrait of the social and art circles of this city. All Munich is embraced in this book, and, as a matter of course, the artist life of this city of artists occupies the main place. The conversations and reflections on art have not the useless and abstract character in the pages of this book that they assume in the ordinary art-romance; we feel that it is no theorist but a connoisseur who speaks, and a genuine studio atmosphere is diffused throughout all portions of the book. The entire æsthetics of the author may be condensed into Ingre's old definition,"l'art c'est le nu."

So far as the entanglements and composition of the plot are concerned, "Im Paradiese" denotes an undoubted progress. The interest is sustained throughout, and what is more, it continually increases; a commendation that cannot be bestowed on "Kinder der Welt." Now and then, however, the means used to forward the plot are applied in rather an unskilful manner. For instance, the entire rôle played by the dog Homo asdeus ex machinais especially marked in its exaggerations. He reminds us, with his superhuman penetration, of those lions of the sculpture of the "Zopf" period, with human and majestic countenances, framed in masses which too strongly resemble the big wigs of real life. Yet in German romances not the plot, but the delineation of character is the main thing, and in almost all its subordinate figures this book reveals a new side of Heyse's talent. Such forms as Angelica, Rosenbusch, Kohl, Schnetz, have sportive, manifold life that formerly had been almost entirely excluded from Heyse's style. In a word, Heyse's mind has gained humor, the humor of mature manhood, one might almost say, of forty years of age; but a delicate, sagacious, quiet humor which renders complete the gift of the poet and invests its coloring with the true blending.

We have run through the circle of ideas and forms in which this poetic soul has found its expression. We have seen how Heyse, at last, in the romance accommodated himself to the thought agitating modern times, and to which the "novellen" form was not able to give adequate space. Moreover, I pointed out one "novelle" which was not less distinguished by its fundamental thought than "Der Salamander" was by its style.

Each time that Heyse has attempted to gain a modern interest for ancient myths, he has been fortunate. The charming little youthful poem, "Die Furie" (The Fury), is among the best that he has written. In a little drama, "Perseus" (not included in his collected works), he has given a new interpretation of the Medusa myth; he has felt pity for poor, beautiful Medusa, to whom was allotted the cruel fate of turning every one into stone, and he informs us that the envy of the goddesses who were jealous of her love for Perseus is alone to blame for this. Her head falls by the hand of her own lover, while she, in order not to harm him through her pernicious gaze, buries her face in the sand. Heyse has transformed the ancient myth into an original and sorrowful Mährchen. The story of the "Centaur" is bright, and full of profound thought. We are not astonished when "Im Paradiese" informs us that this story inspired the favorite fresco of the painter Kohle. The pilgrimage "unserer lieben Frau von Milo," which as a picture we almost think we see before our eyes, so vividly is the fresco described, is intimately related as a poem to "Der letzte Centaur" (The last Centaur)! That sounds almost like the last of the Mohikans! What does Heyse know of the last Centaur? How could he possibly introduce him into a regular "novelle"? It is done with consummate art, and yet in the most natural way in the world. He first, so to speak, brings together two circles, then a third circle, and in the latter he conjures up the Centaur. The first circle is the world of the living, the second the world of the dead, the third easily and naturally comprises the world of the supernatural. The story begins, contrary to Heyse's custom, in a purely autobiographical way, therefore with the strongest possible elements of reality. The author, late one evening, approaches a wine-house, where, in his youth, he was in the habit of meeting every week his dearest friends and comrades, all of whom are now dead, and lets them pass in review before his mind's eye. Finally he enters the wine-house, feels weary, and—suddenly it seems to him as though he were summoned to join the old circle, and as the door is opened, lo! his friends all sit together. But not one of them extends a hand to him who is entering, and their faces wear an expression of formality, seriousness, and sorrow. Every now and then they drink long draughts from their wineglasses, while their pale cheeks and dim eyes sparkle and glow for a moment, but directly afterward they sit rigid and silent once more, staring into their glasses. One of them alone is not bowed down by the destiny that has overtaken them, and of which, from a mute agreement, not a word is spoken in the society. It is Genelli, the distinguished painter, whose "Centaur" in the "Schackschen Sammlung" at Munich is the admiration of all travellers. One of the company remarks that such a Genelli creation looks so life-like that one is almost inclined to believe that the artist himself was a participator in the scene. And as the master calmly replies "And so he was," we glide imperceptibly from the realm of the dead to the world of fiction. He has seen the Centaur with his own eyes, one beautiful summer afternoon, as it came trotting, without thought of evil, into a little Tyrolese village, where Genelli sat over his wineglass. In olden times, the Centaur was a country physician by profession, had grown weary during a professional tour across the mountains, had laid himself down to sleep in a glacier-cave, was then frozen in—and now, after the lapse of centuries, the ice had melted about him, and he could freely gaze on the changed world with his wondering eyes. It is Sunday, and just church time, when, with his mighty body,—a Farnese Hercules above, a superb, heroic battle-charger below,—with floating mane and long, trailing horse tail, with a spray of roses behind one ear in his thick hair, he trots through the empty streets, only now and then terrifying some old woman, who flees, with shrieks of alarm, from the strange apparition. He sees the church door open, the building full of people, and a marvellously beautiful woman with a child on her arm, painted over the altar. Filled with curiosity, meaning no harm, he trots through the portal, over the stone flags, and approaches the altar. It can easily be comprehended what a hubbub is caused by this monster, newly arisen from hell. The parson shrieks aloud, waves toward the beast whatever consecrated thing he may happen to hold in his hand, and cries "Apage! apage!" (which the Centaur understands because it is Greek). The congregation makes the sign of the cross over and over again; and filled with astonishment, this beast of ancient story then trots out of the door again, and accompanied by all the old women and all the children of the village, who are naturally very much shocked to see "the lofty traveller so lightly clad," presses onward to the village inn, where Genelli is sitting on the balcony. The master then informs the Centaur that he has awakened to life either a couple of hundred years too late or too early. At the time of the Renaissance he would doubtless have been well received. "But at the present day, among this narrow-chested, broad-browed, enervated, unmanned, worn-out race that is called the modern world!" Genelli could not venture to make out a very cheering horoscope for him. "Wherever you may show yourself, in cities or in villages, the street-urchins will run after you and pelt you with rotten apples, the old women will cry murder, and the priest will report you to be the foul fiend himself, etc." And it comes to pass as Genelli has prophesied. While the worthy Centaur, with the good nature that belongs to the strong, allows the public to stare at him, to feel his soft, velvety hide, while he, in genial mood, drains glass after glass of wine, and hands back his empty glass over the railing of the arbor to the pretty bar-maid, to whom he at once gave his rose, hatred and envy are lying in ambush to work his destruction. A complete conspiracy has been formed against him. "At the head stood, of course, the reverend clergy, who deemed it detrimental to the spiritual welfare of their parishioners to come into closer contact with a certainly unchristian, wholly naked, and no doubt, very immoral beast-man." Equally incensed was an Italian who had been exhibiting on the market-place a stuffed calf with two heads and five legs. The horse-man could be seen gratis, he was alive and drank and talked, and who knew whether he might not even be moved to treat the by-standers to some skilful feats of horsemanship. The calf, on the other hand, was a peaceful genius, and gave no signs of any such extravagant undertakings. The Italian cannot enter into competition. "There is a difference," he explains to the parson, "between a legalized, natural sport, that is carried on with the full approval of the police, and a monster that is wholly beyond the limits of probability, such a one as has never been known to exist before, who, travelling without passport or license, makes the country unsafe and steals the bread from the mouths of honest five-legged calves." But the most passionate opponent of the Centaur is the little bow-legged village tailor, the bridegroom elect of the pretty bar-maid. The tailor, too, discloses his mind to the parson, and expresses his anxiety lest the new fashion introduced by the unknown should ruin the whole tailor's trade, and, moreover, overthrow all conceptions of decency and good morals. So, while the Centaur, in his cheerful mood, is just engaged in carrying the fair Nanni on his back round the court-yard of the inn, and, at the same time, entertaining the by-standers with an exceedingly graceful and peculiar dance, all the conspirators appear with a company of mounted gens-d'armes to capture him. Without honoring them with the slightest attention, he continues his dance, and softly pressing the maiden's hands on his breast, he makes a magnificent leap over the heads of the peasants and away he goes. Pistol-balls follow him, with sharp reports, without hitting him, and soon he stands free on the next mountain slope. There, moved by the piteous entreaties of the maiden, he allows her to glide gently down to the ground. "Greatly as she had been flattered by the chivalrous homage of the stranger, and pitiful as was the figure her own sweetheart displayed beside him, she could not expect a solid support from this mounted foreigner." Her practical nature triumphs, and like a hunted chamois she springs from stone to stone into her tailor's arms. An expression of divine scorn glides over the countenance of the Centaur; he is seen to move away, and shortly afterward he has vanished from the eager gaze of those who are staring after him.

Here Genelli's voice is hushed, the little circle breaks up, and the poet awakens in the ante-room of the inn.

All the qualities which make a poetic work an enjoyment to the reader are combined in this "Märchen"; an exalted humor, which casts a gentle glow over all the details, the tenderest semi-tone and the finest clair-obscure, that permits the action of the piece to glide gently from the light of day into a dream of a circle of the dead, and then again allows the twilight of the shadow-world to be illumined by a sunbeam from old Hellas. Add to this a profound thought, which is entirely original to its poet. For this sportive tale is in reality a hymn to freedom in art as well as in life, and to freedom as Heyse has conceived it. In his eyes freedom does not consist in a struggle for freedom (as, for instance, in the case of the Norwegian author Henrik Ibsen), but it is the protest of nature against dogmas in the religious sphere, of nature against conventionality in the social and moral sphere. Through nature to freedom! that is his path and that his watchword. Thus the Centaur as half human being, half divinity, is to his fancy a beloved symbol. How beautiful is the Centaur in his proud strength gained from the remnant of old Grecian blood he has preserved in his veins! What must he not have suffered, the poor Centaur, for the remnant of heathenism, that has arisen in him, and that, after having been frozen in a few thousand years, has ventured out into the light of day in our age when all the glaciers are beginning to melt away! How much more instructive, how much more sedate and moral, does the whole civilized world about him find his interesting rival, the stuffed calf, with two tongues and five legs, which are by no means intended for progress, but are conservative legs that with all due propriety keep the place ascribed to them. Such curiosities never exceed the limits of any civil custom, never exhibit themselves without permission from the public authorities and the clergy, and are therefore none the less unusual. They will always remain rivals of the Centaur, considered by some as his equal and by others as far outshining him.

And is not the poet himself, on his Pegasus in this petty modern social world of ours, the living representative of "the last Centaur"?

I have noted down some expressions of opinion concerning Heyse, favorable and unfavorable all mixed together.

"Heyse," says one, "is the woman's doctor, the German woman's doctor, who has thoroughly understood Goethe's saying,—

'Es ist ihr ewig Weh und AchSo tausendfach u.s.w.'

That he is no poet for men, Prince Bismarck has rightly felt."

"On the contrary," says another, "Paul Heyse is very masculine. He is pronounced weak by some because he is pleasing, because a finished grace has lent its impress to his creations. People do not realize how much strength is requisite in order to have this exquisite charm!"

"What is Heyse?" says a third. "The denizen of a small town, who has so long played hide and seek with Berlin, with the social life of the world, with politics, that he has estranged himself from our present, and only feels at home among the troubadours in Provence. I always scent out something of the Provençale and of the provincialist in his writings."

"This Heyse," remarks a fourth, "in spite of his fifty years and the maturity of his authorship, has the weakness to wish to persuade us throughout that he is an immoral, lascivious poet. But no man believes him. That is his punishment."

"I have never in my life been so greatly envied," once said a lady, an old friend of Heyse's youth, in my presence, "as I was to-day, in one of our higher schools for young ladies, which I was visiting, when the rumor was circulated that I was about to pass the evening in a circle where I would meet him. The little damsels (Backfische) unanimously commissioned me to carry to him their enthusiastic greetings. How gladly would they one and all have thrown themselves into his arms! He is and always will be the idolized author of young maidens."

"One can define Paul Heyse," said a critic, "as the Mendelssohn-Bartholdy of German poetry. He appears like Mendelssohn when compared to the great masters. His nature, like that of Mendelssohn, is a German lyric, sensitive temperament, permeated with the most refined Southern culture. Both men lack the grand pathos, the energetic power, the storm of the dramatic element; but both have natural dignity in earnestness, charming amiability and pleasing grace in jest, they are thoroughly cultured in regard to form, they are virtuosos in execution."

[1]One's movements, step by step to measure,Mars all one's chances.Who dares not follow one's own pleasure (sich gehen zu lassen)Not far advances.—P. H.

[2]Gesammelte Werke, iv. 135.

[3]Ibid., v. 199.

[4]Kinder der Welt, ii. 162.

[5]Kinder der Welt, iii. 210, 242, 256.

[6]Kinder der Welt, iii. 109.

[7]Kinder der Welt, i. III; Gesammelte Werke, vi. 206.

[8]Gesammelte Werke, iii. 300.

[9]Kinder der Welt, ii. 47.

[10]Gesammelte Werke, v. 201. On page 175 the word "vornehm" is used by her.

[11]Gesammelte Werke, viii. 44, 246, 321.

[12]Kinder der Welt, ii. 355. "That you are the best, deepest, purest, noblest of women"—"Poor, brave, free-born breast—bow well it has preserved its patent of nobility." Kinder der Welt, iii. 309.

[13]Im Paradiese, iii. 6.

[14]Gesammelte Werke, v. 197.

[15]Gesammelte Werke, ix. 73.

[16]Gesammelte Werke, viii. 168.

[17]Gesammelte Werke, vi. 71: "I have been sold once in my life. How mankind will now blame me if I give myself as a free-will offering in order to suppress the anguish of that disgrace!"

[18]Gesammelte Werke, vi. 40.

[19]Gesammelte Werke, vi. 5.

[20]Heyse und Kurz, Novellenschatz des Auslandes, Bd. VIII.

[21]Heyse und Kurz, Deutscher Novellenschatz, Bd. I. s. xix.

[22]Kinder der Welt, ii. 265.

[23]Did not a critic of this sort take it upon himself to get up a "warning" in the same style, against Goethe's "Faust"? "The purport of this immoral work," he wrote, "is the following: A physician (Dr. Med.), already pretty well advanced in years, is weary of study, and hankers after carnal pleasures. Finally he signs a bond with the devil. The latter leads him through divers low diversions (which, for instance, consist in making half-drunk students still more drunk) to a burgher's daughter, a young maiden, whom Faust (the doctor) at once attempts to seduce. A couple of rendez-vous at the house of an old procuress prepare the way for this. As the seduction, however, cannot be brought about speedily enough, the devil gives Faust a jewel-case to present to the young maiden. Wholly powerless to resist this gift, that is to say, not even seduced, simply purchased, Gretchen yields to Faust; and in order to be all the more undisturbed with her lover she doses her old mother with a narcotic, which kills the old woman. Then after being the cause of her brother's death, she destroys her child, the fruit of her shame. In prison she employs herself in singing obscene songs. That her lover left her in the lurch we cannot wonder when we consider his religious principles. He is, as the scene in which his donna questions him about his faith clearly proves, no Christian; indeed, he does not even seem to believe in a God, although he endeavors to grasp at all sorts of empty subterfuges to conceal his absolute unbelief."As this wicked book, notwithstanding all this, finds, as we hear to our astonishment, many readers, indeed, even lady readers, and is in constant demand at the circulating libraries in our city, we beg of all fathers of families to watch over the spiritual welfare of those belonging to them, to whom such profligate reading is all the more dangerous because its immoral teachings are veiled in a polished, insinuating form."

"As this wicked book, notwithstanding all this, finds, as we hear to our astonishment, many readers, indeed, even lady readers, and is in constant demand at the circulating libraries in our city, we beg of all fathers of families to watch over the spiritual welfare of those belonging to them, to whom such profligate reading is all the more dangerous because its immoral teachings are veiled in a polished, insinuating form."

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