This Shows To What An Extent
Philology Is Cultivated In Germany; Indeed, It Is Quite A Passion And A
Very Useful One It Is.
I know that many people regard it as a loss of time,
and say that you acquire only new
Words, and no new ideas; but I deny this.
I maintain that every new language learned gives you new ideas, as it puts
you at once more au fait of the manners and customs of the people, which
can only be thoroughly learned by reading popular authors in their original
language: for there are several authors of the merit of whose style it is
impossible to form an adequate idea in a translation, however correct and
excellent it be. Indeed I wonder that the study of the German language is
not more attended to in England, France, and Italy; but to the English,
methinks, it is indispensable. All the customs and manners of Europe are
taken from the German; all modern Europe bears the Teutonic stamp. We are
all the descendants of the Teutonic hordes who subjugated the Roman Empire
and changed the face of Europe; 'tis they who have given and laid down the
grand and distinguishing feature between modern Europe and ancient Europe
and Asia: I mean the respect paid to women. To what nation, I say, is due
the chivalrous respect to women which is the surest sign of civilization,
and which was unknown to the ancient Greeks and Romans, except to the
Germans, who even in their most uncivilized state paid such veneration to
their women as to consult them as oracles on all occasions and to admit
them to their councils? Tacitus particularly mentions this; and speaking of
the Germans of his time, he says, "They have an idea that there is
something divine about a woman."[126] It is this feeling, handed down to us
from our Teutonic ancestors, that contributes mainly to make the European
so superior to all the Asiatic nations, where woman still remains a
degraded being, and 'tis this feeling that gives to us the palm above all
Greek and Roman glory. What are the modern European nations, the English,
French, Italians, Switzers, even Spanish and Portuguese, but the
descendants of these warlike Teutonic tribes who swept away the effeminate
Romans from the face of the earth? and do we not see the Teutonic policy
and usages, defective and degenerated as they sometimes are, the best
safeguard of liberty against the insidious interpretation of the Roman law,
which is founded on the pretended superiority of one nation, the inferred
inferiority of all the rest?
With regard to theatricals, I have witnessed the representation of a
tragedy, lately published, called Sappho, by a young poet of the name of
Grillparzer. This tragedy is strictly on the Greek model. Its versification
in iambics is so beautiful that it is regarded as the triumph of the
Classics over the Romantics; and by this piece Grillparzer has proved
the universality of his genius; for he wrote a short time ago a dramatic
piece in the romantic style and in the eight rhymed trochaic metre called
die Anhfrau (the ancestress) where supernatural agency is introduced.
This I have read; it is a piece full of interest; still it was thought too
outre by the Classiker. It was supposed that this was the peculiar
style of the author, and that he adopted it from inability to compose in
the classic taste, when behold! by way of proving the contrary, he has
given us a drama simple in its plot, where all the unities are preserved,
and where the subject one would think was too well known to produce much
interest; he has given, I say, to this piece (Sappho), from the extreme
harmony of its versification and the pathos of the sentiments expressed
therein, an effect which I doubt any tragedy of Euripides or Sophocles
surpasses. The character of Sappho and her passion for Phaon; his
indifference to her and attachment to the young Melitta, an attendant and
slave of Sappho's, and Sappho throwing herself into the sea after uniting
Phaon and Melitta, constitute the plot of the drama. But simple as the
plot, and old as the story is, it excites the greatest interest, and never
fails to draw tears from the audience. What can be more artless and
pathetic, for instance, than these lines of the young Melitta when she
regrets her expatriatioa:
Kein Busen schlaegt mlr bier in diesem Lande,
Und meine Freunden wohnen weit von hier.
In English:
No bosom beats for me in this strange land,
And far from here my friends and parents dwell.
I have no doubt that some of these days Sappho will be translated into
the idiom of modern Greece and acted in that country. The actress, who did
the part of Sappho, gave it full effect, and the part of the young Melitta
was fairly performed; but I did not approve of the acting of the performer
who played Phaon. He overstepped the modesty of nature and the intention of
the author; for he was in his gesture and manner grossly rude and insolent
to poor Sappho, whereas, tho' his love to Melitta was paramount, he ought
to have shown no ordinary struggle in stifling his gratitude to his
benefactress Sappho.
I admire the German word Gebieterinn (mistress). It is majestic and
harmonious, and the only word, in any modern language that I know of,
poetic enough to render aptly the Greek word [Greek: Despoina].
DRESDEN, Decr. 1st.
I have been to visit the famous Gallery of paintings here; but you must not
expect from me a description. I shall send you a catalogue. It would be
endless to describe the various chefs-d'oeuvre which are contained in
this valuable collection. Dresden has always been considered as the
Florence of Germany and has always been renowned for its Gallery of
paintings; hence the almost innate taste of the Saxons for the Beaux Arts
and the great encouragement given to them at all tunes by this Government.
It is here and at Meissen that the best German is thought to be spoken,
tho' Hanover disputes this prerogative with Dresden.
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