RS'fel 
 
 €amcU Hmwwitg pifcwg 
 
 THE GIFT OF 
 
 T. F. CRANE, 
 
 Professor of the Romance Languages and Literatures. 
 
 p,..Z^.ZR.h. 13.^-1 
 
 i.e.. 
 
Meprintea from 
 
 THE JOURNAL 
 
 OF 
 
 Germanic Philology 
 
 GUSTAF E,.; KARSTEN 
 
 UNIVERSITy.'OF, INDIANA 
 WITH -THE CO-OPERAtlON OF 
 
 ALBERT S. COOK, Yale 'University '■-,■■ 
 
 F&r the Hifi^firt^^'tii of Wngl^ft^ . ,:-;■.' ..;.■■'/,-, 
 
 HORATIO S. !#BI5ErCoiOTELL%NiVERSIT3("i •; 
 
 ' ^■^^,^i:(tr the. History , of German Liieratit're\' ■ ' 
 
 fcAMILLO VON KL^ENZE, University of Chicago 
 For Cotnpdrative Liieraiure ' ' 
 
 GEORG HOLZ, University of Leipzig, Germany 
 
 European Co-E-ditor. 
 
 Vol. Ill— 1900— No, 2 . 
 
 PUBLISHED BY THE EDITOR 
 
 Bloomington, ' IND., U.S.A. ' ' 
 
 MUKOPMAN AGENT ' ' 
 
 GUSTXV FOCK, Leipzig, NEOMARii'^ 40 
 
Olivee FarjI^r; EMfeRSON, Transverse Alliteration iri Teutonic , 
 
 '".i,_: : Poetry >'• ';.- \ : . ,'' '■•. ,',_;,•''., ... 'f ■■ .'■ '''{■/''■■ ' ^?7'' 
 Frederic Ives Car6en,tkr, Notes on the Anonymous 'RidHard, 
 
 HlERBEii^T Z. tiip, Zur Gescl^iclite', de;: St^igeru4gsadverbien 
 
 '• in der -Deutschen iGeistlicheti Dichtung desii. und/i2.' \ 
 
 . , ' Jatirfi'ijnderts ' , ,■'. ' , . ■ ,,.," .' ' . ■, ; .' " ,.' ': ,' ;. ,143. 
 
 W. Kyj^kEI-M^EYER, Thp' Genealdgy of the Pre-'iutheran Bibles 238 
 
 " '' ''',"'',.'' ■ REVIEWS. • ' 
 
 Camileo VON Kle'nze: Roustan, Lenau et son Temps ■ . . 248, 
 
 ; Ben j^MiiilpEA^ HEELER^ Hirt,"Der Indogermanische Ablaut - 263 
 
 Charltq'n M. Lewis :;Alexahd'er/^electP<iena>, of Shelley . 266, 
 
 P. -Groth; Poestion, islaridische Dichter der Neuzeit . . .'272 
 
 P. GRbtH : Torp;and Falk, Da^sk-Norskens iLydhistorie ■ (275 
 
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 contributions by Prof e^sors , Ph. S. Allejisi Chicago ' Univ. ;.7!P. B.Briggs, 'Sacra^ 
 ',mento, Gaii;; N;> C. Brooks, 111. -ti^iv.; '>M S. Cook, Yale ;. W.V,A. Cooper,' 
 
 Marietta, Goll. ; ,L; Fossl^r, , Neb..Univ. ; K. Francke, Harvard ; P. Groth, N. Y ■ ; 
 
 P. Grumiiiajni), .Indiankpoljs ; M. A. Harris,^: Rockfcird 'ColU ; G. Sempl, ^ich. 
 - tJ'niv. ; :E, Jack, .iakg Forest,; B.Jantzen,, Breslau ; G. B. Karsten, Ind. Univ.; 
 
 G. L.Kittredge,' Harvard ; F. Klaeber, Minn. Univ. ; G. v. Kletize, Cl^ic. Univ. ; 
 
 E.Leser, Irid.jUniv,:; J.,-M. Manly,' (Jlhicagb Univ. ;, G. H:.'McKnig}lt;;Ohio tJniv. ; 
 vW. E» Mead, Mi.dfiletowii, Coiin. ; C,^ps,tbaus, Ind. tfnW.;' F.' Panzer, Freiburg ' 
 ^Uriiv. ; E. C; RoeddBi', Mich., .Univ. ; M. W' Sampsbii, Ind. Univ. ; Ph. Seiberth, 
 
 Ipd. Univ.; 0. P. Seward, Utah Uhiy. ;]Vf. H. Shackford, Yale.; B. t. Wheeler, 
 
 'Sal," Dniv. .' ,' , '■■,; .'i,'/' i-' '■,-, ■'' / '_, ' " '"''-^-i'C ' '-'■'• 
 
 ' For contents, of vol. I see.tpp. 3 apd 4 of ^gy^;.;, , A limited number of complete i 
 copiesiof vol. I; inay;: be had ;at FiyE Dollars ,PEk Vol., Subscriptions, :.Three '" 
 Dollars per Vol. (four issues), i»ay be, i(ni to the Mditot-in-ohief or- to, Agent. > ,; _; 
 
 Copyright, 1900, by Gustaf E. Karsten. 
 
Cornell University 
 Library 
 
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 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/cletails/cu31924026195614 
 
248 von Klenze : fVol. HI 
 
 k 
 
 ^-^-^^o^b 
 
 REVIEWS. 
 
 Lenau et Son 7Vot/j— These presentee ^ la Facult6 des Lettres 
 de I'universite de Paris par L. Roustan, Agrege de I'Univer- 
 site, Paris, Cerf, Imprimeur-Libraire, i8g8. 8vo. pp. VIII 
 +368. 
 
 Lenau, the poet of pessimism and one of the foremost masters 
 of form in German literature, in his day a great favorite, 
 has largely passed out of the consciousness of our generation, 
 and lives on almost only in a few poems like ^ Schilflieder,' 
 ^Der Polenjluchiltng,' 'Weil auf mir, du dunkles Auge,' etc. 
 Though it is fortunate that the state of mind he represents 
 is no longer an object of as great interest as it was fifty years 
 ago, Lenau's literary delicacy raises him so far above the 
 commonplace, that he still deserves much more attention 
 than he receives. Furthermore, in the history of intellectual 
 life he is conspicuous as one of the two or three most gifted 
 representatives in literature of the ' Weltschmerz ' — that con- 
 dition of unrest and distressed idealism which colored so many 
 products of the European genius during the first decades of 
 our century. 
 
 A book, therefore, the object of which is carefully to study 
 Lenau as an artist and as an expression of his time, must be 
 received as a welcome gift ; especially, coming as this one 
 does, late enough after the poet's death to make possible calm 
 critical discussion, and yet appearing in a period of culture- 
 life tainted with some of the same malady of pessimism of 
 which Lenau was a victim. 
 
 The biographers of Lenau from Schurz down (A. Grun, 
 Jacoby, Barthel, Koch, etc.) were satisfied with describing his 
 career without paying much attention to his times and to the 
 influences which moulded his artistic and philosophical prin-' 
 ciples. R., on the contrary, makes a point of showing Lenau's 
 indebtedness to the great movements in German, and espe- 
 cially in Austrian literature and philosophy. 
 
No. 2] Roustan, Lenau et Son Temps 249 
 
 The introduction sketches the condition of political and 
 intellectual Austria under Metternich ; Chapter i discusses 
 in detail Lenau's descent and his childhood ; Chapter 2 his 
 development down to the year 1823, and his earliest verses ; 
 Chapter 3 relates to the literary life of Vienna from 182a 
 to 1830 (Byron's influence is touched upon, Grillparzer, 
 Raymund, Mayrhofer, Feuchtersleben and Enke together 
 with the men who group themselves about them, Zedlitz, 
 and Griin pass in review) ; Chapter 4 reverts to Lenau's life 
 down to 1832 ; Chapter 5 contains a detailed discussion of 
 the poems composed between 1825 and 1831; Chapter 6 speaks 
 of the Suabian poets (Mayer, Schwab, Kerner, also the Rein- 
 becks), and their importance for Lenau ; Chapter 7 records 
 Lenau's trip to America ; Chapter 8 comments on the poet's 
 development from 1833 to 1836; Chapter 9 interprets '■Faust; 
 Chapter 10 is devoted to 'Savanorola' and the influences which 
 helped to mould its character ; Chapter 11 is largely biograph- 
 ical, and besides analyzes the collection of poems published in 
 1838; in Chapter 12 the author makes us acquainted with the 
 change of spirit in the direction of virility and health in 
 Austrian literature between 1830 and 1840 (Griin and Feuch- 
 tersleben occupy the foreground); Chapter 13 proves 'Die 
 Albigenser ' to be the product of this change of view ; Chapter 
 14 is devoted to a discussion of the forces leading up to the 
 March revolution ; Chapter 15 treats of Lenau's youngest 
 works, and Chapter i6 paints the sad picture of Lenau's last 
 years. In the 'Conclusion,' R. gives us a resume of Lenau's 
 career and character, and a critical survey of his poetry. 
 
 The author aims to analyze Lenau's inherited tendencies 
 and the influence of his environment upon them. So much 
 attention is paid to the latter that the exact appreciation of 
 the poet's inherent characteristics seem to me somewhat to 
 suffer. 
 
 The introduction, in spite of good points, fails in one 
 respect. The author owed us a word on the mighty reaction 
 in favor of emotional life which shook Europe in the last 
 century and which continued in our own in the form of 
 romanticism in different countries. He should have shown 
 the close relation between Lenau and the representatives of 
 that movement : Rosseau, Coleridge, Byron, Shelley, Novalis^ 
 
250 von Klenze : [Vol. Ill 
 
 Holderlin, Brentano, Kleist, Lamartine, Victor Hugo, de 
 Musset, Leopardi, etc. All of them were essentially emo- 
 tional, essentially intense, generally uncontrolled, and Lenau's 
 exaggerations, his confessed inability to acquire poise, his 
 morbidity, are less surprising when appreciated as phenomena 
 common in the European life of his time, and during the pre- 
 ceding decades. His work then appears only as one of the 
 many expressions of agony uttered during a painful period of 
 readjustment, as something in a sense necessary and organic, 
 and in no wise as exceptional and absurd. 
 
 In the first chapter, R. shows Lenau's temperament to have 
 been made up of Germanic and Slav elements, and proves 
 that Hungary cannot rightly claim him. I might add that the 
 meagreness of his indebtedness to Hungary for the develop- 
 ment of his artistic individuality is attested by the additional 
 fact that in his interpretation of nature (one of the most 
 characteristic features of his poetry) he betrays comparatively 
 little love for the plains of Hungary, but the profoundest 
 interest in the high mountains of Austria ; whereas Petofi, a 
 true Hungarian, knows little of mountains and everywhere 
 shows acquaintance with fiat scenery. 
 
 The literary influences at work upon Lenau at difiFerent 
 periods of his development are excellently traced, particularly 
 in Chapter 3 and Chapter (i ; furthermore, on pages 138 ff, and 
 in Chapter 12. Careful analysis of his poetical work may be 
 found on pages 28 flF, pages 62 flf, pages 132 ff, pages 148 ff. (a 
 chapter devoted to an interesting and stimulating discussion 
 of 'Faust,' based on a comparison between the first and second 
 edition of the poem), pages 258 ff (which deal with the 'Albi- 
 genser') and pages 307 fif. (containing a valuable interpretation 
 of the 'Waldlieder'). 
 
 Our author's care at times misleads him into unnecessarily 
 long discussions of minor points. So the lengthy analysis of 
 Hartmann's and of Meissner's poetry (pages 29 ff.) is gratu- 
 itous, and even what he has to say on Schwab (p. 83), on 
 K. Mayer (pp. 86, 87), on Kerner (p. 97), might with impunity 
 be condensed. 
 
 With all his desire to be correct, R. lapses into mistakes. 
 He claims (p. 310), 'le moyen Age, qui ne fut jamais sympa- 
 thique ^ Lenau.' There was a time when under Martensen's 
 
No. 2] Roustan, Lenau et Son Temps 251 
 
 influence Lenau had been taught to love mysticism and with 
 it the age in which it most flourished. He writes to Kerner 
 (letter dated January 23, 1837: Schurz i, 339): 'Ja, diese 
 gemalten Fensterscheiben ! Nichts versinnlicht mir das 
 Mittelalter in seinem schonen Geiste mehr, als die Glasma- 
 lerei. Gibt es in der ganzen Welt eine so innige durchdrun- 
 gene Farbe als die des gemalten Glases ? 1st diesz nicht so zu 
 sagen eine verkorperte Farbe, und gleicht so eine gliihend- 
 rothe Scheibe nicht dem glUhenden durchsichtigen Herzen 
 eines mittelalterlichen Mystikers?' What is more strange, as 
 late as 1840 sympathy for the Middle Ages had not altogether 
 disappeared in him. He writes (Julys, 1840; Schurz z, 31): 
 'Das herrliche gottdurchdrungene Mittelalter umschlang 
 mich mit seinen Armen, und reichte mir einen Trunk Frieden 
 aus seinem tiefen Brunnen herauf.' Similarly another state- 
 ment is apt to mislead by its baldness. On page 328 we read : 
 ' Sophie qui avait fait rompre le mariage avec Caroline, parut 
 consentir a cette nouvelle union (i. e., with Marie Behrends); 
 elle laissa Lenau retourner k Stuttgart pour en achever les 
 pr6paratifs.' The matter was not as simple as these words 
 would make us believe. At their parting, Sophie said to him: 
 'Mir ist, als sollt ' ich Sie nie wiedersehen' (Schurz 2, 194), 
 and according to Emma Niendorf ^Lenau in Schwaben,' p. 256, she 
 exclaimed, ' Eines von uns muss wahnsinnig werden.' Lenau, 
 however, assured her of his fidelity ; we read in his letter to 
 her (Schurz 2, 200): 'In Ihnen, teure Sophie, hab' ich die 
 Hohe der Menschheit erkannt und erfasst, in Ihrem Umgange 
 atme ich den reinsten lebendigsten Aether des Geistes, und 
 ich stehe an Ihrer groszen Seele als an einem tiefen Meere, 
 und lausche dem Rauschen seines Wellenschlages, und er 
 weckt in mir das Tiefste und Schonste, dessen ich fahig bin. 
 Es ist keine Redensart, wenn ich Ihnen sage, dasz Sie meine 
 Muse sind. Sie sollen es auch bleiben. Fiirchten Sie nicht 
 das Undenkhare, dasz ein inniger Zusammenhang mit Ihnen 
 aufhoren konnte, meinem Geiste und meinem Herzen unent- 
 behrlich zu sein. Ich wiederhole Ihnen feierlich meine letzten 
 Worte, die ich beim Abschiede gesprochen.' These last words 
 were ' Fest und ewig ' (cf. Schurz 2, 205). It is significant, 
 too, that she asked him to change his tone toward her in 
 his letters and that he protested against this 'formelle Grille' 
 
252 von Klense : [Vol. Ill 
 
 (ib.). Thus this parting must have been the most painful pre- 
 lude to the impending catastrophe. 
 
 The description of Lenau's stay in America (pp. iii and ff.) 
 is insufficient. R. evidently is unacquainted with the article 
 by G. A. Mulfinger in the Americana Germanica, i, 2, and i, 3 
 (1897), entitled 'Lenau in Amerika.' Consequently we do not 
 hear enough of the importance of Duden's book in arousing a 
 desire in thousands of Germans to see America, and its influ- 
 ence in determining the road taken by most German emi- 
 grants. Lenau's behavior in this country and his complete 
 lack of practical sense largely explain his total inability to 
 understand America; his native melancholia increased over 
 here, and instead of improving he was more wretched than 
 ever (cf. Mulfinger for details). Cf. too, T. S. Baker ' Lenau 
 and Young Germany in America ' (Johns Hopkins disserta- 
 tion ; 1897), p. 171 seq. 
 
 In a foot note on page 125, R., speaking of Kiirnberger's 
 novel '■Der Amerikamiide,' says ' le h6ros n'est pas sans 
 quelque analogic avec le po^te.' This is perfectly correct, 
 but the belief, not, however, referred to by R., so long current, 
 to the effect that in telling of his hero's adventures the author 
 had in mind Lenau's experiences in the United States, is to be 
 regarded as entirely fallacious. Mr. Mulfinger of Chicago 
 has collected material on this subject, of which he permits me 
 to print the following: Kiirnberger used with skill and 
 closely followed the following works: 'Reise Sr. Hoheit des 
 Herzogs Bernhardt zu Sachsen- Weimer-Eisenach durch Nord- 
 Anierika in den Jahren 1824-6,' herausgegeben von H. Luden 
 Wiemar ; F. von Raumer : ' Die Vereinigien Siaaten von Nord- 
 Amerika,' Leipzig, 1845 ; Dr. M. Wagner und Dr. K. Scherzer: 
 'Reisen in Nor d- Amerika in den Jahren 1832-^,' Leipzig, 1853; 
 G. Duden : 'Bericht iiber eine Reise nach den westlichen Staaten 
 Nordamerikas' Bonn, 1829, etc. Hence, Kiirnberger did not 
 concern himself at all with what Lenau did and saw in this 
 country. — Mr. Mulfinger is soon to publish the details of his 
 investigations. 
 
 The discussion of Lenau's letters to Sophie Loewenthal 
 (pp. 184 ff.) is adequate intellectually, but does not seem to me 
 to do sufficient justice to their artistic spontaneity and the 
 .delicate flavor of their language. Love letters as fervid as these 
 
No. 2] Roustan, Lenau et Son Temps 253 
 
 are tend to grow tiresome ; yet there are very few collections 
 of letters in any literature superior to Lenau's correspond- 
 ence with Sophie in point of artistic merit. Taken as a whole, 
 they may be regarded as perhaps the most poetical work he 
 has given to the world. 
 
 Because these notes are of such importance in German liter- 
 ature, they challenge comparison with that other group of 
 love-letters, equally valuable for an insight into the character 
 of their author, — I mean Goethe's letters to Frau von Stein. 
 
 A study of these two collections is fascinating and most 
 instructive, and we regret R.'s not having more in detail car- 
 ried out the suggestions found in Minor's review of Frankl's 
 'Lenau und Sophie Loewenthal' (j4nz. f. d. Alt. 18, 2'j6,ff?^. The 
 fundamental difference between the two greatest lyrical poets 
 of Germany and Lenau's marked moral inferiority clearly 
 come to the surface in the behaviour of each of these men dur- 
 ing a singularly critical period of their lives. Both keenly 
 felt the hopelessness of their situation. Goethe could write 
 ' Warum gabst du uns die tiefen Blicke,' and Lenau 'Ach 
 warst du mein, es war ein schones Leben.' But in Goethe, 
 though he was at first as passionate and uncontrolled as 
 Lenau, through Charlotte's help and by dint of self-discipline, 
 poise and balance could in course of time crowd into the 
 background youthful exaggeration and a tendency to excess, 
 while in Lenau, incapable as he was of self-severity, despair 
 deepened with every year, and life became daily more irksome. 
 And whereas the atmosphere of serenity and conciliation per- 
 vading the ' Iphegenie ' was the result of Goethe's love for 
 Charlotte, Lenau after many years of destructive passion for 
 Sophie could find no better expression for his view of life than 
 the unutterably pessimistic lines : ' 's eitel nichts, wohin mein 
 Aug' ich hefte.' Further than that, Goethe's universality 
 nowhere shines more plainly than in his letters to Frau von 
 Stein. There is nothing in his rich life which he does not 
 discuss, refer, or allude to in his correspondence with this 
 remarkable woman. Lenau on the other hand has compara- 
 tively little to say concerning his work and aims ; love is his 
 one theme, running through endless variations. And while 
 manly resignation — one of the most potent ideals of Goethe, 
 the author of 'Die Entsagenden ' — soon colored his letters and 
 
2 54 vonKlenze: [Vol. Ill 
 
 gave them a tone of comparative poise, Lenau's hopelessness 
 and inability to combat fate became constantly more apparent. 
 Yet, Lenau's style is more careful as compared with the style 
 of Goethe's earlier letters to Frau von Stein. His great sense 
 of form and his mastery of language are admirably conspic- 
 uous in his correspondence with Sophie. 
 
 In the discussion of the forces which in Lenau led to a 
 revulsion in favor of religious life, R. might quote the chapter 
 in Frankl's '■ Zur Biographic N. Lenau's,' entitled '■ Wie der 
 Dichter Christ wurde' (p. 55 ff.). We read there : ' Ich ritt ein- 
 mal iiber eine Heide, sie war schneebedeckt, aufflatternde 
 Raben nur waren die schwarzen Gedanken der Heide. Ich 
 fiihlte mich mit meinem innern warmen Leben so allein in 
 der weiten kalten Welt. ... So war ich, mich meinem Pferde 
 iiberlassend, in einen Wald gekommen ; jenseits desselben in 
 einem Dorfe war ich von Freunden erwartet. Plotzlich spielte 
 ein Lichtschimmer iiber die schneebedeckten Tannenzweige, 
 und bald sah ich mir zur Linken ein Jagerhaus, durch die 
 Fenster leuchtete es hell heraus. . . . Drin brannte ein lusti- 
 ger Weihnachtsbaum, glUckliche Kinder, halb frohlich, halb 
 erschrocken, liessen sich von ihren freudig bewegten Eltern 
 Gaben herabreichen, die an den Zweigen hingen. . . . Ich 
 kehrte zuriick zu meinem Pferde, bestieg es und ritt weiter. 
 Aber es war eine andere Stimmung in mich gekommen. Ich 
 fiihlte, dasz die Kluft zwischen dem Leben des Menschen und 
 der ihm kalt gegeniibertrotzenden Natur eine unausfiillbare 
 sei, und dass die Creatur eines Mittlers bediirfte, damit sie 
 nicht verzweifle und untergehe.' 
 
 It is characteristic of Lenau that the sense of loneliness, 
 rendered the more bitter in him by watching a happy family 
 scene, made him feel that the abyss between Nature and the 
 Deity is unfathomable. Although the poet's claim was doubt- 
 less greatly exaggerated that his revulsion was due to the 
 incident above related, the longing for companionship, so 
 strongly developed in him and in a sense never satisfied, 
 would help to induce him to look to religion for comfort, 
 especially at a time when other forces were pushing him in 
 the same direction. 
 
 We agree with the author in saying (p. 204) that Lenau 
 chose an inadequate metrical dress for his ' Savonarola.' It is 
 
No- 2] Roustan, Lenau et Son Temps 255 
 
 to be remembered, however, that in the composition of his 
 work, Lenau followed the tradition of the ballad-cycles, much 
 in vogue among the Austrian and Swabian poets of Lenau's 
 day. The first instance of such a cycle was, of course, Her- 
 der's 'Cid,' and this soon found imitators in Fouque and 
 Brentano, in Schwab and Griin, etc., and in Lenau himself in 
 his shorter epics (cf. Castle, Euphor. 4, 66 et seg.). 
 
 Lenau's treatment of three legends popular beyond all others 
 in modern European literature, namely that of Faust, of the 
 Wandering Jew, and of Don Juan, throws interesting light on 
 his individuality. 
 
 R.'s analysis of Lenau's ^ Faust' is thorough and helpful, 
 and little need be said to supplement his statements. I should 
 point, however, to one important difference between Lenau's 
 hero and the Faust of the Volksbuch. Both, to be sure, are 
 regarded as having harmed themselves by two great intellec- 
 tual ambition (p. 169), though of course, the attitude of the 
 author is different in each case, but the sinner of the Chap 
 Book suffers from over-vitality and cannot get his fill of the 
 good things of this world. To him life is a carousal, though 
 a vulgar one. Lenau's Faust, the reflex of the poet's own per- 
 sonality, though he boasts like a Titan, is sick at heart, and 
 altogether lacks exuberance. 
 
 Our biographer grasped the import of Lenau's ' Faust,' but 
 he pays little attention to Lenau's interpretation of the legend 
 of the Wandering Jew. The poems dealing with Ahasverus 
 are less important than the 'Faust' ; yet a comparison between 
 Lenau's treatment of this story and its treatment by other 
 prominent literary artists is most suggestive. 
 
 According to the old popular tradition found in the Chroni- 
 cles, the Chap Books, in Percy's Reliques, etc., Ahasverus is 
 simply a criminal who insulted Christ and has to suffer in 
 return. Some modern poets, like Wilhelm Schlegel, do not 
 go essentially further. In Schlegel's ballad entitled 'Die 
 Warnung,' the terrible example of Ahasverus's suffering is to 
 act as a warning for young blasphemers. Other writers, like 
 Wilhelm Miiller (in ' Der Ewige Jude'), Wordsworth (in 
 ' Song for the Wandering Jew'), mainly comment on the hor- 
 rors implied in his weary wanderings ; Beranger (in ' Le Juif 
 errant') makes Ahasverus suffer for having outraged all 
 17 
 
2S6 vonKleme: [Vol. Ill 
 
 humanity in the person of Christ ; in Hauff's ' Mttteilungen 
 aus den Memoir en des Satans' (in the chapter called 'Unterhal- 
 tungen des Satans und des ewigen Juden ') Ahasverus appears 
 as a comical character; Shelley extols him (in ' Queen Mab') 
 as the great atheist who prefers ' Hell's freedom to the tyranny 
 of Heaven '), and men like Robert Hamerling (in 'Ahasverus 
 in Rom ') discover ap element of culture-historical interest in 
 the story, Goethe, greater than all these, puts the originality 
 and power characteristic of his storm-and-stress period into 
 his wonderful fragments entitled '■ Der Ewige Jude' (cf. also 
 ' Dichtung und Wahrheit,' Bk. 15, and ' Italienische Reise,' letter 
 dated Oct. 27, 1786) and makes of the Jew the representative 
 of hopeless Philistinism, which opposes all progress. To 
 * I Schubf rt (in ' JDer ewige Jude, eine lyrische Rhapsodie ') and Lenau 
 (in ' Ahasver, der ewige Jude ' and ' -Der ewige Jude ') he is essen- 
 tially an object of profound pity because, to use Schubert's 
 '*Swords, there is denied him ' des Sterbens suesser Trost.' In 
 /(ISchubirt he vainly attempts every form of suicide (' des Tie- 
 gers Zahn stumpft an mir '), but at last an angel appears and 
 grants him the rest he longs for. In Lenau, however, the 
 Jew vainly craves death, and never finds its sweet oblivion. 
 To our poet it was bad enough to live at all, but to be com- 
 pelled to drag out existence through centuries seemed intoler- 
 able. He makes Ahasverus exclaim ' O suesser Schlaf, o 
 suesser Todesschlaf ' and ' O, konnt ich sterben mit den Mor- 
 genwinden,' etc. Thus, Ahasverus is merely the expression 
 of that pessimism and hatred of life which lie at the basis of 
 most of Lenau's work, and which color even the most brilliant 
 product of his muse, his ' Don Juan.' 
 
 R.'s discussion of this fragment is far from complete. He 
 did not use Farinelli's brilliant essay entitled ' Don Giovanni. 
 Note Critiche ' in the Giornale storico delta letteratura italiana, 
 vol. 16 {i8g6) (cf. too, Don Jose Zorilla : ' Don Juan Tenorio,' 
 verdeutscht von Johannes Rastenrath, Dresden and Leipzig, iSpS, 
 pp. V et seq.). This omission is to be regretted, as the treatise 
 contains much new information, and particularly as it com- 
 ments on the interpretation of the Don Juan story by different 
 ages. 
 
 First of all, R.'s list of works dealing with Don Juan, nearly 
 contemporary with Lenau's ' Don Juan,' is very meagre. He 
 
No. 2] Roustan, Lenau et Son Temps 257 
 
 does not even speak of Grabbe's 'Don Juan und Faust' (1828). 
 Yet this drama is important in connection with Lenau, as both 
 poets treated — one in a single drama, the other in two sepa- 
 rate dramatic poems — the two titans who together embrace all 
 life : the titan of the senses, and the titan of the intellect. 
 Such a combination had been attempted only once before 
 Grabbe in a single work by Nickolaus Vogt in ' Der Faerber- 
 Aof, oder die Buchdruckerei in Mainz,' 1809 (Farinelli, p. 300). 
 Significantly, our century, sicklied o'er with the pale cast of 
 thought, first put into conjunction these two heroes. Precisely 
 because theorizing and thinking have played such a great part 
 during the last hundred years, the original Don Juan has 
 largely been modified and in part has been made to assume 
 the characteristics of Faust : he loses some of the directness, 
 brutal vigor, and fascinating absence of self-criticism which 
 have made the hero of Tirso de Molina's play immortal. In 
 Grabbe, to be sure, he retains his original character, but loses 
 much of his grace; but many other modern poets, among them 
 notably Lenau, describe an altogether unreal Don Juan, who 
 lacks backbone and consistent self-confidence, who feels pangs 
 of remorse, runs after some vague ideal, and because of his 
 ineradicable brutality is neither fish, flesh, fowl nor good her- 
 ring. — The time after the appearance of Grabbe's play, and be- 
 fore the conception of Lenau's fragment, R. fails to note, was a 
 period in German letters rich in Don Juans. In 1834, appeared 
 Holtei's 'Don Juan, Dramatische Phantasie,' in 1839 Th. Creize- 
 nach's 'Don Juan,' in 1840 VVeise's 'Don Juan,' in 1842 Braun- 
 thal's 'Don Juan, Drama in fiinf Abteilungen' (Far. p. 302). 
 Furthermore in 1829 appeared a novel 'Donna Elvira' by A. 
 Kahlert, and in 1835 'Don Juan in Leipzig. Ein Capriccio, in 
 zwanglosen He/ten,' by an unknown author (Far. p. 309, note). 
 Some of these were perhaps known to Lenau, and he even was 
 probably directly influenced by Merimee's ' Les Ames du Pur- 
 gaioire,' which was translated in 1837 under the title 'Die See- 
 len des Fegefeurs oder die beiden Don Juan.' (Direct influence of 
 Tirso's ' Burlador ' is felt in the scene between Don Juan and 
 Isabella, superscribed ' Nacht' ; cf. Far. p. 304.) 
 
 R. errs in saying, p. 319: 'Don Juan n'eprouve aucun 
 remord de sa conduite, parce qu'il n'aime qu'avec ses sens ou 
 avec son imagination, en etre instinctif qui ne reconnait 
 
ii 
 
 258 vonKlenze: [Vol. Ill 
 
 d'autre loi que celle de son temp6rament vigoreux.' But Don 
 Juan does feel remorse, and expresses it. After his last adven- 
 ture he exclaims ' seit ich geschaut die fremde Dame, ver- 
 mischt sich meine Lust mit dunklem Grame, Ein nie ge- 
 kanntes Sinnen, Selbstverklagen Beginnt an meinem frohen 
 Mut zu nagen. . . . sie ist auch so hoch und himmlich rein, 
 Dass ich— lach' nicht — unschuldig mochte sein,' and ' O konnt' 
 ich doch mit ungetriibten Sinnen Die Gunst der wunderbaren 
 Frau gewinnen, Mit meines Herzens unberiihrten Schatzen.' 
 Nor is it quite correct to say (ibid.): ' Don Juan au contraire 
 (i. e. in contrast with his brother Diego) qui a etudie la vie 
 ailleurs que dans les livres, esprit brillant, alerte, fier, scep- 
 tique, ou plutot materialiste, ne connait d'autres ordres que 
 ceux de sa passion et il les suit aveuglement. II personnifie 
 I'individualisme et I'egoisme : les autres hommes ne lui sont 
 rien parce qu'il ne- releve que de lui-meme.' R. does not 
 appreciate what Lenau himself said of his Don Juan (Frankl 
 '■ Zur Biographie L's,' p. S7): ' Jeder Dichter ist wie jeder 
 Mensch ein eigenthiimliches Ich. Mein Don Juan darf kein 
 Weibern ewig nachjagender heiszbliitiger Mensch sein. Es 
 ist die Sehnsucht in ihm, ein Weib zu finden, welches ihm 
 das incarnirte Weibtum ist und ihn alle Weiber der Erde, die 
 er denn doch nicht als Individuen besitzen kann, in der Einen 
 genieszen macht.' 
 
 Lenau's Don Juan is, therefore, by no means consistent. 
 Although he has elements of the true Don Juan, introspection 
 and a vague idealism lie directly across the path of his career : 
 disgust with life overcomes him and he allows himself to be 
 killed by an inferior opponent. Hence his Don Juan is as 
 much a carrier of Lenau's pessimism as his Ahasverus or his 
 Faust: LenauV^ has a curious gift for taming giants into despon- 
 dent neurasthenics. 
 
 Thoughtful, repentent, or moralizing Don Juans occur else- 
 where in nineteenth-century literature (so e. g. in Heyse's 
 'Don Juan's Ende,' 1883), showing that Lenau's misinterpreta- 
 tion of the legend is determined by an instinct shared by many 
 men in our age. 
 
 R. should have more insisted on the fact that L's ' Don Juan ' 
 though containing passages of exceptional beauty and melody, 
 essentially implies a misconception of the hero's character. 
 
No. 2] Roustan, Lenau ei Son Temps 259 
 
 I furthermore take issue with R. in saying (p. 322) that 
 Lenau outstrips his predecessors in point of psychological 
 care, and that in the ' Don Juan' at least, he does not deserve 
 the criticism, so often made, of inability to describe feminine 
 character. To me Mozart-daPonte are distinctly superior. 
 Nothing in Lenau can rival the range implied by characters 
 like Donna Anna, Elvira, and Zerlina: the first poignantly 
 dramatic, Elvira the very embodiment of elegiacal despair, and 
 Zerlina fresh, pastoral, and naive. 
 
 Perhaps Lenau the artist can nowhere better be studied than 
 in his treatment of nature : his intense subjectivity, his lack of 
 artistic control, and at the same time his extreme sensitiveness 
 to beauty, his remarkable power of language come to the front 
 in the passages of his letters and works referring to nature, as 
 they hardly do any where else. 
 
 R.'s remarks on the subject, scattered through the book (cf. 
 especially pp. 347 et seq.), are not the result of independent 
 investigation and do not go beyond the utterances of former 
 writers on Lenau. 
 
 In the first place, R. mistakes in saying (p. 347) : ' L'etre 
 instinctif, comme le sauvage ou le paysan, tient a la nature 
 exterieure par des leins plus intimes et plus forts. II reste en 
 communion avec elle. II y voit meme, au lieu d'un tissu de 
 phenomenes changeants ou d'immuables lois physiques, des 
 forces, des etres vivants et agissants, tantot bienfaisants, tantot 
 redoubtables. Ces impressions puissantes que la langue a con- 
 servees, mais que nous ne sentons plus dans des images affai- 
 blies. Lenau, comme les premiers poetes, les ressent ener- 
 giquement et les exprime de meme A la maniere du langage 
 primitif.' Unfortunately, savages and peasants do nothing of 
 what R. claims for them : a highly developed love of nature is 
 possible only in complex civilizations and is the result of 
 sensitiveness. The study of the evolution of the nature sense 
 teaches us that fundamental truth; only Lenau's delicacy of 
 feeling explains his whole attitude towards nature and makes 
 him able intensely to enjoy her outward beauty, although to 
 be sure, he is offended at her harshness and brutality. Exactly 
 because Lenau revels in nature's charms, the following state- 
 ment of R. is only very partially correct (p. 169): 'Byron veut 
 oublier, Lenau maudit I'oubli ; Byron est console par la 
 nature, Lenau y trouve une source nouvelle de desespoir.' 
 
26o von Klenze : [Vol- HI 
 
 These words are based on Frankl's sentence {^ Zur Biographic 
 Lenat^s' p. 3): 'Byron, wenn ihn das Leben um schmerzlich- 
 sten ergriffen hat, fliichtet zu den schauerlichen Schonheiten 
 der Natur, sie besanftigen, sie beruhigen ihn ; Lenau empfangt 
 von ihnen erst die herbsten Schmerzen.' Lenau, to be sure, 
 could say ' Sie (i. e. nature) ist grausam, sie hat kein Mitleid. 
 Die Natur ist erbarmungslos (Schurz 2, 104) or 'Das Men- 
 schenherz hat keine Stimme in finstern Rate der Natur (cf. 
 ' Aus ') etc., yet he could also exclaim ' Natur, will dir ans 
 Herz mich legen ! Verzeih', dass ich dich konnte meiden, dass 
 Heilung ich gesucht fiir Leiden, Die du mir gabst zum herben 
 Segen,' and he could write (letters to the Reinbecks, p. 178): 
 ' So ein paar Stunden in der Einsamkeit des Waldes verlebt, 
 stnd fiir ein in die Waldgeheimnisse eingeweihtes Herz von 
 unermesslicher Wohlthatigkeit, wenn ihm auf seine schmerz- 
 haftesten, sonst fiir kein Heilmittel zuganglichen Stellen von 
 unsichtbaren Handen ein heimlicher Balsam getraufelt wird. 
 Auch ich habe in letzter Zeit solche Stunden im Walde zuge- 
 bracht.' In a treatise on Lenau's nature-sense which I shall 
 presently give to the press, I hope to show that this apparent 
 contradiction has its foundation in the romantic temperament 
 and is nothing peculiar to Lenau. 
 
 Again what R. has to say of Lenau's interpretation of the 
 ocean, is much too general. We read (p. 348) 'I'immensite de 
 la mer ou de la lande ne I'ont que rarement soUicite : la lande, 
 comme la mer est desolee, morne et muette.' As a matter of 
 fact, Lenau is one of the foremost poets of the sea in German 
 literature. He himself confesses to its making a profound 
 impression upon him (Schurz i. 196) and poems like ' Seemor- 
 gen,' ^ Sturtnesmyihe,' '■ Meerestille,' etc., and furthermore several 
 passages in 'Faust' betray ability aptly to describe various 
 aspects of the ocean. This love for the ocean, inferior only to 
 his love for high mountains, is noteworthy. For a close study 
 of the poet's works discloses a strong tendency, in keeping 
 with the hyper-emotional nature of his temperament, to enjoy 
 in nature hardly anything but the vast and the titanic. — R. is 
 right (p. 348) in his remarks on Lenau's interpretation of 
 autumn, but his statement is greatly exaggerated to the effect 
 that Lenau sees in spring only 'la fragilite de ses charmes.' 
 We have, of course, poems like ' Friihlings Tod,' but, on the 
 other hand, also lines like the following: ' Da kommt der Lenz, 
 
No. 2] Roustan, Lenau et Son Temps 261 
 
 der schone junge, Den alles lieben muss, Herein mit einem 
 Freudensprunge und lachelt seinen Gruss,' (' Der Zenz,' cf. also 
 'Liebesfeier,' and especially ' Friihlingsgedrdnge' containing these 
 words: ' Friihlingskinder im bunten Gedrange, flatternde Blii- 
 ten, dufdende Hauche, Stuerzen ans Herz mir aus jedem 
 Strauche,' etc., etc.). — Once more when R. maintains ' Lenau 
 . . est interess6 i la vie des ainmaux,' etc., he fails to state 
 that though Lenau is a lover of animals, his feeble power of 
 observation prevents his noting in detail their characteristics, 
 and that therefore passages relating to animals are of a very- 
 general character. Lenau represents a generation unac- 
 quainted with scientific methods, which deeply loved nature 
 but did not thoroughly know her. The contrast between 
 Lenau and Goethe on the one hand, and Lenau and Tennyson 
 on the other, as regards power of observation, is striking and 
 instructive. — R. should not have omitted calling attention to 
 Lenau's artistic tact in introducing nature as a background 
 for human action. Innumerable passages might be adduced 
 by way of proof, but let two instances suffice. Faust, restless, 
 titanically ambitious, is associated with high mountains and 
 the vast ocean, but in ' JDott Juan,' the drama of love and pas- 
 sion, the poet forgets his predilection for decay in nature and 
 his preference for autumn, and describes forests and meadows 
 fragrant with all the perfumes of spring. 
 
 If in R.'s bibliography Opitz 'jV. Lenau,' Leipzig, 1850, writ- 
 ten before the appearance of Lenau's '■ Nachlass' and insignifi- 
 cant throughout, deserves a star, then Witt's ' Lenaus Leben und 
 Charakter,' Marburg, 1893, at least deserves mention ; were it 
 only as a bit of work betraying great innocence of method 
 (cf. Witt's explanation for L's insanity, p. 26).— For complete- 
 ness' sake, R. might also have spoken of Stephan Born ' Nico- 
 laus Lenau' (Oeffentl. Vortraege geh. in der Schweiz, Bd. 4, 
 Heft 4, Basel, 1877). 
 
 R. bases his remarks on Lenau's pathological condition on 
 two old treatises, one in the Wiener Theater-Zeitung, 1851, and 
 the other in the Allg. Zeitschr. f. Psychiatrie, 1850. He seems 
 to have overlooked an essay on the subject by Dr. J. Sadger, 
 entitled ' N. Lenau, Bin pathologisches Lebensbild ' in the Beil. z. 
 allg. Zeitung, 1895, Nos. 207, 208, 209. In R.'s discussion of 
 Lenau's relation to music, we miss a reference to A. Bock : 
 ' Lenau's Verhaltniss zur Musik.' Beil. z. Allg. Zt., 1890, No. 244. 
 
262 von Klenze : Roustan, Lenau et Son Temps [Vol. Ill 
 
 Perhaps some of the anecdotes personally told R. by Th. 
 Kerner (p. 98, note 3) may now be found in Kerner's Das 
 Kernerhaus und seine Gdste, 2te Aufl. Stuttgart und Leipzig, 
 1897 (pp. 134 et seq.). The little chapter on Lenau has value 
 as giving us glimpses of certain of Lenau's idiosyncrasies 
 generally overlooked by less critical friends (cf. e. g. p. 146). 
 
 Page 300 of R.'s work treats of Lenau's great popularity. 
 A little publication, now forgotten and evidently not known 
 to R., contributes an additional proof of it. I mean ' Umrisse 
 zu den Gedichten von N. Lenau,' 18 Blatter in j Lieferungen. Carls- 
 ruhe. Gutsch and Ruppe, 1841. The artist (if indeed he deserve 
 so lofty an appellation) of these pictures is Nisle. His crea- 
 tions are painful in the extreme, but he interests us here because 
 he presupposes considerable familiarity with Lenau's poetry 
 on the part of his public. Before every picture he reprints a 
 few lines which he wishes to illustrate, and seemingly relies 
 on the reader's acquaintance with the contents of the whole 
 poem. 
 
 The general adequacy and fine insight displayed in R.'s con- 
 cluding remarks on Lenau's literary personality (pp. 341 et 
 seq.) are worthy of special praise. Since the appearance of 
 his book, Faggi has attempted the same task with mediocre 
 success in a booklet called ' Lenau e Leopardi. Studio psicologico- 
 estetico ' (Palermo, i8g8). 
 
 An exhaustive treatise like this should go more into the 
 details of Lenau's literary technique. Certainly something 
 should be said of Lenau's metaphors and similes. We know 
 that an author's metaphors are the core of his style. Investi- 
 gation of Lenau's metaphors and similes more plainly than 
 anything else proves the very great prominence of emotional 
 life in his make-up. Figures derived from nature and from 
 other phenomena appealing to the emotions are extremely com- 
 mon, but very little is borrowed from history, legend or other 
 features of intellectual life. 
 
 I am fearful lest the additions and corrections I made create 
 the impression that the book is unsatisfactory. I should regret 
 conveying such an idea. We have nothing on Lenau as com- 
 plete and detailed as this work, and I personally have greatly 
 profited by the study of it. 
 
 Camillo von Klenze. 
 
 The University of Chicago. 
 
CONTENTS OF VOL. I. 
 
 ' Horatio S. White, The Mpme of Walther voli derVogelweide .. i 
 
 , Ceojige HEMpL, MiddlejEriglish -TC/gT, -i£/i9- . , : - < . , ,14, 
 
 ' EbWA'RD, P. Moi^TON, Shakspere in, the Seventeentli Century . .' 311 
 GioRGte A., Hench, The Voiced. Spirants in Gothic' ' . .•, 45 
 
 Otto B. Schlutter, On Old, EngUsh Glosses . . -59 
 
 H. SChmidt-Wartenberg, Phonetical Notes - . . . 66 
 
 F. 4-, Blackburn, .Teutonic Eleven and Twelve . .... • 7Z 
 GOSTAF'.E. KARSTEW,-l6)h:the Hildebrandslied .' .-'■ . .76 
 EiilSAlBETH'vWobDBRHDGE; Chaucer's Classicism , . \ - .: ' .111 
 / EwaldFlugel, Some "Notes on, Chaucer's Prologue .'■-, .,,^. '. 118^ 
 ''"'■j,jG|:pRGE H. McKnighTj, The Primitive Teutonic Order pfWbrds '. 136 '' 
 ;/ JHeriHann'COllitz, Der Name der Goten bei Griechen und Koraern . 220 
 
 ■ *' H . SC'hMidt- W A^iTENBEKG, The Berlin Fragment of the Madelghijs . 239 , 
 
 Albert S. Coov.^ Christ tj . , . ' '■■/ . '• . ' . ,.- .1 247 
 ' H. Schmidt- W artenberg, VoUstatterJs Gedicht von des i^eufe.rs 
 
 Tochtern' ..''''. ' ■. , . •,, ,. '-.' ' . ,, . ,. .'!/ ,^49.' 
 
 , Albert .S< Cook, The College T]eachirig of English . ' . . 273, 
 Francis A. Wood, Ia,do.iEuropean Root-Formation . , . / .' i.?8o * 
 Francis A. Wood, IE. JVJi and TW^ ittGermanic . . ^ .' , ,; . 309^ 
 Otto B. Schlutter, On Old English Glosses - . . . ■ . 3.12 
 ALBERT' S; CdOKj^Notes on the Old English C^ra/ (320, 952) , .; 334 
 i\,) Elisabeth Woodbridge, An Unnoted Source of Chapman's ^4// 
 '■','"" 'kFooIs ' - : ■.■,;.■,.'.'■,.-.. '1 i" ' :• .' ' '. . •-£,. 338- 
 ,,,,, George Hembl, G. S^^/^j^ .NJIfJ. Schalk,^\.c., G. Kalkfo, ON. 
 '\ ' Skakja, OYiG. ICarl,-iiiliG.' kerlfl'tegeljeie. .. . •,'/,- 342 
 
 Edwin. 'W- Fax,- I. German. Gz^y^/; 2: English .5'^?/aa';5 . t-' . 347 
 .Otto Heller, Goethe knd the Philosophy Of ScHoperfhauer .;•' . 348 
 William Allan N;EiLson, The Original of The Complayiit of Scdt-' 
 
 lande . , .■ _ .^ ... ., . • ■ '; ■ ■ ■ .411, 
 
 William ,H. 'Hvlwe^ fifakhtis . . . , . . . ; 431 
 -,'. Francis A. Wood, Indo-European Root-formation. II. ., , . 442 
 
 GtORQE .^I|MPL, Germanic ^]"?',-=01d English;5 and J ;.; and v 
 Vowel-Shortening in Primitive Old English , . . . . 471 
 
 Albert S. ,Co6k, Th^ Sources" of Two Similes^ in Chapman's The 
 
 .Revenge of BussyD'Ambois . ... . . . . 47^ 
 
 HenrX D'. B^LACKWELL, Middle English. -M/f-ji-'ze'i?r ■• , ■ • 47^ 
 Max Batt, Scliiller's Attitude to,wards the French Revolution . 482' 
 
 ■ ' ':'■' 1 , REVIEWS 
 
 AiIbert S. Cook : Bates and Godfreyl English Drama . . ' . 79 
 
 ■ 'Frank J. Mather,' Jr.; .Ch9.se, A Bibliographical puide to Old 
 
 ■ ,■ ' English Syntax , .- _. , . . ... . • • . ■. .; ^i 
 
 Oliver Farrar- Emerson : A.nglia. XVIII . . . ;'■. . . ,83; 
 
, , , , Contents: '•- -\ ■'■■' 
 
 I ' ■•;,> ,,.-;.■.';•,'.' ;■',■'' '- "' '.. C'-''- ■-" - ,,'' ■ '"PAGE 
 
 ' ELISABETH WdoWiiiDGE: : Erigpsche Studien, iXXII;' ; ' . .. ' 88 
 . HoRAtio S.White : Eiiphonon. J'fs Raiige anc^- Aim '. ... . . lopv' 
 
 '-; H'ANNS'OERTELi'lndogerinanische Forschungea. - I,, ir, III.;-. ' , > • ipz,. 
 Frank, 'IJ.GHAsi;,: Wulfing, Die Syntax i'n dea, Werken Alfrgd^'des": "" ' 
 , , Grossen. ;',,_.; ■ -; '.,.._ ; '" . ! /\ • .' ' ^_' 1. :,-,., ^-i^'-f /':' ^-. ',2^2/' 
 ^ EiliZABETH I3e;EkinG IlA^fscoM: Smith,, An Old Englisli Grammar > /, ' 
 ,- ':>V\iBd 'Exercise 'B'6b.l5'>>'.' ' ,. ;,'/), - '. . ,/.,;, .•';''■"'; -■' •■ ■ ' ^59 
 EBWAko PAysoN' Morton : Re^-aplds,' The Treatment of Nature in - , 
 ; .' ' English Poetry between Pope aridj-Words-v^orfh' .,, ■. ' ., 216 • ' 
 
 •AtpEi^T /S; Cook : ]iji|deidf, Glossar^S^f/AlthorthumWiscfeen EvM^^ . 
 -■jgelieniibersetzung in der RushtWo^hi-Handschrift . . , r-364. 
 , ALBERT S.. Cook: Wright, the 'English I^aleet Dictionary . ■. 265: • 
 •V''0tJ'st4^*',' E., Karstejst,: (irotjti, Dfet.ArnamagflEEaiiskeiaaandskrift_, ;.',.-,. j- 
 '':• '■ ■ • 310 qvartq; -.Saga Ol^fs |5-c>milx^§,Tryggvaspnar-, ' ;^. ,,, ,, . . .j' 26,8- v 
 , E"r,ederic Ives Carpenter : CoUrtKoftejAHistoVyiofEHglisli Poetry 361 '- 
 'AliBERT S. CpOKi: Wiljianis, Some, Questions "ofl'Good t^ngJJsh ' , 
 
 ; \ . ex^m^ned in ContrdyecsffiS with Dr. MtzedWard^ : '-,';,,,. 368. 
 
 ^ F. A., Blackburn : Wyatf, AnrElettfeihtary Qld English Gratnmar' . 369 '\ 
 .WlLjLiAM -IV. Carlton: Gojlancz, Marlowe'.s T/lie.T-ragioaiil. History '" , -' 
 .'['- of Doctor FajQstii's ,,/,,, . ;, . _-'■. '■;. '.,' . > , . . 371 
 _ GUSTAE E. KArsten;: Milchaaick, Historia D. Jotannis Fausti des ' 
 . s; ZaubererS nach der Wonenbiitfqler Jjail'dsbhrift iiebst dem nach- . ' 
 ' ,,', ,weis"'eines'teils,jhr'er quellenJ'V' .. . ''.',',, ■ - /. ''■ . ■■ 375 
 ', Felix SOlmsen:; '2vipi£|S|? Die germanischen/GntturaTe '.', .v • 383 
 Alexis ;F4''EAnge ^. Johnston, 'Latin Manuscripts, ,,'.->;:.. . 391 
 ; J. M. Hart> Sawtelle, The Sources, of S.penserV^'Cl^iSsicalMytlio.logy 395 
 
 ERNST H.;jyi:Etfs£L:, Zeitsdirift'fnrdeut^^ XXIX. ■ . 398, 
 
 \/.GH;^rles li)AviDS0N: Manly, Specimens of the Pre-Shaksperean - 
 
 Praroa'^^- . .„^ ., , , • 1 : ■ "' ,. ■■ ', ' ■ - ';.■' > ," , ■> ■ ' • 494 ' 
 ■ Laura E.Lockwdppi Bradsha%'v^ Concordance to tlre_ Poetical 
 
 ' ';^Worpof'jolin.I\iiltiiir: ':: 2 ^'"'' ■- •' .-- ^ '' • '' A ' 498 ; 
 Martin W. Sam;pson':, Beatty, Browning's -Verse-Form : Its Organic: 
 
 .Character . /.',, . .-, '. ,. ': '■. . . : . _;-, . 502 
 Albert S. Cook: 'Cro.w,>Ma!don and, Bmn,nanbnrli, .' . ,. 505 
 . /^^if^ERT; S. Cook :, Carpenter, Outline Guide to the" Study of English 
 ',', *],'=, Lyjic, Poetry '. -■ ■,.•''-''.'- ..:-.,-■■ -' . -' . ■ .' .'. '.' 506 
 ,f'FjiKpERiq Ives Carpenter: Read, .ISeats and SperiSef .' ,■ A, Dis- ' 
 '' -'' '~' sertation . '„'; ^S. . '. ,-.,i-. ~ , ..''•■.""' . ■ ,, ,, . ■ . "' .■ 507 ■. 
 GusTAF E. KarstEN: Piper,vDie Altsachsische -Btbeldichtung. I'. 508, . 
 'Paul H. GruMm^nn: Paul, Deutsches 'Worterbuch . . , ., ,511 
 '-W. GoLTHER : yetter,"Der heilige Georg des Reinbot von Durne . 516, 
 William. E., Mead : Wiri^ile, Life in E.arly^ Britain ,. , . , .' 518 
 
 > NOTICES . i 
 
 -The AWfeRiCAN- Dialect Society . . -. . '■ .' . iro- ; 
 "ipOirpRiia;.., .^ > .'.,_. . ',. . . . ' . iib,' 
 EpiTOjllAL . . ... . . . , ; . .521 
 
Cornell University Library 
 PT 2393.Z5R861 
 
 Lenau et son temps 
 
 3 1924 026 195 614