.0* .' ^/ %^^-'*/ V^^V^ %^^^'%^^ \ '- .J?°* ■-• »°'^. *-'°- ■^"k. P-n. e * _ •A 'a- ^!>. A^ COLUMBIA UNIVERSITY GERMANIC STUDIES Vol. II. No. III. EDWARD YOUNG IN GERMANY Historical Surveys Influence upon German Literature Bibliography BY JOHN LOUIS KIND, Ph.D. SOMETIME CARL SCHURZ FELLOW IN GERMAN, COLUMBIA UNIVERSITY THE COLUMBIA UNIVERSITY PRESS THE MACMILLAN COMPANY, AGENTS LONDON: MACMILLAN & CO., Ltd. 1906 All rights reserved COLUMBIA UNIVERSITY GERMANIC STUDIES Edited by William H. Carpenter and Calvin Thomas Vol I No. I. SCANDINAVIAN INFLUENCE ON SOUTH- ERN LOWLAND SCOTCH. A Contribution to the Study of the Linguistic Relations of English and Scandinavian. By George Tobias Flom, Ph.D. 8vo, paper, pp. xv + 82. Price, ;^i.oo net. No. 2. OSSIAN IN GERMANY. Bibliography, General Survey, Ossian's Influence on Klopstock and the Bards. By Rudolf Tombo, Jr., Ph.D. 8vo, paper, pp. iv + 157. Price, ;$i.oo net. No. 3. THE INFLUENCE OF OLD NORSE LITERA- TURE UPON ENGLISH LITERATURE. By Conrad Hjalmar Nordby. 8vo, paper, pp. xi + 78. Price, ;^i.oo net. No. 4. THE INFLUENCE OF INDIA AND PERSIA ON THE POETRY OF GERMANY. By Ar- thur F. J. Remy, Ph.D. 8vo, paper, pp. xi + 81. Price, ;^i.oo net. Vol. II No. I. LAURENCE STERNE IN GERMANY. A Con- tribution to the Study of the Literary Relations of England and Germany in the Eighteenth Century. By Harvey Waterman Thayer, Ph.D. 8vo, paper, pp. v + 198. Price, ;;^i.oo net. No. 2. TYPES OF WELTSCHMERZ IN GERMAN POETRY. By Wilhelm Alfred Braun, Ph.D 8vo, paper, pp. v+91. Price, ;^i.oo net. EDWARD YOUNG IN GERMANY •rt^^o. >i) ^^ o COLUMBIA UNIVERSITY GERMANIC STUDIES Vol. II. No. III. EDWARD YOUNG IN GERMANY Historical Surveys Influence upon German Literature Bibliography BY JOHN LOUIS KIND, Ph.D. SOMETIME CARL SCHURZ FELLOW IN GERMAN, COLUMBIA UNIVERSITY Kein gork THE COLUMBIA UNIVERSITY PRESS THE MACMILLAN COMPANY, AGENTS LONDON: MACMILLAN & CO., Ltd. 1906 All n'z'zts reserved UBRABY of CONGRESS Two Coni»"f Received yUl 80 1906 I'yn^M tr.liy . COPY B. Vs:- Copyright, 1906, Bv THE MACMILLAN COMPANY. Set up and electrotyped. Published July, 1906. y f NortoooH |3uss J. 8. Gushing & Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. NOTE The author of the present monograph has undertaken to record, more fully than has hitherto been attempted, the his- tory of German interest in the works of Edward Young, and to trace in detail the influence which they have had upon German hterature That such an influence has been exerted, particularly by the "Night Thoughts" and the "Conjectures on Original Composition," is a matter that has long been generally recog- nized, and a considerable literature has arisen upon the subject in its various phases. No such systematic treatment, however, as this, in which the whole matter is historically considered, has thus far been made. The writer in carrying out his plan has most carefully reexamined the case in all its bearings, and has made, in this way, a contribution of undoubted reality and value to our knowledge of certain aspects of the literature of Germany in an important period of its history. WILLIAM H. CARPENTER. Columbia University, May 6, 1906. TO THE MEMORY OF CARL SCHURZ TH!S WORK IS MOST RESPECTFULLY DEDICATED PREFACE The purpose of this investigation is to record as completely as possible the history of German interest in Young's works, and of the influence they exerted upon German literature, from the time of their first introduction to the present day. The fact that the "Night Thoughts" exerted an extensive and powerful influence upon German poetry, likewise the fact that the German Geniekult, or literary glorification of "original genius," was greatly promoted and accelerated by the treatise "Conjectures on Original Composition," has long been recog- nized. Much has also been written upon the subject, in general and in detail. There seemed, nevertheless, to be room for further investigation, and especially for a treatment historically arranged and developed. A word as to the arrangement and treatment of the various chapters. The "Conjectures" are discussed first, altho writ- ten many years after the " Night Thoughts," because the subject- matter is newer and the results consequently more important. For the sun^ey of literary criticism in England prior to the "Conjectures" Thomas's excellent life of Young ^ was most helpful, as thruout the dissertation, for its correct and ex- tensive data on Young's Hfe and works. Altho the Shake- speare Jahrbuch of 1903 contains a resume and reprint of the " Conjectures," it d d not seem superfluous to give another synopsis of this essay, which is perhaps not too well known even to scholars. Chapter I having shown the position occupied by the "Conjectures" in England, Chapter II reviews succinctly literary criticism in Germany prior to the introduction of the "Conjectures," and then traces their influence historically as far as possible. All matter pertaining to the translations is treated together, altho necessarily breaking the chronological ^ " Le Poete Edward Young (1683-1765) : Etude sur sa Vie et sesCEuvres par W. Thomas." Paris, 190T. ix order to some extent. Then follows in chronological order the discussion of the Litter aturbriefe, the Schleswigsche Litteratur- briefe and other writings of Gerstenberg, then the "Hamburg- ische Dramaturgic," which strictly should have been preceded by Herder's "Fragmente." However, the latter are best included under Herder's activity as a whole. Hamann and Herder, as the protagonists of the Geniekult, form the climax of the in- vestigation. In Hamann the discussion is confined quite closely to direct influence of Young; whereas, in the case of Herder, a broader treatment seemed necessary, — one extend- ing beyond Young's immediate influence and including Herder's general position in literary matters. Chapter IH, the survey of the " Night Thoughts" in Germany, deals historically with the introduction of Young's poem into Germany, the gradual increase and culmination of its popularity, the ensuing decline of its influence, the defection from its spirit, and the causes that led to this result. The second part of this chapter, treating of the influence of the "Night Thoughts" upon German writers, needs perhaps some apology. It was found, after thoro investigation, that Barnstorff's disserta- tion ^ had virtually exhausted the subject of verbal correspond- ences in the influence of the "Night Thoughts" upon Gernian writers. In some instances I have added material along the lines pursued by Bamstorff, but my aim on the whole has been to show how much the various writers concerned themselves with the "Night Thoughts," so far as one can judge from their letters and works, without going into the citation of line-for- line parallels, to repeat which, after Bamstorff, would be futile. In arranging these writers I have followed Goedeke's "Grund- riss" as closely as possible. The Swiss are treated first here as in the history of the movement, and followed by Gottsched, because he was the great opponent of Bodmer. The group of the Bremer Beitrdge are, of course, the most important, and Ebert as the chief translator of Young has a right to head the list. Their associates and friends are also placed in this group, as well as others who belong to no special school. Klopstock ^ " Youngs Nachtgedanken und ihr Einfluss auf die deutsche Litteratur von Johannes Barnstorfif. Mit einem Vorwort von Franz Muncker. " Bamberg, 1895. was likewise an associate, but since he was the center about which the league of Gottingen writers, the Gottinger Dichter' bund, revolved, he has been placed at the head of that school, forming in this arrangement, as in life, a connecting link be- tween the Bremer Beitrdger and the Gottinger Dickterhund. Crugot, Zimmermann, and Lavater were best grouped as philosophical writers, and the "Other Writers" need no further comment, except the fact that they are as nearly as possible arranged chronologically. All of the classical writers, except Klopstock, were inclined to oppose Young's influence rather than to further it, and so they are placed first among the v/riters who led the reaction against the "Night Thoughts." The minor works, except the "Revenge," exerted no con- siderable influence, but an account of the interest taken in them by the Germans may not be amiss. The arrangement here, too, follows no special system, but in general is based upon the importance attached to the works in Germany. To Professor Calvin Thomas especially is due my warmest gratitude for the interest he has taken in this thesis, and the constant inspiration that he has given me during its progress. It is a pleasure also to tender my most grateful thanks to Pro- fessor William H. Carpenter of Columbia University, and Professor Laurence Fossler of the University of Nebraska, for their stimulating and never failing assistance in my graduate work. I shall ever consider it a rare privilege to have been able to pursue the major part of my graduate studies under these three scholars. New York, May i, 1906. CONTENTS CHAPTER I PAGE The "Conjectures on Original Composition" 1 . Young's Relation to Earlier English Writers of the Eigh- teenth Century ........ i 2. Outline of the " Conjectures " 2 3. Critical Consideration of the "Conjectures " ... 7 CHAPTER II The "Conjectures" in Germany I. General Survey of German Thought on Original Composi- tion prior to 1760 . . . . . . .11 fe., The Translations of 1760 and 1787 ..... 14 3. The Litteratiirbriefe and the Idea of Originality . . ig 4. Heinrich Wilhelm von Gerstenberg and the ScJileswigsche Litteraturbf-iefe . . . . . . . .22 5. The Idea of Originality in the" HamburgischeDramaturgie" 26 6. Johann Georg Hamann ....... 28 7. Johann Gottfried Herder ....... 40 8. Conclusion ......... 57 CHAPTER III The "Night Thoughts" in Germany 1. Historical Survey ........ 59 2. Influence upon German Writers ..... 75 CHAPTER IV Other Works of Young in Germany 1. The Satires ......... 120 2. The Tragedies . . . . . • • . -123 XIV PAGE 3. The Minor Works included in Eberf s Translation of 1754- 1756 129 4. "Resignation" and Other Minor Works .... 132 CHAPTER V Bibliography of German Translations, Editions, Reviews, AND Notices 1. Introduction . . . . . . . • -134 2. Bibliography ......... 135 Index 181 EDWARD YOUNG IN GERMANY CHAPTER I THE "CONJECTURES ON ORIGINAL COMPOSITION" I. Young's Relation to Earlier English Writers of THE Eighteenth Century The " Conjectures on Original Composition," which appeared in the spring of 1759, is one of the most important works on literary criticism written in the second half of the eighteenth century. It was, in a way, the natural outgrowth of the contro- versy that had been carried on in England since the beginning of the century, as to the relative merits of the ancient classical and the modem writers, and was directed against the so-called Neo-classical School. Beginning with Dryden and Pope, who considered the an- cient classics perfect, or at least superior to the works of later generations, and who recommended imitation of the ancients as the only safe method for modem writers to pursue, themselves setting the example by translating some of the leading works of the ancients, there had been a growing tendency in England to idolize these ancients and to disparage all other works. Naturally, there sprang up an opposition to these views, that gained comparatively little favor, however, until about 1725, when the revival of Shakspere enthusiasm was well under way, supported by an interest in old English ballads and in the work of such poets as Ramsay and Thomson, who owed but little to the ancients. The fmits of this reaction, in point of literary form, are best seen in the increasing preference for blank verse and the Spen- serian stanza, and in the diminishing use of rime. About the middle of the century the periodicals took up the discussion in articles and reviews, the same reaction was manifested in art criticism, and the results were applied in the domain of letters. When, in 1757, the first volume of Warton's "Essay on the Writings and Genius of Pope" appeared, which was dedicated, it is interesting to note, to Young, and which denied Pope the rank of a great poet, the cause of the moderns seemed in the ascendency. But its triumph did not last long. The discus- sion was fiercely revived, and the reaction that set in was so intense that the Neo-classical School seemed about to score a complete victory. It was then that Young was urged by his friends to pubHsh his views on the subject,* and the effect of his work was immediate. Warton had already robbed Pope of much of the infallibility attributed to him by his enthusiastic admirers ; but now the mortal man was exposed to even clearer view, and an attack was made upon all his confreres as well. But Young's chief service is not in shattering false idols; he is not merely an iconoclast. He makes free use of the results of advanced contemporary thought, collecting and welding it into a brilHant literary whole ; he builds, inspires, leads on, and becomes the prophet of the promised land of EngHsh letters. Altho the outcome of the reaction against the Neo-classical School was the emancipation of genius, the supremacy of originality and individualism. Young's essay itself had no pro- longed influence in England. It was reviewed and discussed by the leading writers of the day, attracted considerable atten- tion for a time, and then disappeared in the triumph of the reaction which it had helped to precipitate. In Germany, its effect was greater and more lasting, due to the fortunate coincidence that it appeared at a moment of indecision, when the Germans were groping after originals. Thus the doctrine of individuality and original genius, which Young proclaimed, became the watchword of a whole, new, literary school. 2. Outline of the "Conjectures" Young first discusses composition in general. There can not be too much literary composition, he contends, provided that ^ The "Conjectures" were written in 1756, and the manuscript had been read by Young's most intimate friends before its pubhcation in 1759. it emanates from sound understanding and is written in the real service of mankind. The mind of a man of genius, he declares, enjoys a perpetual spring, and the fairest flowers of that spring are the originals, " Iinitations are of two kinds : one of nature, one of authors ; the first we call originals, and confine the term 'imitation' to the second." ^ The latter increase the mere drug of books, because they only give us dupHcates of what we had, and even when excellent but build upon another's foundation; the debt is equal to the glory, and the "imitator shares his crown, if he has one, with the chosen object of his imitation." Originals, on the other hand, are great benefactors; they extend the republic of letters, they are of spontaneous growth, and even when mediocre are indebted to no one but nature. Originals are few in number, not because the writer's harvest is over, but because illustrious examples ''engross, prejudice, and intimidate." And yet most of the ancients are only acciden- tal originals; for the works they imitated are, with few excep- tions, lost. He who does not admire them shows that he does not understand them. Furthermore, we should even imitate them, but imitate aright; i.e. we should "build our compositions with the spirit and in the taste of the ancients, but not with their materials;" and this explains the paradox: "The less we copy the ancients, we shall resemble them the more." We modems lack ambition or we could equal the ancients; for "have we not their beauties as stars to guide, their defects as rocks to be shunned, the judgment of ages on both, as a chart to conduct, and a sure helm to steer us in our passage to greater perfection than theirs? Too great awe for them lays genius under re- straint. . . . Genius is a master- workman : learning is but an instrument." Genius is "the power of accompHshing great things without the means generally reputed necessary to that end. . . . Learning ... is fond and proud of what has cost it much pains, is a great lover of rules, and . . . rules, like crutches, are a needful aid to the lame, tho an impediment to the strong." And here a second paradox: "Genius often then deserves most to be praised, when it is most sure to be con- ^ All citations follow as closely as possible the first, original edition of 1759, with modernized spelling and punctuation. demned; that is, when its excellence, from mounting high, to weak eyes is quite out of sight." Among the modems, Shakspere is a star of the first magni- tude; among the ancients, Pindar. They relied upon their own native powers; genius was the god within them, and so they did not need learning. There are two kinds of genius : adult and infantine. Shak- spere was of the first kind and came from the hand of nature, as Pallas out of the head of Jove, "at full growth and mature." Swift, on the contrary, was an infantine genius, and such genius, "like other infants, must be nursed and educated." In such a case the classics are "our rightful and revered masters in composition " ; but the pupils of nature need no such master. Nor is genius as rare as we imagine. Were not the minds of the monks cloistered almost as much as their bodies? Yet we must marvel at their natural sagacity. Many a genius probably has remained undiscovered, because he could neither read nor write. "By the praise of genius we detract not from learning; we detract not from the value of gold by saying that diamond has greater still. He who disregards learning shows that he wants its aid, and he that overvalues it shows that its aid has done him harm. Overvalued, indeed, it can not be, if genius as to com- position is valued more. Learning we thank, genius we revere ; that gives us pleasure, this gives us rapture ; that informs, this inspires and is itself inspired ; for genius is from heaven, learn- ing from man; this sets us above the low and illiterate, that above the learned and polite. Learning is borrowed knowledge, genius is knowledge innate and quite our own. Therefore, as Bacon observes, it may take a nobler name and be called wis- dom ; in which sense of wisdom some are born wise." Genius suiTers thru the spirit of imitation for three reasons: first, imitation deprives men of letters of the emulation to sur- pass predecessors. Secondly, it counteracts nature and thwarts her design. She brings us all into the world originals, but that "meddling ape imitation" makes us die copies. Third, imita- tion "makes us think little and write much." Modem powers are equal to those of antiquity, but modern productions are deplorably inferior. There are reasons why talents may not appear in every epoch, none why they should not exist. "That we may not go a-begging with gold in our purse," Young recommends two golden rules borrowed from ethics: "first. Know thyself; secondly, Reverence thyself." That is, discover and nourish the inherent spark of genius within you, and then prefer its natural products to foreign im- portations. He who does not do this, on account of too servile admiration of others, can never rise above the throng nor con- ceive the least embryo of new thought. "Admiration has generally a degree of two very bad ingredi- ents in it : of ignorance, and of fear," and these raise the pedestal for the "grandees of all kinds." "Imitators and translators are somewhat of this pedestal kind and sometimes rather raise their original's reputation by showing him to be by them inimi- table." Homer, in spite of Pope's rimed verses, is still untrans- lated. And this leads our author to a discussion of poetry and a defence of blank verse. "Harmony," he says, "as well as eloquence, is essential to poesy ; and a murder of his music is putting half Homer to death. Blank is a term of diminution; what we mean by blank verse is verse unfallen, uncursed, verse reenthroned in the true language of the gods, who never thun- dered, nor suffered their Homer to thunder, in rime." Then Young criticises the writers of the English Neo-classical School. He sees in Swift's satire a monstrous distortion of humanity, a contempt that is a vice. Pope would have done: better in an original attempt, but he, alas, not only imitated, but zealously recommended imitation. Thus he has given us only a copy of Homer, whereas the courage and ambition to vie with that Grecian bard might have given us a second Homer — a Pope. But, as Bacon says, " Men seek not to know their own stock and abilities, but fancy their possessions to be greater and their abihties less than they really are." "If," Young resumes, "ancients and moderns were no longer considered as masters and pupils, but as hard-matched rivals for renown," moderns might in time become ancients of even a superior ilk; for an impartial providence scatters talents indifferently in all periods of time, the world is a school for intelligence as well as moral advance, and we in our days have the advantage of all the preceding centuries of nature's schoohng. From the Britons especially may something new be expected ; they seem to need, in order to give us originals, little more "than a consistency of character and making their compositions of a piece with their lives." In fact they already have great originals and of these Shakspere is the greatest. "Shakspere mingled no water with his wine. . . . Shakspere gave us a Shakspere, nor could the first in ancient fame have given us more. Shakspere is not their son but brother, their equal, and that in spite of all his faults"; for the ancients themselves are not measured by the fewness of their faults, but by the number and brightness of their beauties. "Jonson,^ in the serious drama, is as much an imitator as Shakspere is an original." He was too learned, "pulled down all antiquity on his head and buried himself under it." If Shakspere had read more, he might have thought less, and whatever other learning he wanted, he was master of two books : the book of nature and the book of man. " If Milton had spared some of his learning, his muse would have gained m.ore glory than he would have lost by it." ^ "Dryden, destitute of Shak- spere's genius, had almost as much learning as Jonson ^ and for the buskin quite as httle taste. He was a stranger to pathos," and strove to make amends for it by the elegance of his verse. The greatest proof of his lack of taste is the use of rime, "which, in epic poetry, is a sore disease; in the tragic, absolute death." It elevates lesser poetry, but debases the greater. Addison had "a warm and feeling heart," but concealed it thru modesty, and his "Cato" fails thru want of tragic pathos, which is the life and soul of tragedy. Young then sums up this triumvirate in the following words : "Swift is a singular wit. Pope a correct poet, Addison a great author." Addison wrote sweet, elegant, Virgilian prose, he continues, and his writings are valuable ; but more valuable his Hfe, and his death triumphant. Thus Young passes from literary criticism into an extended eulogy on Addison's Christian death. * Young wrote " Johnson." ^ Added in the second edition. 3- Critical Consideration of the "Conjectures" Young writes in the introduction to the "Conjectures," "I j begin with Original Composition; and the more wilhngly, as ! it seems an original subject to me who have seen nothing hitherto ■ written on it." Taking him at his word, one might be inclined to look upon the treatise as the embodiment of entirely new thought on a new subject, and hence consider it unnecessary to look for sources of influence. But in view of the lively dis- \ cussion that had for several decades been carried on in England | with regard to the comparative merits of ancient and modem I writers, and considering, furthermore, the interest that Young ( took in the debate, as evinced by his own works,^ it would seem strange that all these arguments in favor of originality had es- caped him, even in his retirement in Welwyn. The above- quoted sentence, "and the more willingly, as it seems an original subject to me who have seen nothing hitherto written on it," does not belong to the original edition of May, 1759, but was added in the second edition. It looks very much, therefore, Uke a subsequent attempt to give the treatise more weight by claiming for it the stamp of that very originality which it preaches. Furthermore, when upon investigation one sees the extent of his . indebtedness to his predecessors and contemporaries, the claim, \ as made by Young, is all the more curious. At all events, it is a claim that needs the following qualification that has recently been given it by A. Brandl.^ Since the time of Ben Jonson it had been generally accepted \ that Shakspere was a genius without learning. Dryden had j called him "the largest and most comprehensive soul of all modern and perhaps ancient poets." ^ Dryden and Addison had pointed out what they took to be his faults, which Young admits, but passes over lightly. Young's merit is, then, rather his proclamation of Shakspere as an original genius^ and yet 1 even this Pope had long ago insisted upon with the greatest emphasis, linking the names of Homer and Shakspere as great ' W. Thomas: "Le Poete Edward Young." Paris, 1901, pp. 464-465. ^ Jahrhiich der deutschen Shakespeare-Gesellschaft. Vol. XXXIX, pp. 1-42. ^ Cf. " Essay of Dramatic Poesy," 1668. : original writers.* But both Pope and Addison, and Dryden ■ before them, had looked upon Shakspere as inimitable and had warned writers against attempting to walk in his footsteps. This caution Young overrules, urging that Shakspere, or rather his independent way of studying and depicting nature and man, should be imitated. This is the main point of Young's essay as regards Shakspere The relation of genius to learning, too, had long been the sub- : ject of discussion, attd sinccthe' time oTScQ_Jonson learning had had rather the best of it. Poetry was conceived as the imitation of nature thru the imitation of the best literary models, and literary criticism undertook to regulate the mutual relations of the two. Pope's "Essay on Criticism" (1709-1711) is the classical expression of this theory Addison, in the Spectator (171 1), classified genius as natural and cultivated: the first represented by Homer, Pindar, and Shakspere, the second by Plato, Aristotle, Virgil, Cicero, Milton, and Bacon. Thus he placed the writers of natural genius that Pope called exceptions, and in whom "a nameless grace" and fortunate "licence . . . snatch a grace be^yond the reach of art," ^ in a class which he considered equal to the second, i.e. equal to the writers of learned genius, ^haftesbury, in his "Characteristics" (1711), likewise distinguished-4he-«arme two kinds of genius. He even attributed the scarcity of the products of natural genius in modern times to the abundance of literary models, anticipating Young's diatribe against servile imitation. But Addison wisely applied the classification to the then lively controversy concerning ancient and modern writers, and to the kindred question, the valuation of Shakspere as an original genius. Addison's merit is, further, that he conceded to this natural genius "something nobly wild and extravagant, a heat and life of the imagination, greatness, and daring," such as Shakspere evinces in his wonderful portrayal of supernatural beings.^ This fortunate concession gained a considerable following,^ which steadily in- * Edition of Shakspere, 1725. ' "Essay on Criticism," verses 144 ff. ' Spectator, No. 160, 171 1. Cf. also his essays, 41 1-42 1, 1712. * Cf. Jahrbuch der deutschen Shakespeare-Gesellschajt, I.e. pp. 5-6. creased, so that by the time Young published his views it had become a commonplace of critics that the writer who wishes to be original must be able not only to discover, but also to invent something new out of his own imagination. The classification of genius as adult and infantine dates bac2\ to Addison.^ The preference for originals was the common preference of the more advanced thinkers, and so Young ad- vanced beyond them only by contending that modern writers can and should be originals: first, by knowing themselves; secondly, by reverencing themselves. But 3acon, in hi^ "Advancement of Learning" (1605), had already nm'ted at this,\ and hence Young's only merit is that he took these precepts from ethics and applied them to literary esthetics. Further, in recommending the imitation of the spirit of the ancients, as distinguished from imitation of their works, Young solved the problem of the relative merits of the ancients and the moderns, by according to each their due : to the ancients rever- ence, to the moderns freedom. Richardson immediately pointed out the fact that Young's distinction between performance and power was not entirely new, but was found in Warburton. Young's merit is, therefore, the more universal application of this thought of Warburton, which the latter had used to defend Pope. Young's value, then, lies not so much in the presentation of new thought, as in summing up and promulgating with a special, new application the most advanced critical opinion of the tirties, in a manner that was unprecedented, and with an ardor that drew attention at once to the principles involved and assured to them the consideration of all enlightened minds. In regard t o literary forrn, the *' Conjectures" show the same lack~~or~clearness ot expression and orderly arrangement of material, so noticeable in the ''Night Thoughts" and previous works. Their greatest irrelevancy, however, is the extensive eulogy on Addison's Christian death, beautiful in itself but out of place in a work on original composition. For if the essay is to be regarded as a treatise on literary criticism, this long digres- sion is not needed; and if, on the other hand, the work was ^ Spectator, No. 160, 171 1. Cf. also his essays, 41 1-42 1, 1712. 10 written merely, as Young himself says, to bring before the public this inspiring death-bed scene, then the title is a misnomer, and the greater part of the work is irrelevant. That he insisted upon including this eulogy in spite of Richardson's protest, shows that Young, even when presuming to write upon hterary matters, was primarily a morahst, a preacher. As such he appears in the "Night Thoughts"; and here, fifteen years later, we have a continuation of his favorite theme, the " Chris- tian Triumph." On the other hand, the work contains a wealth of picturesque similes and metaphors, powerful antitheses, convincing ex- hortations, and startling paradoxes, which give the treatise a brilHancy and vigor that make it now the most pleasing work from Young's pen, and paved its way a century and a half ago to success in both England and Germany. CHAPTER II THE "CONJECTURES ON ORIGINAL COMPO- SITION" IN GERMANY I. General Survey of German Thought on Original Composition prior to 1760 If in England the "Conjectures" were the product of the times and represent the culmination of a long period of literary criticism, in Germany they opened a new epoch in critical and creative activity, an epoch that was to be the most important in the whole history of German letters. But even here they did not come unheralded; the way had been in a measure prepared. The early discussion of modem original genius, as opposed to the ancients, goes hand in hand with the introduction of Shak- spere into Germany. Koberstein ^ has sketched very carefully the gradual dawn of that great dramatist upon the Germans, and it is not necessary to repeat the details here. Suffice it to say that up to 1740 Shakspere was known only by name and at that in an incorrect form. Emending the abbreviation of the name in the Spectator, Bodmer wrote it " Saspar " and " Sasper." The next year "Julius Caesar" was translated by Borck into Alexandrines, a fair piece of work, which, however, suffered a bitter attack from Gottsched. Zedler's "Universal Lexicon" of 1743 calls Shakspere a successful poet without "special learning." Gottsched's periodicals mention him often from 1745 to 1755, recognizing him as a genius, too faulty, however, to please that sturdy partizan of the French drama. But these ' " Shakspeare's allmahliches Bekanntwerden in Deutschland," etc. In " Vermischte Aufsatze zur Litteraturgeschichte und Aesthetik." Dr. August Koberstein. Leipzig, 1858, pp. 165 ff. 11 12 views were based entirely upon the translation of one tragedy, Borck's rendition of "Julius Caesar." In 1753, the periodical Neue Erweiterungen der Erkentniss und des Vergnilgens also recognizes Shakspere's genius, and, altho it deplores the fact that he did not know the ancients, it gives him credit for good taste and admits that a knowledge of the ancients might have intimidated his own genius. Being ignorant of acquired art, the critic declares, Shakspere followed nature ; for the latter spoke more thru him than he according to her. In 1 756-1 758, fragments of Shakspere's plays were translated from the French. As long as Gottsched ruled the German stage, Shakspere could make little progress in Germany; and, altho Bodmer and Breitinger had dispossessed the Leipzig arbiter elegan- iiarum of much of his prestige after the opening of their feud in 1740, the Swiss alone could not depose him as dramatic author- ity ; other forces had to be enlisted — the ancients and the English. Lessing's "Miss Sara Sampson" (1755) gave the practical example necessary, and Nicolai's "Briefe iiber den itzigen Zustand der schoncn Wissenschaften in Deutschland," the same year placed in a clear light the advantages of the English for the German stage. Nicolai attacks Gottsched's antipathy to the English dramatists, and he too speaks of Shakspere as "a man without knowledge of rules, without learning, without order," and sees his strength in his power to portray human nature. But it was reserved for Lessing to drive Gottsched completely out of the field. In the Litteraturhrieje (1759) ^ he un- justly denied that former arbiter all recognition as a reformer of the German stage and expressed the wish that Gottsched had never meddled with the theater ; for his reforms, when not actual deteriorations, concern only trifles of no moment. Discussing Shakspere, Lessing insists that the English dramatist is su- perior to Corneille, even when judged by the standards of the ancients themselves, whom he scarcely knew. Corneille may be more similar to the ancients in technique, but Shakspere is more like them in spirit, and, no matter what his method, he 1 Cf. the 17th "Brief," Feb. 16, 1759. 13 nearly always succeeds in attaining the purpose of tragedy. Young's "Conjectures" appeared the same year, confirming, directly from the land of Shakspere, the opinion of Lessing; and Shakspere's future was assured in Germany. The idea, then, that Shakspere was a genius without learn- ing, an idea familiar in England since the time of Ben Jonson, was also introduced into Germany, in the Spectator, simultane- ously with Shakspere's very name. Bodmer first met it in a French translation of Addison's periodical, but it was not until the first German translation of the Spectator appeared in 1739- 1743, edited by Gottsched's worthy spouse, that the connection of Shakspere's name with that of Homer called attention to the merits of that inimitable genius, to whom rules were unknown and whose dramas, nevertheless, contained more beauties than the writings of shallower brains who knew and observed every rule.^ Pope's "Essay on Criticism," translated by DrolHnger and published in 1741, also taught the Germans to look upon Shakspere as an original who spoke not of nature, but thru her, a genius who had his faults. But going further. Pope pro- claimed that the rules of Aristotle must not be used to judge Shakspere's dramas ; that, he insisted, was Hke judging a man according to the laws of a country of which he is not a citizen.' Other writers, probably from the same source, knew Shakspere's secret. But not only in their attitude toward Shakspere were the Germans prepared for Young's "Conjectures." J. E. Schlegel, in discussing the subject of imitation, anticipates Young's distinction between imitation of nature and imitation of authors.* But he limits his discussion to the former as true imitations; whereas Young confines the term "imitation" to imitations of authors, and calls imitations of nature "origi- nals." Still more important is the advance made by Johann Adolf ^ Cf. supra, p. 7. ' Cf. Spectator, No. 592, 1714. ^ Cf. Gerstenberg, infra, pp. 23-24; Hamann, infra, p. 38; Herder, infra, p. 42. * " Abhandlung von der Nachahmung," 1742. To be found in "Deutsche Litteraturdenkmale des 18. and 19. Jahrhunderts." Vol. XXVI, pp. 107-108. 14 Schlegel in his translation of Batteux's treatise "Les Beaux- Arts reduits a un meme principe," in 1751/ and in his notes to that translation. This work teaches Young's doctrine that the ancients should be our prototypes, whereas we have made them our lawgivers. To understand and appreciate the ancients, he says, we must be thoroly acquainted with their conditions, and not find fault because they do not comply with our ideas and customs, which were, of course, unknown to them.^ He deceives himself, he continues, who considers as a criterion of good taste what is only prejudice in favor of the ancients, — a sentiment that later turns up in Herder.^ We find here, too, as later in Young's "Conjectures," imitation of nature ranked above imita- tion of the ancients, in the advice : do the latter, if you have not the ability to do the former.* What would have been accomplished without the inspiration of Young's "Conjectures" is a matter for speculation; but it is plain that the Germans, having tired of following the French with Gottsched in the lead, and then the English with Bodmer, and the Swiss, were realizing the necessity of doing neither. Lessing's claim for the ancients could not even suffice, and they were beginning to feel that to write correctly they must not imitate at all. Thus Young, with his doctrine of originality, came in the very nick of time ; he pointed out Shakspere as the great original genius of modern times, a genius who created with his own powers and followed no one. For the rising genera- tion Shakspere and the ancients became irreconcilable oppo- nents; and Shakspere, typical of the possibilities of modem original genius, became the watchword of a new epoch in German letters. 2. The Translations of 1760 and 1787 / J The "Conjectures" appeared in the spring of 1759,"^ and by fall Young had published a revised edition. Owing to the popularity of Young at that time among the Germans, it was * " Einschrankung der schonen Kiinste." Second edition, 1759; third, 1770. ^ Cf. the third edition. Vol. I, p. 77. Cf. injra, pp. 23-24. ^ Cf. ibid., Vol. II, p. 107. On Herder, cf. injra, pp. 47-48. * Cf. I.e. Vol. I, p. 122. * Cf. supra, pp. i, 2, 7. 15 natural that the latest work from his pen should find its way into Germany immediately. Gerstenberg's reviews in the Bibliothek der schonen Wissenschaften und der freyen Kiinste, in the late summer of 1759, would tempt one to look for influence of the "Conjectures," and to infer that that critic had already read Young's work in the original/ But so much is certain: the work had come over to Germany early enough to allow Teubern to have his translation almost ready for the press by February, 1 760. The Leipzig Neuer " Zeilungen von Gelehrten Sachen contains the first notice of the "Conjectures," — a resume and favorable review of the work, with the announce- ment that a German translation is about to appear in Leipzig.^ This translation did appear shortly, signed by "v.T.," who was the Dresden Court Counsellor, Hans Ernst von Teubern (1738- 1801). In the introduction he speaks of Young in the highest terms and confesses that he considers the task of translating so sublime a work a great undertaking and one to be held in awe, in view especially of Ebert's excellent work. This translation is made from the second English edition and follows the original very closely. A second edition, a reprint rather, of this transla- tion appeared in 1761, also in Leipzig. The year 1760 had also brought forth a different rendition by a translator who signed himself " G.* " This was published in the Freymiithige Brieje of Hamburg. The notice of the Vvork of which "Young is said to be the author"^ shows that this translator used the first edition. The introductory remarks find fault with the style of Young's epistle, especially considering it as a "letter." This translation seems to have attracted much less attention than the first one. Gottsched, who had shown a very kindly attitude toward the "Night Thoughts," reviewed Teubern's translation, soon after its appearance, in his periodical Das Neueste aus der anmuthigen Gelehrsamkeit and was very enthusiastic over Young's style. ^ Cf. infra, p. 23. ^ Titles are given as found upon the title-page. ^ Works that can be easily found under their dates in the Bibliography, Chapter V, are not mentioned in these footnotes. * The first edition, March, 1759, had appeared anonymously. The second edition bears Young's name. 16 But the subject-matter! "Young should rather have continued to apply his imagination to the production of gloomy 'Night Thoughts,'" he says, "or to the creation of specters, ghosts, and witches' conclaves to frighten children ; instead of meddling with a treatise on critical matters, upon which he is not com- petent to throw any light." Yet at the end of his tirade Gott- sched finds himself constrained to admit that Young has said many good things, and that the translator has furnished a good reproduction ; still the critic can not but express regret that the translator did not apply his talents to another author, e.g. Shaftesbury. This brought down upon Gottsched's head the righteous indignation of Nicolai in the Litter aturhrieje of the following year. Nicolai says that he is not by any means an ardent admirer of Young, especially of his prose; but in the "Con- jectures," he declares, Young writes as one of the greatest original writers. The " Conjectures" is an admirable treatise — "Everywhere new and strange light is thrown upon the subject, the work abounds in excellent features, new remarks, profound thoughts, pithy opinions, correct decisions; much wit, and still more humor," etc. Such criticism as Gottsched's is the work of a blockhead, says Nicolai. The Bremisches Magazin, the same year, contains in transla- tion, an article on the "Conjectures," from the May number (1759) of the Gentleman's Magazine, without mentioning either one of the German translations. But the Bihliothek der schonen Wissenschaften und der jreyen Kunste, reviewing the work as a treatise written in a style so brilUant that it would do credit to an ardent youth, mentions the two German translations and thinks the work already so well known in Germany that nothing more need be said about it. The Gottingische Anzeigen von Gelehrten Sachen reviewed the second edition of Teubcrn's trans- lation with praise for both the translator and Young. A discussion, in the Beytrag zur Litter atur und zum Vergniigen,^ of the Hterary supremacy of Greece and England mentions Milton, Pope, and Young, and quotes from the "Conjectures" to prove its points. Schmid's "Theorie der Poesie" (1767) * HaUe, 1766. Cf. pp. 8, 18; also pp. 22-43. 17 expresses the ardent wish that all poets and orators might take Young's "Conjectures" to heart and endeavor to become im- mortal originals. But not ail joined in this admiration of Young and his views. Gottsched found some support, especially in the person of J. J, Rambach, who, in a Schulprogramm of 1765, attacked the contention that the study of the ancients is responsible for the lack of original writers in modern times. It is a long-winded discussion of some forty-five pages, advocating the study of the ancients to cultivate taste and literary genius. Rambach takes up Young's principal arguments, point for point, and tries to refute them. He says that Young, a thoro master of the ancients, was nevertheless a good original, which is contradiction enough. This attack upon Young was responded to by no less a critic than Herder, in a very sharp review that ought to have settled the question in Young's favor.^ But it did not have that effect. Two years later two writers raise the same question. One, in the Gelehrter Mercurius, discusses Young's contention that the illustrious examples of the ancients intimidate us and prevent us from developing our own powers. Can the ancients not be read as a means of developing our taste and inspiring our genius, the critic inquires. This review announces Meusel's article on the advantages of reading the ancients, a work which appeared soon after and carried this criticism of Young still further.^ But Young's forces received new strength, when, in 1770, Cramer's periodical, Der Nordische Aufseher, which had only two years before paid the "Night Thoughts" a most eulogistic tribute,' expressing a desire to give its readers some selections from the "Conjectures," printed an eleven-page resume of the work, with lengthy and favorable criticisms. Numerous bibli- ographies, works on the theory of poetry, esthetics, criticism, and the like, contained reviews of the " Conjectures" up to the end of the century, none of which, however, added anything of inter- est or importance. One might deserve special mention. The * Cf. on Herder, infra, pp. 41—42, 47. * "De Veterum Poetarum Interpretatione," 1767. ' Cf. infra, pp. 66, 83-84. C 18 Englische Blatter, published by Schubart (1794), contains an interesting article on the natural inclination of man to imitate. The British are the ones, he says, among whom originality has prospered best, and yet their writers have found it necessary to preach to them on imitation. What shall we say to the good- natured German, who scorns his own treasures and is everlast- ingly chasing after the tinsel of foreign lands ? The article cites Young's saying that altho we are all born originals yet most of us die copies, and refers to Young as "der Schopfer der Nachtgedanken" ( ! ). The same work. Vol. XII, contains a translation, from the Gentleman' s Magazine, of an article on original genius and a discussion which recommends originality as the only road to lasting fame. And yet, in spite of this widespread acquaintance with the work, and notwithstanding these numerous discussions and the writings of Hamann and Herder, the three German editions of 1760-1761 did not reach all quarters of Germany. In 1787, a person signing himself "C," published a version in Leipzig under the title "Ueber den Geist der Ori^malwerke," in the very city where, twenty-seven years before, Teubern had pub- lished his two editions. "C" thought he had made a new dis- covery, as we read in his introduction, and he felt that he ought to allow this book by this original genius to speak to the German people in their own language. The rendering follows the first edition of the spring of 1759, and renders Young's work very freely, that being C's theory of a correct translation. This book seems to have met the deserved fate of attracting little attention. A belated review appeared in the supplement to the Allgemeine deutsche Bihliothek (1791) of books that had been overlooked upon their appearance. It comments upon C's ignorance of the earlier translations and shows that altho his rendering is free, it is nevertheless obscure in places. A passage is placed in parallel columns with the translation of 1760, to show the superiority of the latter. Further, the reviewer accuses the anonymous translator of a meager knowledge of English and of being unable to write correct German. Here, then, we have the last belated prophet of the "Conjectures" in Germany, appear- ing almost thirty years too late, thirty years after Hamann and 19 Herder had begun their campaign against servile imitation and had guided the leading writers of Germany into safe paths of original production. 3. The Litleraturbriefe and the Idea of Originality (1759-1765) In the fifty-eighth " Brief" Nicolai opens the campaign against imitation and for the cultivation of original genius, by de- nouncing Germany as the home of imitators/ The prevailing imitation, he says, is of modern writers ; the young poets do not venture so far as to imitate the ancients. Germany has real originals, but they are so few in number that one could wish that the mediocre talents, so possessed are they by the desire to imitate, would at least imitate better, if they can not write in an original manner. The same critic, the next year,^ expresses himself a little more definitely in favor of original genius, when he says that genius to become sublime must be able to control itself, must not lose its rudder in the storm of passions; and that improvement thru criticism and revision is laudable in the works of a genius,' — thus admitting that even genius can profit by learning, as Young says.* In the year of their appearance. Young's ideas on original composition seem also to have made themselves felt in Men- delssohn's objection ^ to Sulzer's statement that no one should venture to be an original, who has not read the ancient Latin and Greek writers. Mendelssohn is surprised at such an opinion and avers that the observation of this rule would have robbed us of all the works of Shakspere. "Genius," he says, "can com- pensate for the lack of rules, but nothing can compensate for the lack of genius." This clearly is a repetition of Young, who * 1759, pp. 207-209. ^ Cf. the 92d "Brief," p. 220, 1760. ^ Cf. ibid., p. 222. * Cf. " Complete Works," edited by Doran. London, 1854. Vol. II, p. 560. ' Cf. the 60th "Brief," p. 222, 1759. It is also worthy of note that Young's essay on Lyric Poetry (1728) was translated into German in 1759. This con- tains Young's ideas on originality in the germ. Cf. Bibliography, injra, 1759. 20 says : "To neglect of learning, genius sometimes owes its greater glory. . . . Genius can set us right in composition without the rules of the learned ; . . . singly, as writers, can sometimes make us great." * The supremacy of genius is further proclaimed in the two hundred and fifty-fourth " Brief," ^ where to this very superi- ority to rules is attributed the cause of the erratic flights and falls of genius, writing "now for angels and now for children." Like Young, the critic remarks that the more genius one has, the further one may wander away from the beaten path ; but un- fortunately, he continues, this desire to go one's own way, in order to become an original, has misled some of the best talents into woful errors. And, speaking of the genius of the ancients, Mendelssohn ^ uses a comparison that later appears in Herde"r.* He says, namely, that the ancients seemed to lack a word for Genie, but so much is certain, they showed more genius than the modern critics who constantly have the word on their tongues. In the last year of the Litteraturhrieje Mendelssohn writes: with taste, judgment, and criticism one may become a really good poet, but not on that account a poetical genius. He ranks genius above mere taste, judgment, and criticism in poetry, altho he admits that these qualities can produce excellence in prose.^ Further, he shows that the "Conjectures" were fresh in his mind, when he writes, "And so an Addison can produce really good poems without poetical genius and be excellent in prose writings." " Finally, Resewitz takes up the discussion of genius with the sarcastic remark that there must be an abundance of genius among the Germans, judging by the amount of talk on that subject.' He corroborates Baumgarten's definition of genius as the skill in man to accomplish certain things with exceptional ' " Complete Works," edited by Doran. Vol. II, pp. 556-558. ' 1762, p. 173. ' Cf. the 92d " Brief," p. 211, 1760. * Cf. infra, p. 56. ' Cf. Young: "There is something in poetry beyond prose reason," etc. ** Complete Works," edited by Doran. Vol. II, p. 557. ' Cf. the 312th "Brief," p. 138, 1765; also Young's "Complete Works," Vol. II, pp. 575 5. ' Cf. the 317th "Brief," p. 21, 1765. 21 success.^ Only great geniuses work their way up thru false conditions, he says, whereas mediocre geniuses succumb. And later, in the same " Brief," ^ he says, hke Young: A genius strikes into new, untrodden paths and shows thru new ex- amples that there are more roads than those already prescribed ; but a genius must not depart from the rules that are exacted by the nature of the material treated. There are rules that are capricious and indefinite, and to these genius does not confine itself, unless it limits their application thru the new turn it gives to them. There are rules that are, to be sure, vaUd ; but they are deduced from the method of individual geniuses and are forced upon all geniuses as universal, necessary rules. Common geniuses subject themselves to this yoke, but geniuses who are conscious of their own powers supersede these rules and show the philosophical lawgiver that these limitations must be ex- tended, if his authority is to remain valid. But the imagination of the genius must be combined with observation of rules that arise from the exigencies of the case, or else the genius will go astray. If Shakspere had observed this regularity in his tragedies, he would have become even greater. He admits nevertheless, as Young does, that the anxious observance of rules weakens the ardor of genius and even kills it, but he does not overthrow rules entirely, as Young is inclined to do, and as Hamann and Herder advocated later; and yet he admits that the vivid imagination of a well-balanced genius maintains its equilibrium, unconscious of its rules. Scarcely had the Litter aturhrkje ceased to appear (1765), when two other critics, realizing that there was still much to be done, commenced to publish their views on the state of German letters for the purpose of reform. It is very evident from the preceding sketch that the Litteraturbrieje reckoned with Young's "Conjectures" in their own critical work, but these critics are the forerunners of the GeniekuU in Germany rather than its Messiahs. Their work was that of the iconoclast : they shat- tered the idols of the past and showed what was wrong, but it was left for the future critics to advocate what was right. ^ Cf. ibid., p. 22; also Young, I.e. pp. 556-558. ' Cf. ibid., pp. 50-51. 22 Herder felt himself to be this Messiah, and at once began his fragments "Ueber die Neuere Deutsche Litteratur" (1767)/ In the introduction he refers to the Litleralurbriefe, when he says mere scolding and fault-finding will not reform German literature, that a practical example is necessary. This he found in Young's "Conjectures," and from that time on the ideas of Young were taken as the watchword of the reform promulgated by Hamann and Herder, the principal figures in this movement, and the doctrine of originaUty was able to gain the hearing that it deserved. But before we consider in detail the merits of Hamann and Herder in the reform of German letters, we must sketch the preliminary endeavors of the other critics who con- tinued the work begun by the Lilteralurbriefe. Shortly before Herder's " Fragmente" began to appear, another series of articles attracted the attention of men of letters, — Briefe iiher Merk- wurdigkeiten der Litteratur, usually called the Schleswigsche Litteraturbrieje, from the place of publication. The author was the rising young poet and critic, Gerstenberg. 4. Heinrich Wilhelm von Gerstenberg (i 737-1823) and THE Schleswigsche Litteraturbrieje (1766) Gerstenberg, follower of J. A. Schlegel and pupil of Hamann, was in thoro sympathy with the views of original genius and individuahsm as outhned in the "Conjectures." His acquaint- ance with Young's works is attested by the comparison of the "Revenge" with Shakspere's "Othello," and the claim of influence of Young's "Night Thoughts" upon the Danish poet TuUin.^ His early reviews in the Bibliothek der schonen Wis- senschajten und der jreyen Kilnste reveal a reasonable attitude toward the ancients, when he says, writing of the drama, that the ancients portray life according to their times and customs; their works are the most beautiful copies of nature, but of an antiquated nature that can affect us only as critics.^ This 1 Herder himself called them " Eine Beilage zu den Briefen, die neueste Litteratur betreffend," on the title-page. ' Cf. infra, pp. 24, 97. ^ Cf. the review of Lessing's "Philotas." Bibliothek der schonen Wissen- schajten und der jreyen Kiinste. Vol. V, ii, p. 313. 23 J. A. Schlegel had already said,* and Herder later repeated.^ In the same volume Gerstenberg says regarding the rules laid down for the idyll, "Real genius often has no law but itself; if it is accompanied by taste and knowledge, however, it can always find means of becoming reconciled with sound criticism."^ In the great stress laid upon the superiority of genius, one is inclined to see an echo of the watchword of the " Conjectures." ^ The next critical work of Gerstenberg, the moral weekly Der Hypochondrist,^ shows him a disciple of Hamann, in that he sees the true essence of original genius in a certain obscurity;^ and, in the introduction to his translation of Beaumont and Fletcher's "Bride," ^ Gerstenberg follows Young and Home,^ when he says it is ridiculous to demand of an author the observa- tion of rules that do not apply to him and his purposes.® But to come to Gerstenberg's principal work as critic, the Schleswigsche Litteraturbrieje. Here, too, we find him, in style, conception of genius, and hostile attitude toward the ancients, under the influence of Young and the latter's disciple, Hamann. The conditions that he is trying to improve Gerstenberg sums up, when he deplores the fact that genius finds few admirers among the Germans, who even feel according to rules, not be- cause their feelings are so regular, but because it would cost too much effort to be original.*" The purpose of comparing the moderns with the ancients and of opposing them to each other, taking Shakspere as a criterion, * Cf. Alex, von Weilen, in " Deutsche Litteraturdenkmale." Vol. XXX, p. xviii. Cf. also supra, p. 14. * Cf. infra, p. 45—48. ' Cf. Bibliothek der sch'onen Wissenschaften und der jreyen Kiinste. Vol. V, ii, p. 319. * It is not impossible that the "Conjectures," published March, 1759, had found their way into Gerstenberg's hands during the summer. Cf. supra, p. 15, on Mendelssohn, p. 19. * Published in Schjeswig, 1763. ' Cf. Alex, von Weilen, I.e. Vol. XXX, p. xxvi. ' December, 1764. * "Elements of Criticism," 1760. Translated by J. N. Meinhardt, 1763- 1766. Cf. also, supra, p. 13. * " Schreiben an Herrn Weisse," p. 9. Cf. Alex, von Weilen, I.e. p. xxx. *" Cf. the Schlsswigsehe Litteraturbrieje, in " Deutsche Litteraturdenkmale." Vol. XXIX, p. 16. 24 is clearly seen thruout the work. Carrying out Young's own principle, not to compare Shakspere with Sophocles, Gerstenberg measures him by his imitators; and so Young's own tragedy, "The Revenge," was submitted to the test and was used to prove the superiority of its model, "Othello."^ Altho Gerstenberg evidently accepts the classification of dra- matic composition in the noted rehearsal scene in "Hamlet,"^ and thus tries to show that Shakspere's tragedies have certain principles in common with the Greek tragedies, in the essay "Etwas uber Shakespeare" (1766), rescinding that very classi- fication, he exclaims: "Away with the classification of mere names! Name what Shakspere wrote ... as you will. I call his dramas living pictures of ethics from the hand of a Raphael." ' In 1764, Gerstenberg had already pronounced it ridiculous to judge a work by the rules of another.^ In the Schleswigsche Litteraturhrieje we find the same theme treated more extensively and more clearly defined. Ariosto has been unjustly criticised, Gerstenberg insists, according to rules to which he was not sub- ject; for as a matter of fact, he treated the most interesting material of his times as Homer had done in his, drawing natural pictures. Both are on a par.^ Later, he returns to the same theme in discussing Warton's criticism of Spenser, and, after advising critics to become acquainted with the times in which the writer under consideration lived and wrote, he says: "We live in the days of criticism, when every one writes according to rules, and so we are too much inclined to judge every composi- tion by the rules that our tutors have recommended as the only criteria of perfection. Critical taste is spread broadcast, and we demand in the works of modern writers the observation of rules, even where they were not intended to apply." ® And turning this principle upon the English, he advises them to cultivate their national feeling in criticism, also, and to abandon ' Cf. injra, pp. 125-126. ^ Cf. Act II, Scene II. ' Cf. Gerstenberg's "Vermischte Schriften." Altona, 1816. Vol. Ill, pp. 268-269. * Cf. supra, p. 23. 1 ^ Cf. Schleswigsche Litteraturhrieje, I.e. p. 19. " Cf. ibid., p. 41. 25 the prevailing method of using as criteria the leading French writers, who wrote for the French and not for English conditions and taste/ Like Young, Gerstenberg considers genius a quality inherent within us,^ and places it above mere invention and novelty, in the following words: "Where there is genius we find invention and novelty, and there is the original ; but not vice versa." ^ He had before drawn the distinction between originals and imitations, showing his preference for the former, when, con- sidering the natural beauties of Sophocles, he pronounced them superior to the best imitations that Corneille was able to create after them. "The latter shows the artist, the former the Greek. We can all be artists, but how rare a Greek !"^ In the third part of the Schleswigsche Litter aturhrieje, Gersten- berg again takes up the question of genius and states his views at some length.^ Here he again gives it a position above learn- ing, like Young, and calls it the inborn power that animates everything: imagination is not genius, but its indispensable concomitant. He declares that he honors the ancients, but will not allow himself to be so prejudiced by their genius that he can not recognize modern genius merely because it appears in a new garb.^ He honors and admires the ancients inexpressibly, as well as the master hand that can imitate their perfections ; but the rare exalted mind that is bold enough to become an original, who desires the praise of his nation to be due to his own inner worth and not to comparison with others, he alone is worthy of real admiration and is to him (Gerstenberg) what the ancients have been to the past. The faults of such modern geniuses are as pardonable as those of the ancients.^ Gerstenberg is, then, a champion of originality, an admirer and advocate of modern genius. In giving Shakspere first rank among the exemplars of this genius, and in recommending the great dramatist's method of original study and portrayal of 1 Cf. ibid., pp. 43-44- ^ Cf . ibid., p. 3 ; also Young's " Complete Works," edited by Doran. Vol. II, PP- 556-557- ^ Cf. Schleswigsche Litteraturbriefe, I.e. p. 228. ' Cf. ibid., pp. 215 ff. * Cf. ibid., p. 15. * Cf. ibid., p. 45. 26 nature based upon individual observation, Gerstenberg was a follower of Young's " Conjectures" and became a very important factor in the further development of the serious struggle for the advancement of German letters along the lines of individuality and originality. 5. The Idea of Originality in the " Hamburgische Dramaturgie" (i 767-1 768) What Lessing says of Shakspere in the seventy-third "Stiick" of the "Hamburgische Dramaturgie" voices Young's require- ment that later writers imitate not Shakspere but Shakspere's method. Lessing says: "Shakspere must be studied, not plun- dered. If we have genius, Shakspere must be to us what the camera obscura is to the landscape painter. Let him gaze intently and industriously into it to learn how nature in all her aspects is projected upon one plane ; but he must borrow nothing from it." ^ Young said: "Learning, destitute of this superior aid (the divine quality of genius), is fond and proud of what has cost it much pains ; is a great lover of rules and boaster of famed ex- amples. As beauties less perfect, who owe half their charms to cautious art, learning inveighs against natural unstudied graces and small harmless inaccuracies, and sets rigid bounds to that liberty to which genius often owes its supreme glory, but the no-genius its frequent ruin. For unprescribed beauties and unexampled excellence, which are characteristic of genius, he without the pale of learning's authorities and laws; which pale genius must leap to come at them; but by that leap, if genius is wanting, ... we lose that little credit which possibly we might have enjoyed before." ^ Likewise, Lessing says, " Das Genie liebt Einfalt, der Witz, Verwicklung." ^ Like Young, Lessing gives to genius a rank superior to learn- ing and acquired knowledge and skill in all things, and su- ' "Hamburgische Dramaturgie." Cf. Lachmann-Muncker edition. Vol. X, p. 95. ' "Complete Works," edited by Doran. Vol. II, pp. 556-557. ' "Hamburgische Dramaturgie," 30th "Stiick." Lachmann-Muncker edi- tion. Vol. IX, p. 309. Cf. also on Hamann, infra, p. 34. 27 perior to the rules that usually are observed as a guide; for example, "Genius laughs at all the demarcations of the critic," ^ and "A fortunate genius has great power over his people."^ But Lessing is not in sympathy with the school of German critics (and he probably refers to Gerstenberg, Herder, and Ha- mann) who cry, Away from rules : they weaken and limit genius. He writes: "We have a race of modern critics, whose best criticism consists in their ability to make all criticism suspicious. ' Genius ! Genius ! ' they cry. ' Genius transports itself above and beyond all rules ! What genius creates is law ! ' Thus they flatter genius, I believe, in order that they themselves may be considered geniuses by us. But they betray too clearly the fact that they have not one spark of genius within them when they add in one and the same breath, * rules crush genius ! ' — As if genius would allow itself to be crushed by anything in the world ! And especially by something which, as they themselves admit, has been derived from genius itself. Not every critic is a genius ; but every genius is a born critic. He has the criterion of all rules within him. He comprehends and preserves and follows only those which express his feelings in words. And these feelings expressed in words are able to restrict his prod- uctivity? ... To contend that rules and criticism can op- press genius,^ is merely claiming, in other words, that examples and practice are able to oppress genius ; that genius must have recourse not only to itself, but can not advance beyond its first attempt." * Again, he occupies an attitude opposed to Young and his German disciples, when he insists that rules are necessary at all events. "Dramas that do not observe classical rules can nevertheless observe some rules, and must observe them, if they vdsh to find favor." ^ And at the close of the " Dramaturgic," Lessing expresses the same antipathy toward those who wish ' Cf. ibid., 7th "Stiick," p. 210. * Cf. ibid., 14th "Stuck," p. 240. ' This had been asserted in the 204th " Litteraturbrief." Cf. also " Ham- burgische Dramaturgie," ioist-io4th "Stiick," pp. 209-210; Lachmann- Muncker edition, Vol. X. * " Hamburgische Dramaturgie." Cf. I.e. p. 90, 96th " Stiick." ' C£. ibid., 69th " Stiick." Vol. X, p. 76. 28 to dispense with criticism because it, too, crushes genius. He is not a poet, he claims; what rank he has as such, he owes to criticism. "Therefore," he continues, "I always have felt dis- graced or angry when I read or heard anything to the disad- vantage of criticism. Criticism is said to suffocate genius,^ and I flattered myself that I had learned something from criti- cism, something that approaches genius closely. I am a lame man whom no lampoon against the crutch can possibly edify." ^ He admits that the crutch can help a lame man from one place to the other; but still, he contends, it can not make him a run- ner; and so criticism has its limits in literature.^ Thus Lessing, in his " Hamburgische Dramaturgic," is far in advance of the growing Geniekult. Having seen the dangers of the extreme tendencies of the unbridled enthusiasm for original genius, he warns against the absolute overthrow of rules. While placing genius above rules, he nevertheless seeks to restrain lawless genius, and thus he becomes the prophet of the coming reaction against the Storm and Stress, clinging, as he does, to the position to which the unbridled enthusiasm of the Storm and Stress had to return, before a literature could be created worthy of the first rank. After the " Hamburgische Dramaturgic " Lessing lost inter- est in the stage, and so the Storm and Stress, having no guide for its caprices, had to run the gamut of extravagances and learn by experience what it otherwise could have avoided with Lessing's fatherly, mature, and safe criticism. 6. JOHANN GeORG HaMANN (173O-1788) Hamann's residence in London, altho in an uncertain commercial capacity,* prepared the way for his future English ^ This had been asserted in the 204th " Litteraturbrief. " Cf. also " Ham- burgische Dramaturgic," ioist-i04th " Stiick," pp. 209-210; Lachmann- Muncker edition, Vol. X. ' Cf. Young: "Rules, like crutches, are a needful aid to the lame, tho an impediment to the strong." "Complete Works," edited by Doran. Vol. II, P- 557- ^ "Hamburgische Dramaturgie." ioi-io4th "Stuck." Cf., I.e. Vol. X, pp. 209-210. * From April 18, 1757, to June, 1758, in secret commission for the business house of his friend Berens of Riga. 29 studies and his consequent deep interest in English writers. His unsettled and for a time wayward life during that period naturally did not lead him into the circle of the author of the "Night Thoughts," and it was not until his return to the Chris- tian precepts of his early home training that Young could interest him deeply. He knew some English before his visit to London and he had become acquainted with the "Night Thoughts" in the early fifties, as is proved by his eulogy of his deceased mother, which bears Young's name and a verse from the "Night Thoughts" on the title-page, and shows clearly the influence of that poem.^ Hamann regarded his spiritual and moral rescue as a special dispensation of providence, and, having returned to the straight and narrow path, he became a religious zealot and an ardent disciple of Young's religious muse, so that he wrote later in life: "Recently I had occasion to run thru Young quite unexpectedly ; then it seemed to me as if all my hypotheses had been a mere afterbirth of his 'Night Thoughts,' and as if all my whims had been impregnated with his metaphors. So uncertain am I of myself, that I even doubt whether my thoughts have not been supposititious changelings. At all events, Young was at that time newer and fresher in my memory than now. Can it be that I did not even notice my own thefts? I have never been ashamed to confess the truth." ^ Three years after his return from London we find him read- ing "his EngUshmen" every evening for pastime' and edifica- tion.^ About three years later he continues these studies with several good friends,^ and ten years after that his friend Pro- fessor Kreuzfeld learns English from him. He takes special delight in his ability to read and appreciate his favorite EngUsh writers in the original, because, as he says, "The Swiss give us nothing but the shells of the English and depict nothing but the surface." ' * "Denkmal." Cf. infra, p. 96. ' Letter to Herder, Konigsberg, Jan. 17, 1769. Cf. "Hamann's Schriften. Herausgegeben von Friedrich Roth." Berlin, 1821-1843. Vol. Ill, p. 393. ^ Letter to J. G. Lindner, Konigsberg, April 11, 1761. Cf. ibid., p. 76. * Letter to G. E. Lindner, Konigsberg, April 29, 1761. Cf. ibid., p. 79. ' Letter to J. G. Lindner, Konigsberg, May 2, 1764. Cf. ibid., p. 224. 30 So much for his intense interest in English literature in gen- eral. As we have seen, it was thru the medium of the "Night Thoughts," the work that had made Young famous in Germany, that Hamann, in common with the rest of his fellow- countrymen, became so deeply interested in Young and, there- fore, received so eagerly the "Conjectures on Original Compo- sition" immediately upon their appearance. But in Hamann's case there was a more direct bond, the kinship of letters; he recognized in the aged bard of trials and tribulations, in the revered preacher of Christian maxims, a second and mutual tie ; namely, their common interest in the vital question of genius and authorship. He says of himself, "You know that in case of necessity I like to be my own critic." ^ And, as a matter of fact, few authors have expressed themselves more freely and more abun- dantly on their own authorship than Hamann. As early as 1758, before he had made his debut in the world of letters,^ he says, writing of his conception of style and poetry, "I gained . . . my taste for the latter too late in life and, therefore, find it difficult to collect my thoughts and to express them fluently both in speaking and in writing." ^ Elsewhere he speaks of his obscurity, his laborious (dromedarisch) pen, and of his style as mimical and spermologisch. His "Sokratische Denkwiirdigkeiten " are couched "in the mystical language of a sophist," and he thinks he has treated Socrates "in a Socratic manner." * He writes by the sweat of his brow,^ and protests thruout his life that he does not want to become an author. "My folly always pictured to me a sort of pride and sublime vanity, not to study for bread, but according to my inclination, for pastime and out of love for the sciences per se, on the ground that it were better to be a martyr than a day- laborer and hireling of the muses." ** If the public, a wounded * Letter to Baron von W., Riga, Sept. 22, 1758. Cf. "Schriften," Vol. I, p. 307. ^ He himself considered the "Sokratische Denkwiirdigkeiten" as the begin- ning of his authorship. The work appeared early in the year 1760. ^ " Lebenslauf ," in "Schriften," Vol. I, p. 157. * "Sokratische Denkwiirdigkeiten," in "Schriften," Vol. II, p. 7; also p. 11. ' Letter to his brother. May, 1760. Cf. "Schriften," Vol. Ill, p. 22. * "Lebenslauf," in "Schriften," Vol. I, p. 172; also p. 362. officer/ and a good friend wish to be amused in the same man- ner, he will never succeed as an author.^ He merely wants to serve his years as pupil honestly ; ^ he hates from the bottom of his heart the office of both author and critic/ And still he drifts involuntarily into authorship, gently resisting and yet quietly acquiescing, so that he calls out in despair, " Dost thou still cling to thy weakness, dear heart, of becoming a public author in large quarto!"^ And as he later in life reviews his career, he sees that he has acquired a style that is neither pleas- ing to himself nor natural." His entire works amount to noth- ing but pitiful criticism, all his scribblings are nothing but black on white, mere text, without notes to make them intel- ligible, of mere ephemeral importance.^ "My authorship is folly. . . ." ^ And as a final judgment he seems to see nothing but failure in his literary activity.* Still posterity has judged Hamann an original genius, and he, in spite of his protests against a literary career, toyed with the idea of being an original. " If the vanity of becoming a model should tempt mc, I should be the first to laugh at the idea. Noth- ing shall frighten me from the duty of being an original. An original frightens away imitators and produces models." '*' Young says, too, "The pen of an original writer . . . out of a barren waste calls a blooming spring." ** Of authorship in general he also has much to say. What a task it is, and how can one possibly find ambition, vanity, or ' Possibly an allusion to Lessing who, in the introduction to the Litteratur- hrieje, says they were intended for the entertainment of a wounded officer. ^ Letter to J. G. Lindner, Trutenau, July 20, 1759. Cf. "Schriften," Vol. I, p- 423- ^ Letter to the same, March 29, 1763. Cf. ibid., p. 193. * Letter to the same, Feb. 22, 1764. Cf. ibid., p. 217. ' " Selbstgesprach eines Autors" (1773), in "Schriften," Vol. IV, p. 75. « Letter to J. C. Hafeli, Konigsberg, July 2, 1780. Cf. "Schriften," Vol. VI, pp. 151-152. ' Letter to F. Bucholtz, Konigsberg, Sept. 6, 1786. Cf. "Schriften," Vol. VII, p. 340. * Letter to Herder, Konigsberg, Jan. 28, 1787. Cf. ibid., p. 350. 9 Cf. "Schriften," Vol. VIII, i, p. 375. '" Letter to J. G. Lindner, Konigsberg, March 29, 1763. Cf. "Schriften," Vol. Ill, p. 191. " "The Complete AVorks, Poetry and Prose, of the Rev. Edward Young, LL.D.," etc., edited by John Doran, LL.D. London, 1854, Vol. II, p. 551. 32 pleasure in it ; ^ for an author is exposed to the severest tests of self-denial.^ Young says, too, "Wit . . . should sacrifice its most darling offspring to the sacred interests of virtue and the real service of mankind." ^ " One can at all events be a human being," says Hamann, "without necessarily being an author. But whoever expects good friends to imagine an author who is not a human being, is more inchned toward poetical than philosophical abstractions."^ "The question involved in the criticism of a masterpiece is not at all, has it faults, but where do these faults lie and what use is made of them ? Every intelligent author knows his faults in advance, but he also knows how to assign to them their proper places, where they will either blend or produce a contrast like shadows in a paint- ing." ^ This sounds Hke an echo of what Young says of Shak- spere's faults as compared with the ancients, "Not the fewness of their faults, but the number and brightness of their beauties," is what we admire in the ancients.^ The subjective view that Hamann takes of style seems to express the entire doctrine of individuahsm as found in Young. "What others call style, is for me soul or ability to judge and to digest." ^ Young remarks, "Thucydides is said to have formed his style on Pindar;"^ likewise Hamann: "Man nennt ihn den Pindar der Geschichtschreiber." ^ One of Hamann's favorite diversions was to compare trans- lations.^" Poetical translations were not to his taste," and he ^ Letter to his brother, Konigsberg, Jan. 2, 1769. Cf. " Schriften," Vol. Ill, p. 3. ^ Letter to J. G. Lindner, Konigsberg, May 5, 1761. Cf. " Schriften," ibid., p. S3. ' " Complete Works," Vol. II, p. 550. * "Aesthetica in Nuce," in "Schriften," Vol. II, p. 267. ^Letter to J. G. Lindner, Konigsberg, Aug. 23, 1761. Cf. "Schriften," Vol. Ill, p. 97. « "Complete Works," Vol. II, p. 573. ^ Letter to Herder, Konigsberg, Oct. 13,1777. Cf."Schriften," Vol. V,p. 257. « "Complete Works," Vol. II, p. 579. » " Schriften," Vol. II, p. 263. '" Letter to SchefiFner, Konigsberg, Dec. 9, 1784. Cf. "Schriften," Vol. VII, p. 184. " Letter to the same, July i, 1785. Cf. ibid., p. 254; likewise p. 256. 33 preferred an exact to a merely noble translation.* Like Young, he is opposed to an excessive amount of translation, for it is likely to make of a language a net that catches and receives good and bad fish of all kinds.^ To comprehend fully the intellectual kinship of the tw^o writers, one must compare in detail their utterances on the two main themes of the "Conjectures on Original Composition," viz., Genius and Originality. Almost every thought expressed by Hamann on these subjects has its model in Young. Hamann says, genius does not depend upon dihgence,^ and further, " The honorable title of language master and polyhistor is not a sine qua non for him who has the good fortune to be endowed with their genius." * Genius, then, is something superior to learning and dihgence; it is, as he says elsewhere of original works of art, of a divine quahty. Young, we remem- ber, calls genius the "master- workman," and says it "is the power of accomplishing great things without the means gen- erally reputed necessary to that end," "a magician . . . that raises his structure by m.eans invisible. . . . Hence genius has ever been supposed to partake of something divine." It is the god within us.^ Hamann says of the relation of genius to rules: "... wer keine Ausnahme macht, kann kein Meisterstiick liefern; well Regeln vestaHsche Jungfrauen sind, durch die Rom vermit- telst Ausnahmen bevolkert werden musste . . . wer ein Schop- fer zu werden wiinscht, . . . verhiille sich und seine Muse ! Verhiillt und entgiirtet werfen Autor und seine Muse die Knoch- en ihrer Mutter hinter sich. Vor waren sie Regeln, die kein Saughng verdauen kann, und Stein des Anstosses den alten Ahnen; nun sind sie Meisterstiicke, die leben, gottliche Werke eurer Hande, die euch nachfolgen werden, weil sie Fiisse haben."' Likewise: "Ein Engel fuhr herab zu seiner Zeit und bewegte den Teich Bethesda, in dessen fiinf Hallen viel Kranke, Blinde, » Letter to J. G. Lindner, Aug. 8, 1759. Cf. " Schriften," Vol. I, p. 466. ^ "Schriften," Vol. II, p. 126. ' Cf. ibid., Vol. IV, p. 325. * Cf. ibid., Vol. II, p. 124. ' "Complete Works," Vol. II, p. 556; also p. 557. ' "Schriften," Vol. II, pp. 405 f. 34 Lahme, Durre lagen und warteten, wenn sich das Wasser bewegte. — Eben so muss ein Genie sich herablassen Regeln zu erschiittem ; sonst bleiben sie Wasser ; und — man muss der erste seyn hereinzusteigen, nachdem das Wasser bewegt wird, wenn man die Wirkung und Kraft der Regeln selbst erleben will." ^ And: *'Horen Sie unterdessen, wie erwecklich der Oberpriester und Afterminos zu Lampadouse in seiner Biirgergemeinde deklamirt : ' O ihr Herolde allgemeiner Regeln ! wie wenig versteht ihr die Kunst, und wie wenig besitzt ihr von dem Genie, das die Muster hervorgebracht hat, auf welche ihr sie baut, und das sie ubertreten kann, so oft es ihm beliebt!'"^ Young likewise says, "Learning, destitute of this superior aid (of genius), is proud of what has cost it much pains, is a great lover of rules and boaster of famed examples . . . un- prescribed beauties and unexampled excellence, which are characteristic of genius, lie without the pale of learning's au- thorities and laws ... for rules are a needful aid to the lame, though an impediment to the strong." Masterpieces, i.e. originals are exceedingly rare, because they must be something new; and no matter in what form they appear, they engross us, and if they add admiration to surprise, we are at the writer's mercy. ^ Hamann says, "A gifted author must either know how to exceed his readers' expectations, or how to win his readers." ^ Many a great man, says Young, has been lost to himself and the public, purely because great ones were before him.^ In his discussion of Proverbs lo, 19, Hamann says that brev- ity is a characteristic of genius, all superfluity is the sin of erudi- tion. The most inane works, those most lacking in taste and faultiest need fine choice of language to hide their defects.^ Likewise Young : "As riches are the most needed where there is least virtue, so learning where there is least genius . • . ^ " Schriften," Vol. II, p. 430; also p. 431. ^ "Complete Works," Vol. II, pp. 556-557; also pp. 552, 553. 5 Letter to J. G. Lindner, March 4, 1762. Cf. " Schriften," Vol. Ill, p. 133. * " Complete Works," Vol. II, p. 560. * " Schriften," Vol. I, p. 103. Cf. Lessing, supra, p. 26. 35 genius without learning can give renown. ... To neglect of learning genius sometimes owes its greater glory." * Similarly discussing the Schuldrama, Hamann says, ''With- out self-denial no work of genius is possible, and without eschewing the best notes, rules, and laws, no Schuldrama or prototype thereof." ^ Young, " Genius can set us right in com- position without the rules of the learned . . . singly, . . . (it) can sometimes make us great." ^ Again Hamann, "Alle grosse Genies scheinen einigermassen jenem fremden Volke ahnlich zu seyn, von dem Mose und die Propheten geweissagt, dass es * wie ein Adler fliegt und ein Volk von tiefer Sprache ist, die man nicht vernehmen kann und von lacherHcher Zunge, die man nicht versteht.' " * This is a common figure in Young. He speaks of the original genius as carrying us away with him "on the strong wing of his imagination,"^ he cites Pindar as calling himself the eagle flying above common understanding, and sets the paradox, "Genius often deserves most to be praised when it is most sure to be condemned, that is, when its excellence, from mounting high, to weak eyes is quite out of sight." « Both Hamann and Young take the same specific examples to prove these principles, i.e. among the ancients Homer, who cast rules aside; among the moderns Shakspere. Young says, if Shakspere had read more, he might have thought less. He knew two books, that of nature and that of man.'' Hamann : "Was ersetzt bey Homer die Unwissenheit der Kunstregeln, die ein Aristoteles nach ihm erdacht, und was bey einem Shak- spere die Unwissenheit oder Uebertretung jener kritischen Gesetze? Das Genie ist die einmiithige Antwort." * He cites further the case of the Apostle Paul. "Festus, too, was of the opinion that Paul's extensive reading confused him, and attributed his fanatical giddiness to books," ® and even asserts, "The less one has learned himself, the more skilled one is 1 " Complete Works," Vol. II, p. 557. « Cf. ibid., p. 557. ^ " Schriften," Vol. II, p. 432. ' Cf. ibid., p. 574. 3 " Complete Works," Vol. II, p. 184. « " Schriften," Vol. II, p. 38. * " Schriften," Vol. IV, p. 364. » Cf. ibid., p. 92. ^ " Complete Works," Vol. II, p. 552. 36 to teach others."^ "Socrates," he says, "could well, indeed, be unknowing; he had a genius."^ Hamann would not have us infer that he considers genius, in and of itself, a sufficient guide, even to the neglect of learning. "Is, however, the folly of genius rich enough to replace the wisdom, which thru the connection of universal truths is obvious to the senses? There's the rub." ^ Young, too, after expounding the great advantages of genius, "put in a caveat against the too great indulgence of genius," viz., "He who disregards learning shows that he wants its aid." * And, be- ware those "who set up genius, and often mere fancied genius, not only above human learning, but divine truth." If geniuses are wise, let them not neglect the cultivation and produce of their possessions.^ Young's division of imitations into two kinds, "one of nature, one of authors,"® is also found in Hamann: "Natur und Schrift also sind die Materialien des schonen, schaffenden, nachahmenden Geistes." ^ "Poesie," he says further, "ist die Nachahmung der schonen Natur," ^ and yet he does not advise us to imitate everything in nature, but only that which will extend the republic of letters, as Young would say, along the more beautiful, healthy lines, and which will be of real service to mankind.* "In der Natur ist manches unrein und gemein fur den Nachahmer — auch alles was mogUch ist, lasst euch nicht gelusten!" ^"^ Like Young before him, Hamann complains of the lack of original production," and like Young, he hates the prevailing method of servile imitation. "Es thut mir immer wehe, den lacherlichen Nachahmungs-Geist, der immer die schwachsten Seiten guter Kopfe verfolgt, ihnen mit seiner Bewunderung schadlicher und gefahrlicher zu sehen, als alle Furien des Neides, oder ungerechter Critik." *^ ^ "Schriften," Vol. II, pp. 217 ff. ' "Schriften," Vol. II, pp. 292 ff. * Cf. ibid., p. 38. ' Cf. ibid., p. 280. 3 Cf. ibid., p. 98. ' "Complete Works," Vol. II, pp. 549- * " Complete Works," Vol. II, p. 559. 550. » Cf. ibid., p. 560. '* "Schriften," Vol. II, p. 197. « Cf. ibid., p. 551. '' Cf. ibid., p. 402. "Letter to Scheffner, Konigsberg, Sep. 18, 1785. Cf. "Schriften," Vol. VII, p. 287. 37 Hamann says, man is "among all animals the greatest pan- tomime." * Young, too, speaks of the "meddling ape imita- tion" that is inherent within us.^ Similar to Young's distinc- tion between servile imitation and productive imitation of the spirit of one's predecessors, Hamann says, "Nachahmen und Nachaffen (ist) nicht einerley." ^ Hamann scores the under- rating of oneself and one's own powers, in the following man- ner : " Der eines andern Vemunft mehr glaubt als seiner eignen, hort auf ein Mensch zu seyn, und hat den ersten Rang unter dem servum pecus * der Nachahmer. Auch das grosste mensch- liche Genie sollte uns zu schlecht dazu seyn." ^ This is Young's maxim. "Such meanness of mind, such prostration of our own powers (imitation of others), proceeds from too great admiration of others. Admiration has generally a degree of two very bad ingredients in it, — of ignorance, and of fear." ' To avoid this, and to remind and encourage us to look within ourselves, lest the mine of genius hidden there lie undiscovered and "we go a-begging with gold in our purse," Young borrows, two rules from ethics: "Know thyself," "Reverence thyself." These, strange to say, are found in Hamann too. The second is voiced by him in the above-quoted passage, whereas the first is expressed directly, when he cites in another connection the inscription above the door of the famous temple at Delphos, "Erkenne dich Selbst!'" When Hamann complains, "If they intend to make it as difficult for us to be originals as to be copies, what else do they intend but to change us into mules?" ^ {i.e. if the choice of material and method is to be limited) ; and when he says further, "Whoever wishes to deprive the fine arts of caprice and imagination, is a quack , . . makes an attack upon their honor and life like a cut-throat, ..." * he is merely ' " Schriften," Vol. IV, p. 42. In discussing the beginnings of a child' s^ training, he says: "Weil wir alle zum Nachahmen geboren sind, besonders die Natur nachzuahmen." Cf. " Schriften," Vol. I, p. 162. ^ "Complete Works," Vol. II, p. 561. ^ Letter to his brother, Konigsberg, Feb. 12, 1760. Cf. "Schriften," Vol. I, p. II. « "Complete Works," Vol. II, p. 565. * An expression taken from Horace. ' " Schriften," Vol. II, p, 30. ' Letter to Kant, Konigsberg, July 27, ' Cf. ibid., p. 197. 1759. Cf. "Schriften," Vol. I, p. 438. ' Cf. ibid., pp. 401-402. 38 taking up ardently the cause of the emancipation of genius, the rights of the individual and the promulgation of originality as acclaimed by Young. Hamann's attitude toward the ancients is very similar to Young's. In speaking of an edition of Euripides, he calls it good enough for him, it detains him less in his work, "since," as he says, "I follow up only the spirit of the ancients, and the genius of the Greek language is of more importance to me than its grammar." ^ This is exactly what Young advises, viz., that in reading the ancients we should pursue not their ma- terial but their spirit and taste.^ This Hamann expresses very decidedly and with great emphasis, when he narrows it down to the specific examples of Bodmer and Klopstock. They have imitated Homer only in detail. "Homer," he says, "will always remain the only epic poet for my taste. . . . To feel Homer is not within the power of every one : aye, to understand Homer . . . must one not do that, if one wishes to imitate him? To imitate is in the fine arts to surpass."^ "Bodmer and Klopstock both studied Homer, but did not know how to imitate him except in details." * Young, as is to be expected of a theologian, goes beyond the Greek and Latin classics in his discussion and cites the sources of wisdom as revealed in the Scriptures.^ He says the Bible » " Schriften," Vol. U, p. 213. * " Complete Works," Vol. II, p. 555. ' Letter to Lindner, Konigsberg, Aug. 28, 1761. Cf. "Schriften," Vol. Ill, p. 109. This is the finest expression found in Hamann of the correct method and purpose of imitation, i.e. make full use of one's predecessors and of one's own genius, and thus surpass one's models. It is the very essence of Young's " Con- jectures." It is interesting to note in this connection, that Hamann insists that one must read the classics of all nations, " mit und in dem Geist ihrer Verfasser." (" Schriften," Vol. IV, p. 261.) Further, one should in reading use his imagina- tion to try to have the same feelings that the author he is reading had when he wrote. (" Schriften," Vol. I, p. 54.) And finally : " Zum Urtheilen gehort dass man jeden nach seinen Grundsatzen priift und sich selbst an die Stelle des Autors setzen kann." ("Schriften," Vol. Ill, p. 116.) These thoughts had already been expressed by Pope, cf. supra, p. 13. Cf. further, Gerstenberg, supra, pp. 23, 24. Cf. also Herder, infra, p. 42. * Letter to his brother, Konigsberg, Jan. 9, 1760. Cf. ibid., p. 6. ' This phase of the discussion was introduced by the appearance, in 1753, of Robert Lowth's "De Sacra Poesi Hebraeorum." 39 is the only book "that can justify our implicit acquiescence in it." * So Hamann : " Gerade, als wenn unser Lemen ein blosses Erinnern ware, weist man uns immer auf die Denkmale der Alten, den Geist durch das Gedachtniss zu bilden. Warum bleibt man aber bey den durchlocherten Brunnen der Griechen stehen, und verlasst die lebendigsten Quellen des Alterthumes? Wir Wissen vielleicht selbst nicht recht, was wir in den Griechen und Romem bis zur Abgotterey bewundem. . . . Gleich einem Manne, der sein Keblich Angesicht im Spiegel beschaut, nachdem er sich beschaut hat, von Stund an davon geht und vergisst, wie er gestaltet war; eben so gehen wir mit den Alten um." ^ Hamann admits that the ancients have made it hard for us to be originals, but he says, " I am not, however, as bad as Donatus who wished all sorts of misfortune to the ancients, who take the very word out of our mouths." ^ When Hamann says of Homer, "Even he is said to have been a fortunate compiler, according to the opinion of the best critics,"* he may refer to the discussion of the authorship of Homer or he may even be echoing Young's theory of accidental originals.^ Hamann did not merely preach Young's ideas; he strove to follow them out in his own original essays. One of the clearest, avowed cases of this is found in the postscript to his complaint on church music.® Here he cites Young's paradox in the fol- lowing manner : " Young giebt . . . das Rathsel auf, die Alten also nachzuahmen, dass wir uns von ihrer Aehnlichkeit, je mehr je besser, entfemen," and then he goes on to say that he has written this " Klagegedicht " in this "paradoxical" imitation of the " Epitre a Uranie" and the " Sendschreiben eines Materia- listen an Doris." ^ ' "Complete Works," Vol. II, p. 558. ' " Schriften," Vol. II, pp. 288-289. ' Letter to Lindner, Konigsberg, May 7, 1762. Cf. "Schriften," Vol. Ill, pp. 152 ff. * Letter to his brother, Konigsberg, January, 1760. Cf. ibid., p. ro. ' "Complete Works," Vol. II, p. 553. • " Klagegedicht in Gestalt eines Sendschreibens iiber die Kirchenmusik ; aa ein geistreiches Frauenzimmer ausser Landes" (1762). Cf. "Schriften," Vol. II, pp. 161-172. ^ " Nachricht fur Leser, die Verstand haben, denen folglich mit Verstand gedient werden muss." Cf. "Schriften," Vol. II, pp. 173-174. 40 Finally, the best example of Young's influence upon Hamann in point of choice of material, style, and purpose is found in the articles entitled " Schriftsteller und Kunstrichter " ^ and "Leser und Kunstrichter." * Here we find an ardent plea for taste in reading, judgment in criticising, and originaHty in writing — one loud cr>' for individualism, pervaded with Young's spirit. It is the clearest and most direct production of Hamann's genius. Hamann, then, in his views on originality and individualism, owes the greater part of his material to Young. His own opinion that nearly all his ideas were taken from the "Night Thoughts" would read more correctly if he had said they were taken from the "Conjectures"; for upon examination there are few passages that can be said to come unmistakably from the "Night Thoughts." Both writers treated Biblical themes and they therefore had many points in common, from common sources. Hamann stands entirely upon the plane of the " Conjectures " ; he theorizes and suggests modes of procedure, but progresses no further, except for a few slight attempts to exemplify his ideas. His work is in general terms, and it needed Herder to take up these doctrines, to apply them to German literary conditions, and thus to pass from Hamann the prophet of originality to Herder the prophet, teacher, and promoter of a national, original literature. 7. JoHANN Gottfried Herder (1744-1803) If in Hamann the direct influence of the "Conjectures" is so unmistakable and abundant, it would be a surprise not to find a similar influence of Young's doctrine of original genius and individualism in Herder's works ; for Herder, as the friend and disciple of the Magus im Norden, thus drew inspiration from a double source. And if it is not always possible to determine to which source the influence is to be traced, it really matters little; for both proclaim the emancipation of genius and the supremacy of individualism ; both issue from the same fountain ' "Schriften," Vol. II, pp. 377-394. 1762. * Cf. x6«^., pp. 395-412- 1762. 41 head and feed the same current in eighteenth-century critical thought. Be that as it may, Herder's works furnish ample proof of his intimate acquaintance with the "Conjectures" and of his admiration for their author. Altho only a youth of sixteen when the "Conjectures" appeared in Germany, Herder had in all probability already become acquainted with the "Night Thoughts"; for it would be strange if so popular a work had not found its way into the hands of this insatiable devourer of books. At least, Herder's reviews and criticisms, as well as his longer works, often cite the "Night Thoughts" in a manner that suggests a thoro knowledge and deep appreciation of them. He translates from them, uses them as examples, and publishes parts of a translation by another.^ The "Conjectures" occupied him early, at all events, whether he was led to them thru the "Night Thoughts" or not; and as if in preparation for his life's work of criticism and the re- juvenation of German literature, along the lines laid down by Young, Herder made extensive extracts from the "Conjectures" in his note book.^ It is not surprising, therefore, to find him breaking a lance for his champion soon after in a cutting review of Rector Rambach, who, either wilfully or ignorantly mis- understanding and misinterpreting Young's attitude, pubhshed a Schulprogramm entitled "Schreiben iiber die Frage: ob das Lesen der Alten an dem Mangel der Original-Scribenten Schuld sey." In this Rambach takes issue with Young's claims that the reading of the ancients and admiration for them en- grosses and intimidates us and thus Hmits our own productive- ness. Herder writes in criticism : " Great Young has suffered the same fate before, of having some of his bold utterances severed from the rest, dissected and discussed, corroborated or refuted, according to the critics' caprice. When a genius mounts to sublime heights in his original thoughts, the spirits on the plain below lose sight of him or see him in dwarfed pro- portions upon his pinnacle. . . . He (Young) often developed * Cf. infra, p. io8. ' " Herder nach seinem Leben und seinen Werken dargestellt von R. Haym." Berlin, 1877-1885. Vol. I, p. 149. 42 the chain of his bold thoughts to a degree that seems a paradox to us weaker intellects." * This is indeed sufficiently ardent admiration to show Herder's attitude toward the author of the "Conjectures," and it is in- teresting to note that in extolling his genius Herder uses Young's own words on the flights of original genius, as found in his second paradox: "Genius often then deserves most to be praised, when it is most sure to be condemned; that is, when its excellence, from mounting high, to weak eyes is quite out of sight." ^ Herder disapproves entirely of Rambach's attitude and says, whoever is inclined to be on Young's side at the beginning of the article, will surely be so at the end. Further, he says, to do justice to a genius like Young is hardly within the scope of a mere Schulprogramm. Later, discussing the reading and imitation of the ancients. Herder draws from the "Conjectures" and in a footnote again cites Rambach's formidable article against "good" Young.^ In the second of the "Kritische Walder" Herder says of Young's eulogy on Addison, "I honor the late Young in this testimonial of .him." * Likewise, Herder's criticism of Swift makes reference to the " Conjectures," but this time at variance with them; for in the fourth of the "Kritische Walder" he re- marks, "Who would join with the immortal night-watchman^ Young, when he complains because Swift's Houyhnhnms are not pious hermits? Let each one be what he is:" * thus apply- ing Young's principle of appreciation to Swift better than Young himself. Indeed, even as late as 1801, Herder returns ' The review appeared in the Konigsbergsche Gelehrte und Politische Zeit- ungen. Cf. "Herders Sammtliche Werke. Herausgegeben von Bernhard Suphan." Berlin, 1877 to date. Vol. I, pp. 1 21-123. ^^^ Rambach's article, cf. infra, Bibliography, 1765; also supra, p. 17. ' "The Complete Works, Poetry and Prose, of the Rev. Edward Young, LL.D.," etc., by John Doran, LL.D. London, 1854. Vol. II, p. 557. ' "Ueber die neuere Deutsche Litteratur. Fragmente," etc. " Dritte Sammlung." Riga, 1767. Cf. "Werke," Vol. I, p. 383. *" Werke," Vol. Ill, p. 304; also Young's "Complete Works," Vol. II, pp. 580-584. ° "Nachtwachter"; in the first edition " Nachtwacher." « "Werke," Vol. IV, p. 190; also Young's "Complete Works," Vol. II, pp. 567-568. 43 to Young's tirade against Swift and calls it insipid and un- true.^ uln his work on Hebrew Poetry, Herder also applies Young's first paradox to the imitation of the Psalms of David, in the following words : "And here too Young's rule should be appUed, that one often resembles the ancients most, when one seems to depart furthest from them." ^ And it is very significant that even as late as 1800, Herder remembers and applies this paradox. In the introduction to the "Kalligone," after discussing the case of a young man who tried to overcome certain peculiarities that he had taken from his old professor, and who never felt freer and further from the latter's system than when he modestly honored his wisdom and sagacity, Herder says, "Young gives similar advice: to imitate the ancients in spirit, by departing from them," and then continues with the following indorse- ment: "Let whoever will follow this advice; he will thus feel himself free, rejuvenated ; he will seem master of his soul, of his pen and tongue." ^ And so again at the close of his career we find a watchword from the work which he so carefully studied * in preparation for his journey thru the labyrinthine paths of a life of Uterary criticism. Young was fresh in Herder's mind from the begin- ning of his literar)' career to its very close ; and a careful study of his works proves still further the extent of his indebtedness to the "Conjectures." Beginning with the theme of imitation, we find that Herder did some of his best work in this direction, applying in a practical way to German literature the principles of Young, and thus passing beyond the realm of speculative thought into the arena of a noble, patriotic cause.^ In 1764, he had already said he was ' "Adrastea," II, 19. "Jonathan Swift. Gegenseite." Cf. "Werke," Vol. XXIII, p. 187; also Young's "Complete Works," Vol. II, p. 567. ' "Vom Geist der Ebraischen Poesie," Zweiter Theil. 1783. X, " Charac- tere der Psalmendichter." Cf. "Werke," Vol. XII, p. 235; also Young's " Complete Works," Vol. II, p. 555. 3 "Werke," Vol. XXII, pp. 12-13. * Cf. supra, p. 41. * Herder sums up the conditions that he is trying to relieve thus : " We are working in Germany as if in the confusion of Babel; sects of taste, parties of poetry, schools of philosophy, are contending against each other ; no capital and 44 glad the Middle Ages were past, when the Germans freed themselves from barbarism only to neglect their own language and to become imitators of the ancients/ And now, three years later, he exerts his forces to carrying on this good work of emancipation a step further. Since German national pride, on the one hand, decided that Germany must not be inferior to any other nation whatsoever in belles lettres; since, on the other hand, the imitation craze to transplant to half-German soil all that is Oriental, Greek, or British has subsided; and since critics have commenced to gain a comprehensive view of the present state of German letters, no cry has been louder or more frequent, Herder says, than the complaint over the lack of originals, of genius, of inventors. The LUteraturhrieje sought to point out the way to supply this need. Mere fault-finding, repeated complaints, and everlasting precepts will not do it, however ; nor can the prevailing attempts to analyze and define genius, original power, and invention succeed in arousing genius. Why does Young's treatise on original works fill the Germans with an ardor that is not felt in reading these analyses of genius. Herder exclaims. Because Young's spirit is inherent in it, and this spirit speaks from heart to heart, from genius to genius, and is transmitted on and on like an electric spark.' Such an ex- ample, Herder continues, requires observation ; it is an example in and of itself to be followed ; it is the most effective means of dissuading fools from their desire to become original geniuses. Such great examples alone can change the spirit of a nation; but, since it is dangerous to bring down this electric spark from heaven like a second Prometheus, and because it is more difficult to be an artist than a sophist in art, the safest path is to observe the works of others, to encourage and inspire thru them. no common interest; no great, universal promoter and universal law-giving genius." Cf. "Werke," Vol. I, p. 141. And for this purpose he encourages originality and deprecates imitation ; for, he says, " An original writer, with few exceptions, is always a national author." Cf. "Werke," Vol. I, p. 402. ' " Ueber den Fleiss in mehreren gelehrten Sprachen," Gelehrte Beytrage zu den Rigisclien Anzeigen aufs Jahr 1764. XXIV. Stiick. Cf. "Werke," Vol. I, pp. 6-7. ^ " Ueber die neuere Deutsche Litteratur. Zwote Sammlung von Fragmen- ten." 1767. Einleitung. Cf. "Werke," Vol. I, pp. 254-257. 45 And so Herder carries out this comparison of modern German imitators of Oriental, i.e. Hebrew, and especially of Greek writers in detail, defining the restrictions of such imitations and relative faults and merits of each. In Chapter I, "Von den Deutsch-Orientalischen Dichtern," Herder shows how German poets think they become originals by borrowing customs and taste from the Hebrews. Their pictures, altho not new, are not only strange pictures, senti- ments, and inventions; but, further, they are incongruous; conditions are incompatible, and the only way we can copy these Orientals is to depict our own nature faithfully as they depicted theirs, true to itself. " We are not prevented by poverty, but by inconvenience and indolence, from using our treasures and preferring, as Caesar says, to be pauper es nostra in aere."^ Thus Herder applied in this whole discussion, step by step, the principles laid down by Young, and the results are precisely those of the "Conjectures." Young insists, we remember, that we must not build with the materials of the ancients, but in their spirit and taste, i.e. study nature as we find it revealed about us, and depict it in the natural manner of the ancients. Young also insists that it is not poverty, but ignorance and sloth, that prevents us from cultivating the treasures within ourselves, and he like- wise quotes from Horace, Caesar's words, Meo sum pauper in aere.^ The second chapter continues this discussion in a similar but less pointed manner. In the third chapter, Herder takes up the subject of the homogeneous saga material that is inherent in the very nature of every people, and points out the fact that this national material has always been the magic source for poets of all times and nations. He calls attention to the fact that such materials exist on Aryan soil and urges his fellow-countrymen to cultivate their own resources, promising them a rich and abun- dant harvest. Thus Herder again gives to Young's precepts a national bear- ing; he appeals to his fellow-countrymen, not as individual writers, but as patriotic German authors, as Young had appealed to the Britons. He advocates Young's study of nature, but * "Werke," Vol. I, pp. 260-261. ^ "Complete Works," Vol. II, p. 552. 46 more particularly the study of German nature, and thus lends Young's fire to the already glowing flame of desire for national genius/ The fourth chapter treats in a similar way and with like bear- ing the differences and development in religion that therefore beset the path of the imitator, with special reference to Klop- stock and his school. Following this up in the sixth chapter, in reference to the restrictions of imitation due to the differences inherent in the natures of languages, he closes with a criticism that, he thinks, might justly be appUed, and which might well have been uttered by Young: ''The cold, rational Germans have tried to follow the flights of this ardent imagination [of the Orientals] with wings that nature did not give them." ^ Then in the seventh chapter Herder continues, we should not imitate miserably; and to rid ourselves of such imitation he recommends that we study Oriental poetry as poetry, that we learn to interpret and to teach it. We can not translate and imitate it until we understand it, and, he says, "The Oriental philology that has flourished in our Germany for some time will, when it unites with taste, scatter miserable and stupid imitators."^ It is interesting to note that here Herder uses bodily Young's figure to describe the advent of adult genius : " Aber es tritt ein Genie auf aus dem Gehirn des Jupiters!"^ Young: "But a genius enters the field like Pallas out of the head of Jove." ^ In his treatise on Greek literature," Herder takes up Greek writers and pronounces them worthy of imitation, but, he says, "Be- fore we imitate them, we must know them," ^ and for this purpose a suitable translation is necessary, such as Ebert's of Young, and such in fact as we might expect Young himself to ask for. In the succeeding chapters there follows an exhaustive discussion to ' Here we see the first beginnings of Herder's later intense interest in folk- poetry, when he, following his own advice as here given, won glory thru his promotion of German national poetry. It was this very study and return to nature as represented in "Percy's ReHques," and folk-poetry in general, that crowded out Young's " Night Thoughts," and thus, by the irony of fate. Young became the prophet of his own defeat. ^ "Werke," Vol. I, p. 273. ^ "Werke," Vol. I, p. 275. ^ Cf. ibid. 6 » Complete Works," Vol. II, p. 558. * " Von der Griechischen Litteratur in Deutschland." Cf. " Werke," Vol. I, pp. 285-356. ' Cf. I.e. p. 286. 47 determine the merits of the German imitators of Greek poets, all of which carries out the principle of Young, — " Know thy- self," and study the ancients in order to imitate them correctly. Herder, like Young, distinguishes between correct and servile imitation, or, as Hamann called it, " Nachahmen und Nachaffen." ^ Herder expresses the former as "einen Alten nachbilden, und ihm nacheifern," the latter, however, as "ihn kopiren, und ihm^ nachahmen." The former, also, is very rare, he says. And he continues: "Therefore Young in his work on original com- position is right, when he claims that the study of the ancients is in most cases detrimental ; he is right, and yet it is not there- fore necessary to dispense in the least with the study of the ancients." He cites Young, he says, because Rambach had recently refuted these arguments in his article.^ Herder doubts, however, that we are in as great need of original heads as some think, and wonders whether the benefits do not counterbalance the damage. "As soon," he continues, "as we praise, worship, and servilely imitate the ancients, simply because they are ancients ; as soon as we borrow or steal from them, because we think that v/e shall thus become modem ancients, or modem in the taste of the ancients; then imitation is unbearable." He closes in calling "die Heerde Nachahmer, " "das servum pecus," a Horatian phrase likewise applied by Hamann.* One of the finest expositions of the real merit of imitation in its highest sense Herder gives in the eighth chapter of his treatise, "Von der neuern Romischen Litteratur," ^ where he says, in substance: What is the meaning of better imitation? To imitate an author in his own words, to string together gram- matically his expressions, is mere handicraft. And since we can not confine ourselves entirely to the vocabulary of a writer without external violence, one must fear becoming uneven in style. "But imitation to acquire the tone of the ancients? Such imitation is much more elevated, and a work of talent. ^ Cf. supra on Hamann, p. 37. ^ Modern usage requires the accusative in this sense. ^ Cf. supra, p. 17, 41-42. Cf. also "Werke," Vol. I, p. 383. ^ Cf. supra, on Hamann, p. 37. ^ " Ueber die neuere Deutsche Litteratur. Fragmente. Dritte Sammlung." 1767. Cf. "Werke," Vol. I, pp. 408 ff. 48 If we read an author with the ardor with which he wrote, then he will needs inspire us, so that we shall be for a time transported, as it were, into his sphere ; his music still resounds in our ears ; we see with his eyes, we breathe in his sentiments, as if in our own element ; the strings of poetical feelings respond within us, quickened by his ; our words are formed in his manner ; we read usque ad scribendi sollicitudinem — and write. Now his lan- guage lives in us ; his rhythm resounds in our ears ; the chain of his pictures stands before our eyes ; we imitate his language, his meter, his style, and prove ourselves virtuosos. Now, I add, his ardor inflames our spirit, we create new figures in his pictures and recast his ideas ; we form new figures after the model of his, we surpass him in an expression; a certain turn stands out in brilliant reUef ; we form a better simile, — we become more than imitators, we become rivals. Our copies become for us pleasing monuments. . . . For the public these works are pledges of the worth of a man who developed himself so ex- cellently after the model of the ancients, who knows so much of their spirit, who has assimilated the taste of ancient beauty, whom we must admire, of whom we can expect much." But such works. Herder concludes, can not, nevertheless, attain the standard of the ancients comparatively, as masterpieces; since the conditions under which they were written are so entirely different. And so, after all, the imitator of Horace, however excellent, sings out of Horace, not out of himself, as Horace did.' Thus Herder reduces his argument ad absurdufn, as it were; he shows that imitation, however excellent, remains imitation still; whereas, imitation of the method of authors, following their sources and not themselves, treating contemporary conditions in the manner employed by the ancients in treating their con- ditions, produces new masterpieces and creates originals. Here, then. Herder follows Young's distinction between real imitation, that of authors, and real originals, i.e. imitation of nature.^ ' Cf. Young : " But suppose an imitator to be most excellent, . . . yet still he but nobly builds upon another's foundation." And: "An imitator shares his crown, if he has one, with the chosen object of his imitation." Cf. " Complete Works," Vol. II, p. 552. '" Complete Works," Vol. II, pp. 551 ff. 49 Then Herder traces briefly the history of the servile imitation that had invaded, conquered, and oppressed Germany. We Germans thought, he says, in substance, we could express things more beautifully in Latin than in our own language ; secondly, that the ancients had exhausted the reabns of these beauties ; ^ thirdly, that we had inherited all these as incorporated in their works ; and lastly, if we seized their expression, we also attained their spirit, and if not all their spirit, no matter. So we decided to write in their language ; we avoided all that was not classical, so as not to deviate from the ancients; we sacrificed all origi- nahty, everything that might prevent our being called classical, and thus we became classical imitators ! This hateful word "classical." It has crowded out all the culture that could have been derived from the ancients as living models, and has es- tabhshed the fatal fame : " To be a connoisseur of the ancients, to be an artist, without any loftier aim in view. This desire has buried many a genius under a rubbish heap of mere words, has made his head a chaos of exotic expressions, and has rolled the burden of a dead language upon him hke a millstone. He has deprived his fatherland of blooming fruit trees; they now stand on foreign soil and mourn with half-withered blossoms and drooping leaves, whereas they ought to be trees under which posterity might dwell." This is the theme of servile imitation as found in the " Conjectures," and ends with a picture similar to that drawn by Young, when he calls the imitator "a transplanter of laurels, which sometimes die on removal, always languish in a foreign soil." ^ And continuing. Herder says,^ we ought to be taught by dis- astrous examples that if we prefer expression to thought itself, we produce that dead statue of style which is without faults, but also without especially individual beauties; without life or character, a boon for tedious readers, the admiration of the * Likewise in the second edition of the " Zweite Sammlung," Herder, in discussing the lyric, vents his sarcasm upon the universal wail, that Horace has completely exhausted the possibilities of the lyric. " O what Horatian des- potism! Ye geniuses of lyric poetry! Let us forsake this servile land," etc. Cf. "Werke," Vol. H, p. 179. »" Complete Works," Vol. II, p. 551. ' " Werke," Vol. II, p. 414. 50 ordinary fool, — but the wise man passes by. They shall see that what has been said ten times before is, however beautifully expressed, commonplace when repeated again. Young likewise speaks of words tarnishing by passing thru the mouths of the vulgar, and of thoughts becoming too common. "We may as well grow good by another's virtue, or fat by another's food, as famous by another's thought. The world will pay its debt of praise but once, and, instead of applauding, explode a second demand as a cheat." ^ The same thought regarding imitation is again expressed in Herder's discussion of the modern use of mythology, when he ardently proclaims, in reference to Horace : " O that I might proclaim loud enough, that whoever imitates Horace, merely to imitate him and to depict a beautiful, regular, artificial, and learned skeleton of his odes, is nevertheless no Horace, if he does not attain the purpose of the ode and is not able to reveal the Uving thought to our senses." ^ And on the same page Herder speaks as pointedly against the idea that original pro- duction depends upon the observation of classical rules. "I am not bold enough, therefore, to be a lawgiver and to say, 'a heroic epic, a drama without Grecian or Roman cut is im- possible.' If I should say that, Shakspere and all our unborn Shaksperes, whom we hope for our stage; Ossian and Klop- stock, and all the Ossians and Klopstocks that we hope for, would cry out against me." Investigating the function and place of mythology in Uterature, Herder attributes its beautiful development among the ancients to an intensely creative imagination and deplores the fact that the Germans have not made as good use of their natural ad- vantages along the same line. It all resolves itself into the same question that Young discusses so fervently, the imitation of nature as opposed to imitation of authors. "Learn of them the art of gaining in your entirely different sphere a similar treasure of pictures. Instead of being satisfied with everything that Homer has given off, strengthen your intellects, so as to be able to drink from the ocean of sentiments and peculiarities that sur- » " Complete Works," Vol. II, p. 553. * " Vom neuem Gebrauch der Mythologie." Cf. " Werke," Vol. I, p. 437. 51 round you, without expiring." ^ That is, specifically stated, do not borrow allegories from the ancients, but learn their art of allegorizing. These views Herder then exempHfies by applying them to German poets. Thus in this also he gives them a practical bearing for the advancement of German literature. And so in his "Fragmente" Herder waged war against servile imitation and exhorted German writers to cultivate their powers and to produce originals, according to the precepts advocated by Young and voiced by himself in his second revised edition of these Fragments:^ "Ye geniuses, who procure everything from the abyss of your souls, why need I tell you that out of the essence of our religion and nation, of our culture and philosophy, . . . touching pictures of human effects and conditions can be drawn, that scorn even the altar of Bacchus?" If this were recognized and accepted, he adds, the Horatian ode would have to give way to original productions of imaginative genius, "hving copies of an uncommon human soul, warm copies of feelings in their best hours ; and as such how superior they are, in the eyes of the connoisseur of artistic temperament, to all stereotype imitations!" And it is also in the second edition of his "Fragmente" ^ that Herder sums up his whole purpose and campaign, in words similar to those of Young's famous first paradox: "Let rivals be aroused, not imitators. The better the ancients are known, the less they will be plundered; the more fortunately they are imitated, the sooner they will be equalled. And that, finally, is a copying original {kopirendes Original), in which no copy is evident; in which one creates of himself, following a Greek national author, a writer for one's own nation and language. He who is this, he writes jor his literature !^^ Early in Hfe * Herder says in reply to the criticism of the Litteraturhrieje — "no one should become a writer who has not read the ancients" — that this would rob us of all original writers ; and near the close of his Ufe,^ he writes similarly of the ' "Werke," Vol. I, pp. 443-444. ^ Ibid., Vol. II, pp. 179-180. 3 "Fragmente." 1767. Cf. "Werke," Vol.11, p. 162. * "Werke," Vol. I, p. 162. » "Kalligone." 1800. Cf. "Werke," Vol. XXII, pp. 215-216. 52 study of the ancients: "The mere study of the ancients, if it does not penetrate our very souls, but merely remains acquired knowledge, that, too, is lack of taste," — a reiteration of Young's point, that we must study and imitate not the works of the ancients, but their method and spirit. In Herder's discussions of the value of rules there is also much that suggests Young's ideas on the subject. As Hamann says in particular of Homer, who was not conscious of the rules that Aristotle later deduced. Herder says of the poet of genius : "A man whose soul, pregnant with thoughts, yearns to be re- lieved, never stops to consider how some future esthetic rule- smith will work him over to collect examples of style for his text-books." * This last point, too, is found in Young, who says a genius is not in need of rules ; they are an aid to the lame, an impediment to the strong.^ Herder takes up the same theme in his discussion of the critical analysis of works and the question whether a poet did or did not have in mind the rules that can be deduced from his works. "The greater he was, the less he burdened himself with definite, enervating rules; and it was the greatest genius who, when inspired by the muse, knew of no rule. A Sophocles thought of no rule of Aristotle ; is not all of Aristotle contained in him nevertheless ? The rules that the pedagog gathers from the ' Ihad ' — for whom are they rules ? For none ! . . . For no genius that can make a way for himself, or that can take an original flight, and so forth, as the cabaUstics of genius run. They are not to be rules at all; they are to be observations; enlightening, developing philosophy for philosophers, not for poetasters, not for self-governing poets." ' We are not to de- duce rules to follow, he says, but to observe methods, and then profit by the mode of procedure. If this is not done, the poet himself is to blame. In his article on Shakspere, discussing the drama of the ancients, Herder exclaims in words that are almost Young's own, "The art of their rules was — no art, was nature!"* And in his review of Baumgarten's ideas on natural esthetics, 1 "Werke," Vol. I, p. 402. » "Werke," Vol. IV, p. 19. ' "Complete Works," Vol. II, p. 557. * Ibid., Vol. V, p. 211. 53 he says: "Neither poet nor any ardent genius is conscious of rules, of partial conceptions (Theilbe griff e) of beauty, and laborious reflection. His power of imagination, his eagle eye for the unit, a thousand powers that arise in unison within him, are at work ; and he is unhappy if a rule disturbs him." ^ Like Young,^ Herder gives genius a rank above philosophy ; ^ genius is dormant in man, as the tree in the germ; genius is awakened like every other power/ Why, then, he says, is there such a lack of genius at the present day? "Why has there been such profound silence of late on our German Paniassus? W^hy has it almost become a fine art repository and workshop filled with impure air? — Genius has not died, but it is being held captive by rules, by patterns, by the ideals of our refined, critical, and moral age. Enervated in these bonds, enfeebled in the arms of Kalypso, it has not the necessary self-reliance ; it has lost the desire and courage to exert its power, to become in the face of all the censors of good taste, not hke them and others, but a great ego." ^ And then later, in another passage, he again takes up this point in a similar way, saying that nature is not so poor in gen- iuses as we think, when we consider as such only book and paper geniuses. "Every person of noble, living powers is a genius in his own way, in his own calling, and really, the best geniuses are found outside of the book room. ... As long as nature suffers no lack of sound germs and blossoming trees, she will not suffer any want of human geniuses. . . . Nature has noble germs enough; the trouble is that we do not recognize them; we trample them under foot, because we estimate genius mostly by deformity, by prematurity or exaggerated growth." ^ Compare with this Young, when he says: "But why are originals so few? Not because the writer's harvest is over, the great reapers of antiquity having left nothing to be gleaned 1 " Werke," Vol. IV, p. 23. ^ " Complete Works," Vol. II, p. 557 : " Genius, therefore, leaves but a second place, among men of letters, to the learned " ; p. 559 : " Learning we thank, genius we revere " ; p. 565 : " The well-accomplished scholar ... is as the bright morning star; the second (genius) as the rising sun." 3 "Werke," Vol. V, p. 218. ^ Ibid., Vol. II, pp. 178-179. * Ibid., Vol. VIII, pp. 324-325. « Ibid., Vol. VIII, p. 223. 54 after them ; not because the human mind's teeming time is past, nor because it is incapable of putting forth unprecedented births ; but because illustrious examples engross, prejudice, and intimidate." ^ He deplores the great inferiority of modem authors — human souls in all periods are equal ; genius is not so rare as we imagine, — "many a genius, probably, there has been, which could neither write nor read. So that genius, that supreme lustre of Hterature, is less rare than you conceive." ^ In view of these expressions on genius, it is very apparent that when Herder, in his "Metakritik" of Kant's philosophy,^ takes issue with Kant's thoughts on genius, he is wasting time quibbling over words, not thoughts. It is true, Germany had gone to extremes over genius, and the Geniekult had provoked considerable opposition and a marked reaction. Thus some of Herder's criticism is justified, but most of it is mere logomachy. His views are identical with Kant's, only expressed in different words. Let us compare the following criticism : — (i) Kant says, "Genius is a talent, that talent to produce which no definite rule can be given; originality must be its first attribute." * In spite of the fact that Herder had voiced the same thought himself,^ he now quibbles with Kant by de- claring that this is not only contradictory but misleading. "At all events, genius works according to rules, and is a rule unto itself, even granted that not every third person could point it out. The 'originality' of genius (a very much abused word) can only mean that the genius produces a work of his own powers, not imitated, nowhere borrowed; else there can be, as the 'Kritik' itself says, 'original nonsense.'" (2) "The products of genius must be models at the same time, i.e. they must be exemplary, they must serve as criterion or rule for criticism." Against this Herder: "The work of genius exists, even if it is never imitated ; it stands unique of its kind. For imitation, or much more, for criticism, the work was never created, and is desecrated by imitation without genius. Further, * "Complete Works," Vol. II, p. 553. ^ Cf. ibid., p. 559. 3 " Werke," Vol. XXII, pp. 197 ff. * For these quotations from Kant, cf. " Immanuel Kants Sammtliche Werke." G. Hartenstein. Leipzig, 1867. Vol. V, pp. 317-318. * Cf. supra, p. 52. 55 how different from each other are imitation and the rules of criticism ! Genius steps forth neither as file-leader nor as automaton, untroubled whether or not it become a rule of criticism or model for imitation. Presumptuous imitation, in- judicious acceptance as criterion or rule, pains genius." Again mere logomachy. Likewise : — (3) "Since genius itself can not demonstrate scientifically how it creates its products, it claims nature as its rule." Herder: "To give this the work of genius was not produced ; neither do nature and science declare themselves as opposites." This question is taken up similarly in the next point. (4) "Nature prescribes rules, not for science, but for art, and this only so far as it is to be fine arts." Herder: "Neither for the one nor the other ; both can, however, learn from that which is transmitted in a degree of perfection, as from example." In this Herder is quite right, and the point against Kant is well taken, and also in the following point. Herder's claim is very rational, altho in the strictest sense of the originality of genius, Kant is really in the right, but perhaps too severe in his reproach. (5) "He who can never do more than learn and imitate is a simpleton." "That he is not," Herder objects. "If he learned faithfully and imitates exactly, he can with his acquired knowl- edge, with his faithful imitation of the most beautiful and best, become a wise, clever, useful man; else whole faculties and schools would be simpletons by profession." (6) Kant contends that there is no specific difference between what can be learned according to rules of investigation and reflection (Forschung und Nachdenken) and what can be gained thru dihgence by means of imitation. Thus one can learn all that Newton has contributed in his immortal work on the Principles of Natural Philosophy, but one can not learn to write with talent. Because Newton could have demonstrated, not only to himself but to everyone else, all his steps, whereas Homer and Wieland can not show how their ideas grew in their minds. Therefore, in science the greatest inventor differs from the most wretched imitator only in degree. This Herder quite correctly denies. He who invents something in science, he says, produces, 56 as well as the poet, something individual and new that he did not " learn." The more important it was, the more the inventor, a genius in science, differs from the learner and imitator. No scientific inventor belongs to the ranks of imitation, even among the foremost. What he invented he did not learn, and, further- more, Homer and Wieland had to learn too. (7) Herder claims that imagination and judgment are not the only requisites for genius, but reason alike is indispensable. (8) Finally, Herder reaches the real normal level of his views on the subject, returns entirely to his original plane, and touches the real point at issue ; the history of the world has proved that all progress is due to alert and inspiring genius. And because a few overbold youths misused the name is no excuse for the Germans to use the word as a term of ridicule and reproach. It is the noblest gift of heaven. "The ancients spoke less of genius, but honored and cultivated it perhaps more than we." ^ Then Herder proceeds to show what genius meant to the ancients and how the term has been abused in modern times. "The geniuses of the human race are its friends and knights, its pro- tectors and helpers. . . . To arouse spirit, to animate forces, is their service and the reward of their services." Much of this, to be sure, advances beyond Young's scope of Hterary criticism into the realms of philosophy, but the spirit and tenor is the same : except that Herder, abreast with the times, defends real genius in its noblest aspects and leads the reaction against the Geniekult gone mad. And finally, altho Herder, in keeping with the progress of the ever increasing interest in Shakspere, goes far in advance of Young in his Shakspere criticism, it is interesting to note that he follows the same line of criticism as suggested by Young. The growth of Shakspere's popularity among the Germans was due largely to the fact that Young represented him as the great original genius of modern times, not the son, but the brother of the ancients. So Herder says: "Just there Shakspere is Sophocles's brother, where he is so unlike him in appearance merely to prove to be exactly like him in essence." ^ ' " Werke," Vol. XXII, p. 202. Cf. supra, p. 20. ^ Ibid., Vol. V, p. 225. On p. 229, Shakspere is called the "British 57 Thus he appHes to Shakspere words that are identical with Young's paradox: "The less we copy the renowned ancients, we shall resemble them the more." Young says Shakspere knew two books only, that of man and that of nature,^ and it is his abihty to study and imitate nature that makes him supreme among moderns and equal to the ancients. Similarly, Herder calls Shakspere the son of nature,^ and the great imitator of all nature ; ^ and finally, he says Shakspere has no law but the faithful portrayal of nature and of man * as revealed about him. Herder, then, took up the ideas of originahty in literature as preached by Young and corroborated by Hamann, and not only laid stress upon the same principles, but sought to exemplify them and to apply them for the purpose of arousing national pride in German letters. Thus he helped to free Germany from the servility of imitation and prepared the way for the literature that has made Germany famous. 8. Conclusion Nature, originality, and genius were, then, the great watch- words of the poets of the Storm and Stress period. Shakspere was their favorite poet ; for in him they saw the one upon whom genius had been most abundantly bestowed, the one who, with- out observing traditional rules, taking nature as his model, had created the most wonderful works, in all of which he had never failed to be entirely original. This enthusiasm, augmented by the introduction of Ossian, the Skaldic poetry, Percy's "Reliques," the study of Homer, Hans Sachs, etc., developed an ardent admiration for nature and folk-poetry, which was studied and imitated, and added new inspiration to poetic productivity. Sophocles," and Vol. IX, p. 543, Herder says the two dramatists are not to be judged one by the other; they are incommensurable. It is true that Bodmer, as early as 1732, in the preface of his translation of Milton, had called Shak- spere the " British Sophocles" ; but Bodmer wrote the name " Sasper," and so is hardly to be regarded as a possible source. Cf. supra, p. 11. ' " Complete Works," Vol. II, p. 574. ^ " Werke," Vol. V, p. 232, " Anhang " ; cf. also p. 238. 2 Cf. ibid., p. 248. " Cf. ibid., p. 245. 58 How Goethe, Herder, Wieland, Burger, in fact all the leading writers of the eighteenth century, took part in this movement is too well known to need repetition here and lies beyond the scope of this work. Goethe's "Gotz von Berlichingen," "Die Leiden des jungen Werthers," Burger's "Lenora," are promi- nent products of these years of the awakening of genius. Lenz, Wagner, Klinger, are all disciples of the reaction against rules and formalism. Their works, whatsoever may be said against them, breathe a freshness, a vigor and enthusiasm, a new life, that German letters had not yet seen ; and much that the critics who followed Young had tried to accomplish was now fulfilled. CHAPTER III THE ''NIGHT THOUGHTS" IN GERMANY I. Historical Survey The scattered notices in German periodicals * of the earlier works of Young had indeed introduced his name into Germany, but there is no indication that these works attracted much attention; at least, they have left behind no trace in the litera- ture of that early period. The first important article on Young is the lengthy review of the "Satires" by Gottsched, in 1745,^ which cites and trans- lates numerous verses; but the work is attributed by Gott- sched to Glover, and so it was left for Young's chief work, the "Night Thoughts," to make his name really known in Ger- many. The "Night Thoughts" appeared at a time (1742-1745) when the more progressive minds of Germany were looking eagerly to England for new literary inspiration. North Ger- many was in close touch with England both geographically and poHtically, and was therefore especially open to English influence. On the other hand, in South Germany, English letters had won their most zealous devotees among the Swiss school of Bodmer; thus conditions were most favorable for the rapid spread of English literary influence. The moral weeklies (Moralische Wochenschriften) that were modelled after the Taller, Spectator, and Guardian,^ were the * Cf. Bibliography, infra, p. 135. ^ Since the material of this survey follows the chronological order of the Bibliography, Chapter V, only such works are cited as can not readily be found there under the given date. ^ The Tatler, published by Steele (1709-1711), was followed by the Spectator, published by Steele and Addison (1711-1713). The Gtiardian was published by Steele in 1713. 59 60 principal medium thru which the first seeds of English inspiration were planted in Germany. Beginning with the Verminftler in Hamburg (17 13)/ these moral weekHes found so much favor and increased so rapidly that by the middle of the century over one hundred and twenty had led a more or less abbreviated existence. The movement began with Milton. The Spectator re-intro- duced "Paradise Lost"^ into Germany, where it found re- sponse in translations^ and in the two prominent imitations: Bodmer's "Noah," and Klopstock's "Messias." After Milton came Pope, Addison, Dryden, Swift, Defoe, and others, who met with a hearty reception and were read both in the original and in translations. And so the way had been well prepared for the reception of the "Night Thoughts" in Germany. Why were the "Night Thoughts" so eagerly received, so zealously and widely read and studied? Why were they able to exert so great an influence? The Swiss were interested in them especially, because the poem satisfied their requirements for a masterpiece. There was absence of rime, combined with the chaotic preponderance of the imagination, and the implicit acceptance of the mysterious and marvellous, — qualities that reminded them of the sublime piety of their master Milton.^ New models were sought, by the old school still among the French and the ancients, and by the new school among the English. This insured an introduction; but the "Night Thoughts" were assured a hearty welcome, because they were the expression of personal grief, of private cares. They struck a responsive chord in the tendency of the period to express its efforts, longings, and desires in pensive poetry. The writers of this period did not seek so much to portray Hfelike pictures, as to allow the ego to give vent to its morbid and vaguely dis- contented feelings. There was dissatisfaction with social and * Max Kawczynski's work on the "Moralische Wochenschriften," Leipzig, 1880, gives an admirable account of these journals. ^ A poor translation by Berge in 1762 had long been forgotten. ^ Bodmer, having become acquainted with " Paradise Lost" in a French translation in 17 19, at once began to translate it into German. He finished the translation in 1724, but did not publish it until 1732. ^ "Le Pofete Edward Young," W. Thomas. Paris, 1901, p. 502. 61 political conditions, from which men sought relief in literary expression; and this vague aspiration revealed itself in exag- gerated sentimentalism. Goethe characterizes the period in the Thirteenth Book of his Autobiography, showing how the serious German was especially attracted to this serious poetry of the English, and how the conditions prepared the way for his "Werther" and brought on a period of melancholy with not infrequent suicide. The same conditions made popular Gray's " Elegy," Akenside's "Pleasures of the Imagination," and similar works of Elizabeth Rowe, Ogilvie, Warton, Prior, and others, which, taken up by the sentimental current, increased its volume and momentum. This is the background of the period of which the "Night Thoughts" were an integral part, and in which, because the Ger- mans took Young seriously, they were able to play so important a role. They did not know that the three darts which the "insatiate archer" aimed at Young's happiness hit during a period of four years, and that he did not begin to pour out his inconsolable grief until some time after the taking off of his spouse, whose death he really does not mourn until the ninth "Night," almost five years after her death. They were touched by his grief, so they overlooked the artificiality of the "Com- plaint," and did not reahze the bombast and insincerity of the poet-preacher, who was quite gay and dissipated in youth and was weaned from the world only when age overtook him. To the Germans, Young's life was that of a saint, his grief the wail of an immortal in the wilderness of mortal sins and weak- nesses; and so the courtier and disappointed flatterer became for his cousins across the Channel the essence of all that is good and noble in the Christian, the guide to life, — a position that hypocrisy can hardly hold long. It is true, some of the sharper eyes penetrated Young's mask at once, but without effect. Wieland was the first great writer to be cured abso- lutely (1758), the rest suffered a longer delusion. In 1772, Mauvillon and Unzer^ hit the truth when they said, "If we had been endowed with manly qualities and had not so much * " Ueber den Werth einiger Deutscher Dichter," etc. Frankfurt und Leip- zig, 1771-1772. C£. 15th "Brief." 1772. 62 childishness and effeminacy inherent in us, we should have scoffed and ridiculed the fool who depicts the world as a prison and a judgment- seat, with colors that he took from misunder- stood and misinterpreted religious maxims." I 746-1 750 Altho the first German translation of the "Night Thoughts" did not appear until 1751/ seven years after the completion of the ninth Night, there is sufficient evidence to prove that the poem had attracted attention much earlier and was read in the original, perhaps even before Young had published the last Night. The first review appeared in the Gottingische Anzeigen, March, 1746, and speaks of the completion of the excellent didactic poem, the "nightothougths" ^ of ''D. Younge" in a way that suggests previous knowledge of the existence of the poem, in spite of ignorance of correct English orthography. The same impression is made by the second review, which appeared in June of the same year, in the Leipziger Zeitungen, and abounds in the highest praise for this "masterpiece." The same year the poets Gleim and Uz begin an interesting correspondence on the merits of the "Night Thoughts," a proof that they had been studying Young's poems for years. Ebert is busy with the work during these years, studying and prepar- ing for his life's work of translation and revision of the author who was to become his favorite. Klopstock, too, altho he did not learn English until some years later — and then from the "Night Thoughts" — is very familiar with Young's poem, as his letters prove; and the first cantos of his "Messias" already show Young's influence. Lessing, also, in his frag- ments, has left behind proof that the "Night Thoughts" had found response in his nature. Two groups of writers were responsible for the rapid and certain spread of Young's meditations, — the Swiss and the coterie of the Bremer Beitrdge. Bodmer published the first ' Bodmer's fragments of 1749 not considered. * Corrected on p. 188 to the spelling " nightthougths." 63 translation of verses from the "Night Thoughts" in his periodical Neue Critische Briefe (1749) and was then gath- ering from Young inspiration which was later to reveal itself in his own work, the " Noah," in 1750. The poet Tschamer also studied the "Night Thoughts," and his early poems written in this period betray the influence of the "Complaint." But the group of the Bremer Beitrdge, united in their common liter- ary studies, were the most important factor, altho the results of their early interest did not appear until later. They were the hterary "hot bed," so to speak, of the propagation of Young's nocturnal meditations. These first five years after the completion of the "Night Thoughts" are, then, a period of study of that poem for the poets interested in Young; a period of preparation that was soon to yield a number of translations, among which at least one, that of Ebert, is a monumental work of zeal, interpretation, and scholarship; an example of literary style that did much to cultivate what Germany then needed, — a good, smooth, fluent prose. 1751-1759 The Germans now became anxious to know what was the cause of Young's grief and who were the originals of the char- acters celebrated in the "Night Thoughts." Tschamer visited him in the spring of 1751, and his letter to Haller, pubhshed as preface in Kayser's translation of 1752 and in the later edition of 1 760-1 76 1, furnished at least part of the information.^ While in London, Tschamer found time to translate the "Night Thoughts" into German hexameters, — a translation that never appeared in print. But there was no lack of published translations. Ebert's was the first to appear. Early in 1751, he pubhshed in prose the first seven Nights in what was planned to be a series of translations of the best English writers. But Ebert became ' A certain Herr Majes of Hanover called on Richardson, in 1759, to learn more about these things, but the outcome seems to have been as fruitless as Ebert's inquiry by letter. Cf. his undated letter to Young, 1 760-1 761 ; cf. also "Le Poete Edward Young," W. Thomas. Paris, 1901, p. 198, note 4. 64 so engrossed in perfecting his rendition of the " Night Thoughts" and "Satires" that he never carried out his plan beyond the translation of the most of Young's works, exclusive of the trag- edies and "Conjectures." This translation, favorably re- ceived and reviewed, was completed the next year and passed thru four editions, 1753, 1756, and 1763.* Two other translators, independently of Ebert, conceived the idea of translating the "Night Thoughts" about the same time and published their work in 1752 ; the one, Geusau, printed Night IV in Jena, the other, Kayser, a pastor hving near Han- over, published Nights I-IV in Gottingen. Geusau's work is in miserable, monotonous, deadening Alexandrines, which, however, received favorable notices for being a means of helping to spread the work of "worthy Young." Kayser's transla- tion, which owes its existence to the instigation of Haller, and contains as preface the letter on Young which he had received from Tschamer, is in hexameters and prints the original on the pages opposite. It was rather favorably reviewed by no less a critic than Lessing, who joins the Gottingische Zeitungen in hoping that Kayser will continue the translation. Lessing shows special interest in the data on Young, altho he can not think very highly of the hexameters. The year 1754 brought, in a Hamburg periodical, the posthu- mously pubHshed translation of Night V by Oeder, the first translation in the original meter. Part of this was later used by Herder.^ The next year this was followed by an anonymous, weak translation of the first Night, this time in rimed trochaic * To suppose, however, that these editions were pubHshed regularly under these dates as indicated above, would give an incorrect picture of the state of things. An examination of all the editions available in Germany, both in libra- ries and book shops, failed to reveal a single copy of any edition, except the first, complete. The four editions were snatched up and bound together, as if the demand had been too great to supply. It is significant, further, that the other works of Young translated by Ebert and comprising volume two (1754- 1756) did not pass thru a second edition, altho one or two copies were found with the date 1762. It was quite customary to revise the date on the title-page of a reprint. It is further interesting to note that the fourth edition appeared (1763) after Ebert had begun to publish his new, annotated transla- tion with the original on the pages opposite, 1760 on. * Cf. injra, p. 108. 65 octameters, published in Frankfort. In 1756, appeared a similar anonymous attempt, most likely by the same translator, upon Night IV, equally poor, but fortunate enough to receive the most lavish praise of Gottsched. Both of these octameter translations were reprinted with the addition of Night II, in 1759, when they again received the warmest admiration of Gottsched, probably because they reminded him of his favorite French Alexandrines. Besides these ten editions of the whole or parts of the " Night Thoughts," numerous translations appeared, before 1760, of the other works of Young, all of which added to his popularity and thus helped to draw attention to the ''Night Thoughts." But more or less directly in the wake of Young's poem there sprang up a host of minor imitations, morose and gloomy com- plaints and sentimentally sorrowful lyrics; and the moral weekhes were filled with ephemeral literature that gave clear evidence of the effect of Young's nocturnal melancholy.^ During this period Klopstock learned English from the "Night Thoughts" and, filled with admiration for the work, he wrote his ode to Young (1752), one of the most reverent tributes ever paid the "Author of the Night Thoughts." Together with his wife, Klopstock carried on an interesting correspondence during these years with Young and Richardson. Bodmer, too, studied, reviewed, and recommended the "Night Thoughts," and both he and Klopstock are of especial importance, because their epics spread Young's tone and in- creased the desire to write in his manner. Lessing and Gottsched reviewed the translations, the latter, however, betraying his ignorance of the "Night Thoughts" in speaking of the rime of the original. The Bremen group and their associates, Uz, Creuz, Cramer, Gellert, Cronegk, etc., are giving evidence in the fifties of their study of the "Night Thoughts"; and others, Hamann, Zim- mermann, Crugot, Lavater, etc., celebrate "Sohtude" and similar themes in Young's tone. Wieland, in this his hypersentimental period, is entirely un- der the spell of the English poet, an attitude which suddenly ' Cf. infra, pp. 102-105, for list. 66 developed into as intense disgust and hatred. After about 1758, Wieland would hear nothing more of the "Night Thoughts." The pinnacle of fanatical admiration was reached that year, when J. A. Cramer, in his periodical Der Nordische Aujseher, extolling religion as a passion, calling affectation, as exem- plified in Young's "Night Thoughts," reason in religion, and branding everything less ardent as undevout, called Young a genius far sublimer than Milton and of all human beings next to David and the Prophets. This was too much, and immediately the Bibliothek der schonen Wissenschajten took issue with Cramer and not only dealt out justice to Milton, but assigned to Young his proper level. Lessing, too, in the Lit- teraturhrieje (1759) rejected this praise as exaggerated, but not as strongly as one would expect and as Nicolai was bold enough to do a little later. And so already in this decade, which abounds in increasingly intense admiration of Young, the reaction has begun, a move- ment that gained greatly in extent and influence during the next decades. 1760-1770 In spite of this feeling against Young and his followers, Ebert had a new edition of the "Night Thoughts" I-IV ready for the press in 1760, and this time, after the style of Kayser's 1752 edition and in compliance with the wish expressed by several critics, with the English text on the pages opposite. But Ebert had to outdo Kayser, and so he pubUshed copious notes to elucidate and interpret difficult passages and to point out all the thoughts in Young that the latter had borrowed from his predecessors, or that his successors had taken from him. The nine Nights were completed in this new edition by 1769, and the first six had passed thru a second edition. A reprint of the first eight Nights of this translation, in three volumes, was pubhshed in Schaffhausen (i 765-1 768), the fourth volume containing the last Night not appearing until 1774- Indefatigable in his zeal, Ebert also published, under a new title, an edition of the complete "Night Thoughts," following 67 the new edition of 1 760-1 769 as far as that had been completed, i.e. Nights I-VIII, but without notes or EngUsh original. All these editions were abundantly reviewed in the contem- porary periodicals, mostly with favor. Almost every one who was at all favorably disposed toward Young praised Ebert's zealous labors and saw in his harmonious prose a perfect re- production of Young's verse. The value of the notes was the subject of the most discussion. As a rule they were considered a splendid, erudite assistance to the mastery of Young's excellent poem, but grave doubts were expressed by many on the real value of such copious remarks; they were regarded as a hin- drance rather than aid and above all as a mere attempt to spread bombastically a mass of affected knowledge. One writer, Dusch, altho he heaped praise upon Young, angry that his own translation of Pope had not been accorded the same appreciation, and jealous of Ebert's reputation, not only contested the latter's superiority, but even tried to prove to the world that his translation of Pope was equal and even superior to Ebert's rendition of the "Night Thoughts." In spite of the new, enlarged, annotated edition, Ebert found, in 1763, a market for a fourth edition of his original translation of 175 1- 1752, revising the text of Nights I-VIII according to the new edition. Kayser, too, encouraged by the success of his 1752 transla- tion of the first four Nights in hexameters, added the remaining Nights in the same meter and published them in 1 760-1 761 at Hanover, illustrating each Night to make the book more attractive. This translation was also the subject of much criticism. Considerable fault was found with the hexameters; but most critics considered it an excellent piece of work, one going so far as not only to declare it superior to Ebert's rendi- tion, but to pronounce Kayser superior to Ebert as an Enghsh scholar. In addition to these two principal translations, an anonymous translation was published in 1761, a rearrangement of the "Night Thoughts," grouping the best sentiments under sixteen topics with the title "Moralische Gedanken iiber verschiedene Gegenstande der Religion," which was also graciously received. 68 Even the miserable, anonymous translation in octameters of Nights I, II, and IV was reprinted; Young's name was used in anthologies to add to their attractiveness and importance; the moral weeklies continued to draw material from the "Night Thoughts," and numerous works on literature, Enghsh writers, and the Hke, contained estimates of the "Night Thoughts" with praise for Young. Even French translations are dragged in thru reviews in all the leading periodicals, and every one seems anxious to say something about the great poem. During these years Ebert is giving Enghsh courses in the "Night Thoughts" at the Carohneum; and Klopstock, in his treatise "Von der heiligen Poesie" (1760), discusses the work at length and pronounces it the only example of sublime poetry that deserves to be without a fault. Young's satires, tragedies, and other writings continue to receive attention and add to his glory. Gerstenburg reviews the "Night Thoughts" with ardor; Dusch is influenced by them; Schubart is busy with them; Knebel is rescued from the abyss of doubt thru them and is held spell-bound ; Herder begins his active work with them ; Lenz imbibes them ; Hamann continues his studies in them ; and the youthful Goethe uses them as his Enghsh reader. But worse than all this, scores of poets imitate lamely : they are lonesome and sad, they have night thoughts on all occasions, even on pleasure trips; they "Youngize" without cause, simply because that is the current fad. What could be so inevitable as a reaction against all this folly? Moser pleads for hfe and humor in his "Harlekin"; Jacobi satirizes and ridicules these "funeral bards" and "black prophets";; and Heinse considers these imitations, and even Young's "Complaint" itself, mere affected grief. But the most effective cuts were given by Nicolai and Klotz. The former, in the Litteraturhrieje (1761), reproaches the Germans with a shameful desire to flock weakly in droves after one single genius who has entered a new field, whether he be a German or foreigner. Now comes Young, he says, with his complaints, and all our poets are sad, they are lonesome, they gush forth complaints and know not why ; the very mob that was revelling in anacreontic songs 69 a decade ago is now incapable of anything but sadness and seriousness, simply because it is the fad of the day. These N achtgedankenmacher are a disgrace to the nation. But Klotz, in his Deutsche Bihliothek (i 768-1 769), is the bitterest anti- Young critic. He not only pronounces the " Night Thoughts" repugnant to every person of good taste, but even attack's Youngs views of life as false and disgusting. He calls the style affected, inclined to be mystical and obscure, and pronounces the conception as well as the execution of the whole plan poor and unfortunate. Young is for him the king of night owls (Uhus), the source of corruption in English poetry, and a menace to German letters. This decade is, then, the most prolific in editions of German translations of the "Night Thoughts," the richest in influence upon German writers, and most pervaded with enthusiastic interest in the "Night Thoughts." But it also produced a decided increase in the reaction against Young and his imitators that had been evident since the time of Wieland's conversion in 1758; a reaction that grew steadily from now on and made itself felt especially in the next decade. 1771-1779 This decade presents an interesting picture. Not a single new attempt is made during this period to translate the "Night Thoughts" or any other work of Young. Periodicals con- tain reviews of three different French editions of the "Night Thoughts," and of the sixth volume of Young's works in Lon- don. An English edition of the poem is published in Hamburg, and some unimportant discussions of Young appear ; otherwise the field has been surrendered to Ebert. Two reasons may be assigned for this lack of translations, both having their origin in timidity : first, the scathing reviews of the preceding decade against the "Night Thoughts" and especially against their German imitators may either have dis- heartened the would-be translators, or may have converted them and turned their talents in other directions ; and secondly, the success of Ebert may have crowded them out of the field, 70 which they resigned to him quite willingly, thinking, perhaps, that no new translation was necessary in the face of his perfect work. At all events, as opposed to the failure of a single new transla- tor to appear, Ebert continues his editing with undiminished vigor. Besides a new edition (the third) of his translation of the "Resignation," and iive of the "Satires," as well as a new edition of all the other works that he had translated, Ebert published, in Braunschweig, the second edition of Nights VII-VIII of the annotated edition that had appeared in the preceding decade; and a new edition of the 1767 edition of the complete Nights. Volume IV of the Schaffhausen edition ap- peared (1774), containing the ninth Night, as well as a com- plete reprint of this edition, comprising all the Nights in four volumes (1776-177 7). Basedow arranged a chrestomathy in Ebert's translation of Young's best thoughts, for use as a text-book on morals and rehgion (1778). And this tells one of the secrets of the success of Ebert and of his continued output of new editions. The religious and moral maxims of the "Night Thoughts" were excellently adapted to ecclesiastical work; they formed a good companion piece to the catechism and litany, and went hand in hand with the Bible itself. But we must not forget that Ebert was a pedagog, and as professor of Enghsh offered courses in the "Night Thoughts" at the CaroUneum in Braunschweig. His annotated edition was the text-book and many editions were necessary to supply his pupils, — perchance a vulgar use for such a work, but a practical application. Influence upon the literature of the period has not ceased. Goethe writes his "Werther," a product to a large extent of the literary tendencies that followed in the wake of the "Night Thoughts"; Schiller is in his Klopstock- Young period; Jean Paul, Tiedge, and others have joined the scores of Young's followers, and the poetasters continue to flood the press with their ephemeral lucubrations. But the reactionists, too, Jacobi, Heinse, etc., have received new forces; Michaelis, Wetzel, and others continue to put forth their satire and endeavor to crowd the "Night Thoughts" 71 out of the field ; and Herder, altho he calls Young the fore- most of all gloomy poets, finds fault with his chaos of thoughts and figures, and prophesies that the imitators of Young and Hervey, the Schmierer von Nachtgedanhen, must finally become the most distasteful of poets. The Frankfurter Gelehrte Anzeigen (1772) also show a de- cided antipathy toward the "Night Thoughts," but most im- portant of all are the attacks by the critics Mauvillon and Unzer (1771-1772). Starting with Gellert, they attribute to him an exaggerated influence, which made the widespread potency of Young's "Complaint" possible. And then, coming to Young himself and his imitators, these critics dwell upon the absurdity of Young's irreconcilable grief, however sad his bereavement; and they express their wonder and surprise that he was ever so much admired in Germany and was allowed to do so much damage to literary taste, whereas in England his popularity had waned at once. For this these critics make the Germans themselves responsible and reproach them with their weakness in allowing their "Anglomania" to carry them off their feet. This tirade supported very effectively the position taken by the reactionists of the preceding decade and was undoubtedly largely the cause of the lack of new translators in this decade. But we must not imagine that the Germans were cured of imi- tation. The other phase of Young's influence was now at its zenith, i.e. the cry for originals which was nourished by the "Conjectures," and "Night Thoughts" imitation had to go with the rest. But the special cause of the turning away from the "Night Thoughts" is rather to be found in the increasing predilection for Ossian and Percy's "Reliques." Thomson's "Seasons" and Young's "Night Thoughts" had taught the Germans how to express their feelings freely; but such poetry, together with Gray's "Elegy," Akenside's "Pleasures of the Imagination," and the like, did nothing more. It inspired them to religious, melancholy reflection, too metaphysical and conventionally affected to touch the heart deeply, sincerely, or with a satisfying effect. It emancipated the ego to a certain extent, but did not teach the profoundest secrets of nature that Wordsworth, for 72 instance, later revealed. It is a transition to subjectivism, which prepared the way for the voice of nature as effectively revealed in the folk-poetry. This added a new source of in- terest and inspiration for imitation and emulation, because they were originals and nourished the spirit of the times that raved over originals. Homer and Shakspere, also, were chief models, not as works to be imitated, but as writers who depicted nature faithfully and whose method was to be imitated and was to furnish the secret of success. Thus, in distinction to the preceding decade which was the period of the greatest influence of the "Night Thoughts," in this decade the reaction against Young and his imitators had reached its height. From this time on, altho there continues a more or less pronounced predilection for Young on the part of a certain class of writers, it is less fanatical and extensive than before, and, compared with the feeling of opposition which con- tinues to work hand in hand with the increasing desire to culti- vate original genius, is weak and undecided, and of minor importance. 1 780- 1 789 In this decade it is very evident that the reaction against Young has not only been successful in Hmiting and almost stop- ping imitation of the "Night Thoughts," but Young is fading away from the public gaze and is rapidly being forgotten. Ebert's translation is reprinted in Speier, in a library of religious and moral works (1780), and a supplementary volume is added (1782) in Frankfort; Herder uses some verses of Night II in his "Briefe das Studium der Theologie betreffend" (1780), but beyond this little activity is evident. In 1780, also, Professor Eckert in Mannheim presumes to revise Ebert's translation in a new edition under the title of Young's Complete Works, to which he adds a translation of two of the tragedies, in 1784, when the whole edition appeared in five volumes. But the periodicals are silent. Even Ebert receives no notice ; anthologies and works on literature scarcely mention the "Night Thoughts," and the German translation of a French chrestomathy, "Moralische Betrachtungen uber 73 den Werth des Lebens," passes without notices. In fact, the only attempt that receives the attention of critics is the hex- ameter translation of the "Night Thoughts" by Steingriiber, and the criticism of that seems to have been written chiefly to find fault with the use of hexameters in German. The former admirers of Young are silent. Schiller has turned from Klopstock and Young, and only a few of the youngest poets consider Young a force. Jacobi and his reactionists are joined by Matthisson, Wagner, and others, altho their zeal is scarcely any longer necessary. To offset this, of course, the idea of original genius has risen in strength proportionately, and nature, as found in the folk-song, Shakspere, and Ossian, is the leading source of inspiration. That Germany had gained its equilibrium as far as fanatical admiration and imitation of the "Night Thoughts" is concerned, is attested by one writer at least. C. F. Cramer, in his work on Klopstock, correctly characterizes Young's influence upon the times and furnishes proof, conceding him to be representative of the times, that the literary world had begun to realize the truth. I 790-1800 But for Ebert, the "Night Thoughts," at the end of the century, would have been decidedly a thing of the past. Ebert seemed to feel, however, that he must bring the study of his favorite poet to a successful close by editing a last edition that would include the results of his investigations since the annotated edition of the sixties ; and so, in the years 1790- 1794, hepubhshed what he himself called the final edition of the "Night Thoughts" and "Satires," and then laid down his pen forever. But his editions lived on. He had begun to publish a final reprint of the edition of 1767, without notes, but only Volume I, containing the " Night Thoughts," appeared (i 791) ; the volumes containing the other works of Young were delayed until after his death. Volume II appearing in 1799. In this decade Herder stifl draws upon the "Night Thoughts" in the Neue Deutsche Monatschrijt (1795), and numerous selec- tions are included in anthologies and collections, but without 74 special emphasis upon Young. The writers of this period who mention Young in their works are either cool or decidedly an- tagonistic, and the once ardently admired poet is now almost totally rejected. It was reserved, moreover, for one of the warmest of these admirers, Herder, to give the last important estimate of the century, and that was rendered with a coolness that leaves beyond a doubt the fact that the Germans had at last com- pletely recovered from the Young epidemic. Herder expresses his surprise, as he reviews the movement, that Young was ever considered a deep thinker, and claims that no work is to be read with so much caution as the "Night Thoughts"; and Schiller, in his essay on "Naive and Sentimental Poetry" (i 795-1800), brands Young as the least competent guide to life. Thus the "Night Thoughts" ran their course in the second half of the eighteenth century, rising to an extremely sublime height and then sinking to the very unimportant position of a school text; for Herrmann, Gymnasium teacher at Wismar, pubhshed the last edition of the century, not a translation, but the English text, with notes from Ebert, to make the mastery of Young's dijfi&culties of style easy for all German students of EngUsh. I 802- I 903 The edition of Hermann (1800) gives the keynote of the posi- tion assigned to Young from that time on — that chiefly of an academic problem. Only isolated editions appeared and quite independently of any movement for or against Young. The year 1802 brought a reprint of Eckert's 1 780-1 784 editions; Halem's Irene contained a blank verse translation of Night I, the next year; and the year 1805 saw the pubhcation of the last reprint of Ebert's 1780 edition. Selections translated by Schneller appeared in 181 2, and then no attempt seems to have been made to translate the "Night Thoughts" until 1825. In the meantime various short biographical sketches of Young were pubhshed in literary treatises, mostly of a bibliographical or academic nature. 75 The year 1825, however, produced two translations, both in the original meter : one by Schmidt in Dresden, comprising only the first six Nights ; the other by Bentzel Stemau of the complete nine Nights, published in Frankfort, and reprinted in Vienna, in 1827. The next attempt is made by EHse von Hohenhausen (1844), who painfully endeavors to reproduce Young line for line. The poetess, if her knowledge is typical of the period, shows that nearly all the translations of the "Night Thoughts" had been forgotten, even those of 1825, inasmuch as she claims that her translation is the first attempt at a rendition in German blank verse. Reprinted about 1874, this translation remains the very final one of the "Night Thoughts." With the exception of these translations, the " Night Thoughts" were since 1825 the subject of no special attention until toward the end of the century, when they were taken up for discussion and treatment in dissertations and school programs, magazine articles, and casual mention, as a phenomenon of the past, interesting for what they had been to preceding generations, not for what they mean to the present. 2. Influence upon German Writers (a) The Swiss School and Didactic Poets The Swiss, having sprung into prominence thru their controversy with Gottsched, were exerting a potent influence upon the literary taste of the Germans at the tune when the "Night Thoughts" appeared. From about 1740 to 1755, they were the wonder and admiration of Germany and, in fact, their influence continued more or less up to the time of Bodmer's death (1783). Opposed to Gottsched's predilection for the French, the Swiss sought inspiration in the ancients, on one hand, and in the English, on the other. Against Gottsched's view that poetry is a mere matter of rules and correct form, Bodmer and his school looked upon poetry as the creation of the imagination and the passions, food for the heart. These 76 poetical ideas won the day, and thus EngUsh letters gained a welcome and a prestige that soon dominated all Germany. JoHANN Jakob Bodmer (1698- 1783) Bodmer, the principal figure of this group, early learned Eng- lish, and was led thru his study of Milton to other British writers and to Young, whom he does not mention until after the "Night Thoughts" had appeared.* His first contribution to the study of Young was published in the Neue Critische Brieje, in 1749, where the "Satires" and the "Night Thoughts" are introduced. These fragments are the first translation of verses of the "Night Thoughts" published in Germany. The hexameter epistle "An Sipha" is in part a translation, in part a paraphrase, of Night II, verses 461-537, and the selec- tions translated in a later article of the same periodical are from Night VI, verses 627-648, 677-689, in well-executed blank verse. The sentiments of these passages are judged superior to a similar passage in his own poems. The Crito^ in 1751, reviews Ebert's first translation and recommends the "Night Thoughts" very highly to its readers; it also publishes critical and moral remarks on the first Night. Bodmer's biblical epics and his tragedies were greatly in- fluenced by the "Night Thoughts." This is especially true of the "Noah." Ebert has ferreted out and cited in his edition thirty-five passages which show Young's influence. The minor epics, too, collected as the " Calliope," ^ show abundant in- fluence of the "Complaint," and the influence on the tragedy "Johanna Gray" is proved by Bodmer himself, when he cites passages which he owes to Young.'' It is, finally, interesting to note Bodmer's request, in 1765, for a copy of Ebert's annotated edition of the "Night Thoughts," that he might be able to see how many times and how exactly he has imitated Young.^ ' Cf. infra, pp. 120-121 ; also, Bibliography, infra, 1749. ' Cf. Bibliography, infra, 1751. ^ Zurich, 1767. * Cf . " Drey neue Trauerspiele." Zurich, 1 761 . " Johanna Gray," pp. 77, 89, 94. ' Letter to Pfarrer Schinz in Altstatten, Aug. 30, 1765. 77 Albrecht von Haller (i 708-1777) Haller's " Lehrgedichte " exhibit the same serious, moralizing tone that characterizes the "Night Thoughts," but one can hardly speak of Young's influence on Haller's writings; for aU of his important poems antedate the "Night Thoughts," and the minor poems after 1741 are of httle consequence. Primarily a scientist, he was, however, deeply interested in Uterature and philology, and as editor of the Gotlmgische Gelehrte Anzeigen he rendered an invaluable service to literary criticism. Haller inspired translations of works of several im- portant writers,' among them Kayser's translation of the " Night Thoughts," ^ the preface of which is from a letter to him from Tschamer, written while in London the year before. His cor- respondence with Tschamer, especially the reply to the above- mentioned letter,^ shows deep interest in Young, and the review of Kayser's translation * shows clearly his predilection for Young's muse. Ebert cites twelve passages of the "tjber den Ursprung des Ubels" (1734), which have parallel thoughts in Young's "Com- plaint." ^ In view of this spiritual kinship it is futile to call later similarities influence. Haller was rather one of the spirits that paved the way for the "Night Thoughts" in Germany and promoted their influence. ViNCENZ Bernhard Tscharner (1728-1778) Tschamer was one of the pioneers in translating the "Night Thoughts." During his visit in England, in 1751, he spent four delightful days with Young at Welwyn, and his subsequent letter to Haller" gave the Germans the first definite data to satisfy their intense curiosity to know the identity of the persons ^ "Albrecht von Hallers Gedichte." Dr. L. Hirzel. Frauenfeld, 1882, pp. cccxiii ff. ^ Cf. Bibliography, infra, 1752, 1760-1761. ^ Dated, Gottingen, March 28, 1751. * Cf. Bibliography, under Kayser's translation, infra, 1752. ^ In the 1790-1794 annotated edition. ^ Cf. on Haller, supra. 78 and events treated in the "Night Thoughts." While in London Tschamer found time to translate the "Night Thoughts," at least in part, into German hexameters, the first Night of which has been preserved in Haller's correspondence, but was never published/ Of his youthful poems, " Freundschaftliches Geschenke," ^ the one entitled " Abend- Gedanken, von dem Zustande der Seele nach dem Tode" especially shows influence of Haller, Klopstock, and Young. His feehngs, altho sincere, are inclined to be mawkish with sentiment and are not always the result of real experience.^ Friedrich Carl Casimir von Creuz (i 724-1 770) Creuz, a melancholy soul, was especially susceptible to the influence of his contemporaries. Among the German poets, Klopstock and Haller, among the English, Young, exerted the greatest influence upon him. In common with Young he was of an exceedingly religious nature and very much given to rhetorical effects. His principal poem, "Die Graber" (1760), is written in a tone even gloomier than Young's and lacks the Christian hope which brightens Young's despair. Like Young, Creuz is full of repetitions ; he lacks constructive ability and is overcome by his feelings to such an extent that his train of thought is broken, his pictures remain vague and lose their effect. Ebert cites only two passages from Creuz that he considers influenced by the "Night Thoughts," * but this has further been increased by the investigations of Hartmann,^ Bion,^ and Barnstorff,' who cite innumerable parallels, so that one must not only agree with Hartmann, that Creuz was inspired by the "Night Thoughts" to write his "Graber," and with Barnstorff, * "Vincenz Bernhard Tschamer, von Gustav Tobler." Bern, 1895, p. 27. ^ Printed as appendix to "Poesies choisies de M. de Haller, traduites en prose par M. de T. Gottingue, 1750." 3 Cf. Tobler, I.e. p. 31. • Cf. ibid., 1894. * In the 1 790-1 794 edition. ' Cf. ibid., 1895. * Cf. Bibliography, infra, 1890. 79 who says that the "Graber" are, with all their differences, only a weak echo of the "Night Thoughts " ; but we can go further and pronounce them fairly teeming with thoughts from Young. (b) Gottsched and his Followers JoHANN Christopher Gottsched (i 700-1 766) Gottsched, whose attitude toward the English was not at all friendly, and who attacked the "Conjectures" severely,* was rather pleasantly disposed toward the "Night Thoughts." That he and his wife, "Louise Gottschedin," early became acquainted with Young's "Complaint," is proved by a letter from the latter to a friend in sorrow, whom she advises not to read Young too zealously, lest her grief be increased and her melancholy make Young's pictures seem even blacker than he intended them.^ Gottsched 's review, in 1757, of the anonymous, metrical translation that had appeared the year before, praises both the original and the translation, citing verses freely to prove its merits.^ And when this same translation was published, in 1759, together with Nights I-II,* he likewise reviewed it with praise and admiration. They are miserable attempts, but Gott- sched's predilection for French Alexandrines made him partial to these rimed octameters, as we have seen, so that he preferred them to Ebert's "insipid" prose. That Gottsched is glad that the translator has retained the rime of the original does not speak well for his knowledge of the "Night Thoughts " ; neither does the fact that he had forgotten Kayser's translation of 1752, and did not recognize the "new" verse translation as the one he had reviewed before.^ But most peculiar of all is the fail- ure to mention the "Night Thoughts" in his "Handlexicon" of 1760.^ ' Cf. supra, pp. 15-16. ^ Letter to Fr. v. R., Leipzig, Aug. 22, 1752. ^ Cf. Bibliography, infra, 1756. * Cf. ibid., 1759. ' Cf. ibid., 1760. 80 Daniel Wilhelm Triller (1695- 1782) Altho Triller's poems of complaint and sorrow on the death of his wife, "Klage-und Trauergedichte," Wittenberg, 1752, are worthless verses, they deserve mention here, because they show the early development of the desire to poetize grief, a tendency which can, to a large degree at least, be attributed directly to the "Night Thoughts." Triller confesses his infe- riority as a poet, but he says he can not but desire to erect a monument in his lowly song to the worthy memory of his de- parted spouse. Christoph Otto von Schonaich (i 725-1807) In his polemic, " Neologisches Worterbuch," * Schonaich cites "Pop und Jung" as " unsterbliche Namen — "Die, wie ein loser Schalk hinzusetzte, Namen, Die niemals unentweiht von B-dm-rs Lippen kamen." This apostrophe to Pope and Young was expurgated in the 1765 edition.^ (c) The Group 0} the ^'Bremer Beitrdge" and Similar Poets The polemics between the Swiss and Leipzig schools de- generated into petty personahties and exposed Gottsched's weaknesses to his admirers. As a result they forsook him and formed a literary circle of their own. They also severed their connections with the periodical published by Gottsched's circle, Belustigungen des Verstandes und des Witzes, and as a means of publishing their productions they established their own periodical, Neue Beitrdge ziim Vergniigen des Verstandes und Witzes, usually called Bremer Beitrage from the fictitious place of publication. It appeared from 1744 to 1748, being ^ "Die ganze Aesthetik in einer Nuss oder Neologisches Worterbuch von Christoph Otto Freiherrn von Schonaich," 1754. Reprinted in "Deutsche Litteratur-Denkmale des 18. und 19. Jahrhunderts." Vols. LXX-LXXV. A. Koster. Cf. p. 335. ^ Cf. ibid., p. 536. 81 then continued desultorily by others until 1759. The purpose of the pubhshers was to keep aloof from all party polemics, to cultivate original composition and the translation of foreign works, submitting their contributions for the approval of the members. In order to insure proper, unprejudiced criticism, every contribution had to be published anonymously. They rejected French models and turned to the ancients and the Eng- lish for inspiration. Among the latter, the novels of Richardson and the "Night Thoughts" of Young nourished an elegiac, sentimental vein, which manifested itself in tearful, emotional gush over friendship and kindred themes.^ JoHANN Arnold Ebert (i 723-1 795) This professor of English in Braunschweig,^ the first trans- lator of the complete "Night Thoughts," one of the ablest German translators of English writers in the eighteenth cen- tury, and who devoted the best part of his life to the works of Young, learned English early and read all the foremost British authors in the original. Altho he was an ardent admirer of Young, he was not at all blind to the latter's faults, nor did he fail to appreciate the works of Young's fellow-countrymen. In 1744 he is reading the most prominent English authors, he writes to Hagedom,^ but he does not mention Young. Four years later he writes of "divine Thomson," he sighs for the latter's poem on freedom, he will never tire of reading Glover's "Leonidas," and weeps over it; he has copied nearly all the sublime passages of the "Night Thoughts," and speaks of a few inferior passages that he would willingly "buy out" of the work, so ardent is his admiration for this wonderful genius Young. He even excuses them, as a last resort, since he can not render them unwritten, on the ground that only so exalted a genius could make such errors. Pope will charm him to his dying day, he says. He writes of plans to translate various * Cf. the introduction by Franz Muncker to the " Bremer Beitrage." Vol. XLIII of Kiirschner's " Deutsche National-Litteratur." * Appointed instructor at the CaroHneum in 1748, professor in 1753. ^Letter to Hagedorn. Leipzig, July 29, 1744. 82 English authors, but does not include Young ! ^ In fact we do not hear of his translation until the next year.^ In an un- dated letter to Young,^ he writes that he has had Young in his thoughts fifteen years, and has been translating the "Night Thoughts" about ten years. This would place his first ac- quaintance with the work in or about the year 1746.* Ebert's letters to Young are filled with the mawkishness characteristic of the times and furnish a vivid picture of his unbounded esteem for the author of the "Night Thoughts,"^ all of which Young accepts with thanks, complimenting Ebert, in return, on his perfect English,® and hoping they may meet in heaven. Beginning with the year 1751, Ebert published translations of the "Night Thoughts" and other works of Young, constantly revising them until 1794, the year before his death. Other editions appeared even after he had laid aside his pen forever.'' The notices of Ebert's courses at the CaroHneum in Braun- schweig repeatedly announce the critical interpretation of the "Night Thoughts," and all contemporary writers, commen- tators, and periodicals join in the universal acclamation and praise over the zeal, scholarship, and merit of the "foremost and greatest English scholar and genius," the translator of the "Night Thoughts." Ebert, in spite of, or perhaps rather on account of his ardent admiration of Young,* attempted no poem in imitation of him. The style and nature of his poetry is utterly different from that of Young. His longer poems are epistles called forth by some * Letter to Hagedorn. Leipzig, Jan. 15, 1748. ' Letter of Gleim to E. v. Kleist, Halberstadt, Aug. 24, 1749. ^ Most likely written in the winter of 1 760-1 761. * The year following the completion of the " Night Thoughts," and the time of the first notices in Germany. The beginning of his translation would thus have to be placed in 1 749-1 750. * Young was chosen, he writes, "by the all-gracious providence of God" to be his guide in heaven, where he hopes he may be allowed to mix his " tears of joy with those of all the blessed souls" to whom Young's excellent writings have been a means of salvation. ° Ebert's correspondence with Glover and Ferguson also shows how highly these writers esteemed his culture and taste. ' Cf. Bibliography, infra. * Cf. Ebert's poem on Young (1760). Cf. Bibliography, infra, 1789. 83 ephemeral occasion and amount to little as poetry. His gen- eral note is one of lightness, buoyancy, and love of nature. His- early poems (i 740-1 747) contain twenty-three anacreontics, and this anacreontic tone appears in his later verses too. We look in vain for unconscious adaptations of thoughts from Young. The same painstaking care to enlighten his readers that IS seen thruout the copious commentary on the "Night Thoughts" and "Satires," led Ebert to inform his readers from what source he drew his ideas. Thus the footnotes cite all pas- sages where Young is mentioned, adapted, imitated, or evea thought of. Ebert's services were very valuable for the development of the German language and hterature. Germany had no good prose, in fact it had but few monuments of hterature. Ebert introduced poetical inspiration from abroad and set a worthy^ model for smooth, harmonious, rhythmic prose. JOHANN Adolf Scm-EGEL (1721-1793) Ebert cites four passages of Schlegel's sermons that have parallels in the "Night Thoughts" ; also the kindred sentiments m the epic poem "Der Unzufriedene " ; and no doubt Schlegel owes to Young much of his serious vein.^ Young's favorite themes are found in Schlegel; there is the same praise of the Creator, celebration of friendship, love of virtue, and serious consideration of death and immortaHty that characterizes the "Night Thoughts"; but it is an extensive reflection of Young, rather than a tangible, verbal correspondence. JoHANN Andreas Cramer (1723-1788) It is not necessary to look further than the article written by Cramer in his periodical, in 1758,' to see that he was one of the most ardent admirers of Young. He considered Young ' Cf. Max Koch: "Uber die Beziehungen der englischen Litteratur zur deutschen im achtzehnten Jahrhundert." Leipzig, 1883, pp. 19 flf. ^ Der Nordische Aujseher, Kopenhagen und Leipzig. Vol. I, St. 13, pp. 158-182. Cf. also, Bibliography, injra, 1758. 84 a genius not only far superior to Milton, but among mankind the one nearest the spirit of David and the Prophets. He gave the "Night Thoughts" second place to the Book of Revelation only, in their sublime influence upon his soul. The same article contains an analysis of the "Night Thoughts" with frequent quotations from Ebert's translation, which he praises warmly. Cramer's sermons are replete with maxims and cita- tions taken from the "Night Thoughts," and his poems, too, were greatly influenced by the Briton. Like Schlegel, Cramer as theologian deals principally with Young's favorite themes, the treatment of which betrays close acquaintance with the "Night Thoughts." Nikolas Dietrich Giseke (1724-1765) Altho Giseke writes of whiling away the time of grief with "night thoughts,"^ that can only serve to show that he read Young, a fact that could safely be assumed for him as one of the group of the Bremer Bcitrdge. Giseke had a special penchant for poems upon the death of friends and others, and these memorials exhibit certain traits common to Young's philos- ophy. There is this cardinal difference, however, between the two poets: where Young bewails the loss of his kin in exag- gerated, inconsolable grief, Giseke is simple and direct in style, and evinces a healthy, manly spirit that is free from Young's wail. It may be characterized by the following passages : — "Wie billig haltst Du ietzt den Gram fiir Deine Pflicht: Doch unterliegen muss ein edles Herze nicht!" "Also sammelt Gott seine Geliebten. Nicht einen von Ihnen Lasst er zuruck in den Thalern der Miih' ! Er sammelt alle." This strain runs thru all his poems ; it is consolation rather than complaint. The theme of friendship is a favorite with him, and the treatment of this approaches more closely Young's more buoyant moods. ' "Poetische Werke," C. Ch. Gartner. Braunschweig, 1767. Cf. the 6th "Brief," p. 404. Does he mean Young's "Night Thoughts"? 85 Friedrich Wilhelm Zachaeiae (1726-177 7) As a colleague of Ebert at the Carolineum, Zachariae was brought into close touch with English poets, and his transla- tions of Milton and Warton attest his interest in English litera- ture. In his correspondence we find him early an admirer of Young, but the most direct proofs of his interest are found in his verses themselves. We have the word of his friend Ebert that the most remarkable correspondence in Zachariae's poems, in which he expresses almost verbatim the opening of the '' Night Thoughts," is a mere coincidence. But there are other pas- sages in his poems, written after his acquaintance with the "Complaint," that are modelled after Young. The poems "Die Erscheinungen" and "Die Nacht" show this influence especially, and even " Die Tageszeiten," an imitation of Thom- son's "Seasons," mentions Young. But the poem "Die Nacht" shows the greatest influence of the "Night Thoughts," and not only mentions Young and Ebert in glowing tributes, but bor- rows Young's pictures in describing the night, and makes free use of passages of the "Night Thoughts." CmilSTIAN FiJECHTEGOTT GeLLERT (1715-1769) Gellert learned English from Ebert and so naturally studied Young's "Night Thoughts." His correspondence refers con- stantly to Young and furnishes us with one of the best contem- porary pictures of the universal interest taken in the author of the "Night Thoughts." Gellert's moral essays teach Young's philosophy and were a potent factor in spreading interest in the "Complaint" in Germany. He often cites Young and on one occasion criticises the "Night Thoughts" in words of ardent admiration.^ So potent and widespread was Gellert's influence, that contemporary critics attributed to him directly the "moral prattle" that allowed Young to become so popular in Germany, and made him responsible for the warm reception accorded to Ebert's translation. Young and Gellert had ruined taste, they * " Sammtliche Schriften." Leipzig, 1867. Vol. VI, p. 180. 86 claimed, and to the Litteraturhrieje was due the credit of effect- ing the reaction against this barbaric Gellertomanie} In view of the intense interest taken by Gellert in Young, one would look for tangible influence of the Briton upon the German moralist; but the similarity is in most cases to be attributed to kinship of thought and purpose rather than to direct imitation. At least, Gellert beheved himself free from imitation, and any use of Young was unconscious. The pas- sages that seem traceable to Young are very likely accidental, and owe their origin rather to that part of Young that Gellert had so thoroly digested that it had become part and parcel of his own mental resources. JOHANN WiLHELM LUDWIG GlEIM (1719-1803) One of the first German writers to discuss the "Night Thoughts" was Gleim. In a letter to Uz, as early as 1746, he writes that " the English seem to have the Horatian ode in sev- eral poetical types; for example, the ' Neight-Thoughts ' of ^ D. Joung,' the continuation of which is said to have appeared, seem to lack nothing but a better meter, a plan, and different rhythm to be an ode." ^ This shows that Gleim had been following and studying the "Night Thoughts" as they appeared in England. Later in the same year he recommends that the Germans discard rime and enjoy the same freedom that Enghsh has in its blank verse, and again cites the "Night Thoughts." ^ In 1749, he announces to E. von Kleist that Ebert is translating the "Night Thoughts," and praises both the original and the unpublished translation.* Two years later a reaction has set in ; he does not admire the poem as much as formerly; the great artificiality of style has ' " Ueber den Werth einiger Deutscher Dichter," etc. Frankfurt und Leip- zig, 1771. Mauvillon und Unzer. 14th "Brief," pp. 301-312. ^ " Briefwechsel zwischen Gleim und Uz," C. Schiiddekopf. In " Biblio- thek des litterarischen Vereins in Stuttgart." Vol. CCXVIII, p. m. Cf. letter, dated Berlin, June 30, 1746. ^ Cf. ibid., p. 134, letter, dated Berlin, Nov. 22, 1746. * " Kleists Werke," A. Sauer. Berlin. Theil 3, p. 108. Cf. letter, dated Halberstadt, Aug. 24, 1749. 87 never pleased him, he writes, and now he discovers entirely too many false thoughts which have no foundation of truth whatsoever. Uz had criticised Young to Ebert, who was translating the ''Night Thoughts" at the time, and Gleim conjectures that this did not please the translator. The translation Gleim pro- nounces unimpeachable and says Young has become a German original thru Ebert ; but he regrets that Ebert did not choose a worthier poet to translate.^ And yet, in 1761, he thanks Zachariae for Ebert's new translation and says he now thinks day and night in the "Night Thoughts," as Klopstock did.' But the "Night Thoughts" found no soil in Gleim's poetical field, to take root and spring up in imitation or influence. Gleim's muse was not compatible with Young's, the two poets had nothing in common ; their philosophy of life was different, as is attested by Gleim himself, when he refused Young the recognition that he would gladly accord to even Ebert : " Young is no savior of men ; I will not erect a monument to him. His translator Ebert would receive a memorial for his cheerful songs sooner than Young for his black 'Night Thoughts.'"^ JoHANN Peter Uz (i 720-1 796) In his earlier years a lyric poet of the anacreontic school, during his whole life a follower and admirer of the French and ancient classics, opposed to the English authors of his own tunes, Uz, nevertheless, was one of the first German poets to study the "Night Thoughts." As early as 1747, in the very midst of his anacreontic period, we find him busy with Young's poem, writing his criticisms to Gleim." The style of the "Night Thoughts" seems to him sinnlich, but, as one might expect of him, a lyric poet of so light a vein, not simple enough. The ' Cf. " Briefwechsel," etc., I.e. p. 229. Cf. letter, dated Aug. 29, 1751. ^ Letter, dated Jan. 25, 1761. Cf. Neiie Jahrbiicher fiir Philologie und Paedagogik. Vol. CXIV, p. 411. 3 "Briefe von den Herren Gleim und Jacobi." Berlin, 1768. Vol. I, p. 297. Letter to J. G. Jacobi, Feb. 17, 1768. * As appears from Gleim's letters, the two poets had for years been reading and discussing the "Night Thoughts" as the various Nights appeared. 88 most elaborate odes of Horace, he writes, are not so rich in bold figures. Such superfluity does not please him, especially since he doubts their correctness.^ In 1 75 1, he has read Ebert's translation with pleasure, but again complains of the complex, ornate style of Young and the other Britons, as compared with the simplicity and good taste of the ancients. He thinks the prevailing German imitation of such writers will corrupt German poetry anew.^ But as he develops. Young seems to satisfy him better ; for three years later he calls Ebert's translation beautiful, and thinks Young has outdone himself in the last Night.^ The further Uz developed his more serious side, the more Young could find response in his muse, and so it is very natural to find as motto of the first letter of his " Versuch iiber die Kunst stets frohlichzu seyn" (1760),^ a sentiment from the "Centaur," while the fourth letter is introduced by a passage from the "Night Thoughts," i.e. from Night the fourth. Ebert himself cited no less than nineteen passages of his friend's poems that show kinship with Young, and there is no doubt much influence, but even here only the lighter, brighter strains in Young's gloom found response in Uz. JOHANN FrIEDRICH VON CrONEGK (1731-1757/8) Associated with the writers of the Bremer Beiirdge, Cronegk, having learned English, naturally was deeply interested in the "Night Thoughts." His " Lehrgedichte " show influence of Young, but it is in the two poems "Einsamkeiten," written in loneliness, separated from his friend and his sweetheart, and after the death of his mother (1757), that we find the greatest influence. Young's muse is invoked, phrases and sentences are taken over bodily, and the whole work shows imitation and * "Briefwechsel zwischen Gleim und Uz." Cf. I.e. p. 155, letter, dated Jan. 19, 1747. ^ Cf. ibid., p. 224. ^ Westermann's Monatshejte, Vol. II, p. 102. Cf. letter, dated Nov. 18, 1754. * In the epistle to Ebert (1755) Young is named; he sings in a manly tone, even when he weeps, Cf. verses 107-108. 89 borrowing from Young on every page. Cronegk's figures, even where modelled after Young, are plainer and inferior, and his complaints seem to smack of the lucubrations of the times rather than to represent spontaneous grief. Mendelssohn, provoked at this addition of " Einsamkeiten " to the already superfluous crop of melancholy poetry, pronounces this genre imitation of Young and inveighs bitterly against such inane, affected grief.^ Friedrich von Hagedorn (i 708-1 754) Hagedom said of the two years spent in England (i 729-1 731), that they were the only two years of his life that he wished to live over again. He was intensely interested in English litera- ture, but Pope, Shaftesbury, and Prior are his models. The writers of the Bremer Beitrdge loved and honored him as a father, and his interest in the EngHsh, combined with the in- fluence of their intimate relations with the Swiss school, furthered their English studies; but his light, anacreontic muse had nothing in common with Young's "Complaint." Yet even he has left behind a testimonial of his interest in the "Night Thoughts" in a letter to Ebert, which says, "One can not read your translation of the 'Night Thoughts' without the most grateful thanks for your successful labors." ^ {d) The Gottingen League {Dichterhund) These writers, united thru their intense admiration for Klopstock, stand in their somber, melancholy elements more on the side of Klopstock himself. Among the foreign writers, they were influenced by Gray, Akenside, and Ossian, and altho Young was a favorite of some of them, the tangible influence that came from the "Night Thoughts" is very meager. 1 Cf. Brieje, die mueste Litteratur betrejjend. 207th "Brief." 1761. 2 Feb. 14, 1753. 90 Friedrich Gottlieb Klopstock (1724-1803) Of Germany's greatest poets of the eighteenth century, Klop- stock was the most sympathetically alHed to Young in spirit and purpose. Both were of the narrower religious type and sought to spread their views in didactic verse. His associa- tions with the contributors to the Bremer Beitrage, and espe- cially with Ebert, led Klopstock to the Enghsh of the day, and as early as 1748 he cites a passage out of the "Night Thoughts" in a letter to Bodmer.^ Likewise the next year he consoles Sucro, thru a letter to Gleim, with a verse from Young.^ But this acquaintance must have been based upon the inter- vention of friendly help, rather than independently upon the study of the original, or else his statement, when he writes in 1752 that he has just begun the study of EngUsh from Young's works,' must not be taken too hterally. His letters as late as 1773 evince the greatest admiration for Young; he exchanged some ardent letters with Young himself and also sought inter- course indirectly in his wife's letters to Richardson. Young's letters to Klopstock are full of the warmest thanks and appre- ciation. In 1752, while busily engaged in reading the "Night Thoughts" in the original, Klopstock wrote his ode to Young, which shows the depth of his admiration for the aged author of the "Night Thoughts." In his treatise "Von der heiligen Poesie," pubHshed in the early editions of the "Messias,"* he pronounces the "Night Thoughts" the "only work of the more sublime poetry that would deserve to be without fault," and writes further with the most ardent admiration. The death, soon after their marriage, of Meta,^ drew Klopstock closer than ever to Young's "Com- plaint" and made him still more subject to influence from that source. * Langensalza, Oct. 19, 1748. ^ Kopenhagen, July 13, 1751. ^ Letter to Gleim, Kopenhagen, April 9, 1752. * Halle edition, 1760. Accessible in Back and Spindler's " Sammtliche Sprachwissenschaftliche und asthetische Schriften." Vol. IV, Leipzig, 1830. Cf. also, ibid., pp. 1 15-122, and Klopstock's "Sammtliche Werke," Goschen. Leipzig, 1844. Vol. V, p. 47. ' Married 1754. Her death occurred in 1758. 91 Ebert cites sixty-one passages that show Young's influence upon the "Messias,"* and this is increased by scores in Hamel's recent investigations ; ^ and Bamstorff adds still more.^ Al- tho Milton was Klopstock's model, there is no doubt that Young's influence was as potent as has been claimed by modem critics, as well as by the contemporaries, C. F. Cramer and Clodius. It is the lyric element in Young that attracted him as to form, but there is this cardinal difference between the two poets: Young is free from mysticism, whereas Klopstock is inclined to it.* Klopstock's odes, of his earlier period es- pecially, and other poems, as well as his prose writings, all show abundantly the influence of Young's didactic, reUgious muse. Friedrich Leopold Gxjnther Gockengk (i 748-1828) The light, idyllic, and often anacreontic muse of Gockingk had no desire to express itself in morose complaints. His satirical vein was nourished by his associations with MichaeHs, who, too, was hostile to Young. Gockingk's satire "Gold- durst" betrays familiarity with Young's "Love of Fame," ^ and the verses entitled "Die Nachtgedanken-Schmierer" are undoubtedly directed against Young's followers in Germany : — "Bei Grabern und bei alten Kirchemnauem Will Stentor kiinftig trauern. Der Dinge natiirlicher Lauf ! Denn heute kiindigt' ihm sein Wirth die Wohnung auf !" ' Likewise the poem "An den Tod," written after the death of his wife (1814), seems especially directed against Young's "Complaint": — "Wohl sollt' ich itzt nach dir mich heiserrufen! Den Traurigen bist du ein Gut ! 1 Klopstock told Ebert that he used to read the Psalms and the Prophets, and the " Night Thoughts," for inspiration while working on his " Messias." Cf. Ebert's "Epistein und vermischte Gedichte." Hamburg, 1789, p. 298. 2 Kurschner's "D.N.L." Vol. XLVI. * C£. infra p. 123. 3 Cf. Barnstorff, I.e. pp. 36-37. « " Sinngedichte." Leipzig, * Cf. ibid., p. 34. 1778. P- 84. 92 AUein hinan des Lebens letzte Stufen ! Denn diess will grossem Muth. Was schwerer ist, war immer meine Sache. Wie? dennoch wollt' ich schon hinab, Gleich einem Weib', auf meinem Thranenbache Mich schwemmen an das Grab?" ******* "Ha! kann mein Dulden ihre Ruhe mehren: So soil die Trauer gehn ! " But a little later a change has taken place in the poet of seventy. The French harass and plunder his house, and then, in his trials and tribulations, his muse is his only consolation. In the poem "An die Dichtkunst" (1817) he pays a glowing tribute to the faithfulness of the muse: — "Doch auch da ^ hast du mich Trauernden nimmer verlassen, Durch die Harfe Young's giitig beschwichtigt den Gram, Wog ich Leben und Tod mit der Sterblichkeit Wage, O wie dunkte mich dann Leben und Sterben so leicht!"^ Friedrich Leopold Stolberg (1750-1819) Stolberg was one of the most thoro students and ardent admirers of Young,^ as is proved by the numerous passages in his letters cited by Jansscn in his compilation on the life-work of the Count.'* Letters to his brother, sister, and others, written upon occasions of sorrow and joy, Uterary criticism and political conditions, have recourse to citations from Young for corrobora- tion.^ Still one looks in vain for influence of Young upon the poems of Stolberg, in spite of his love for both Klopstock and * During the French invasion. ^ " Gedichte. Neue verb. u. verm. Ausgabe." Frankfurt, 1821. ^ This influence began in his home training; for we learn that his mother spent the whole day before the birth of a younger brother (1761) reading the seventh Night. For this son the Countess chose Dr. Young to be sponsor, an office that he accepted as a very high honor, hoping to meet his little godson in heaven. Cf. Ebert's undated letter to Young and Young's reply, in Ebert's "Episteln und vermischte Gedichte." Hamburg, 1795, pp. 79-80, 84. * "Friedrich Leopold Graf zu Stolberg. Sein Entwicklungsgang und sein Wirken im Gebiete der Kirche." J. Janssen. Dritte Auflage. Freiburg, 1882. * Cf. ibid., pp. 32-33, 43. 251, 273, 404, 455. etc. 93 Young. His poems are odes, ballads, and sonnets, largely occasioned by particular incidents, many written upon the death of relatives and friends. The poet wanders and sings in the night-time, but he never descends into the depths of the "Night Thoughts." He is buoyant even when afflicted with grief, and the light touches of sorrow remind one of Ossian rather than of Young. Even the sublimest and most philosoph- ical of his poems, the one that shows the greatest depth and genius, " Die Zukunft," ^ does not remind one of Young, al- tho some nature descriptions have an Ossianic touch.^ In the third volume of his works, verses from various authors are used as mottoes for the poems, but Young is not included.^ Perhaps the correct hint for this lack of influence and imitation may be found in the couplet "An einen Nachahmer": — "Kannst, armes Wichtchen, du nichts anders, als nachahmen, So musst du wenigstens nachgehen, und nicht nachlahmen." * At all events Stolberg did not practise imitation of others. (e) Philosophical Poets Martin Crugot (i 725-1 790) Here it is the philosophically religious work " Der Christ in der Einsamkeit" (1756) that interests us. Immediately upon its ap- pearance a periodical pointed out its similarity to Young ; ^ and a French translation is said to have borne upon its title-page the inscription "Par I'auteur des Nuits de Young."® Ebert, too, saw influence of Young in this work of Crugot and cited six examples. Crugot philosophizes over life, death, and im- mortaUty in Young's manner, but he is less abstruse and ornate. Night is his favorite time for meditation, and only in lonely * Written 1 779-1 782, but not published until 1885, in Archiv jiir Litteraturge- schichte. Vol. XIII, pp. 82-115, 251-272. ' Cf. ibid., p. 90. ' "Gesammelte Werke." Hamburg, 1827. * Cf. ibid., Vol. II, p. 112. ' Schlesische Berichte von gelehrten Sachen. Vol. XXIV, 1756. * Cf. BarnstorfF, l.c. p. 64. 94 surroundings does he feel at home with himself. The influence is beyond a doubt very strong, altho, on account of the inherent difference between philosophical thought and poetry in a philosophical vein, it is confined to thought rather than shown in form.^ JOHANN GeORG ZiMMERMANN ( 1 728- 1 795) Zimmermann likewise celebrates the theme of solitude and has many points in common with Young. His earlier writings " Betrachtungen iiber die Einsamkeit" (1756) and "Von der Einsamkeit" (1773) and the later final work "Uber die Ein- samkeit" (i 784-1 785) are written in this vein. But is it not significant that the author cites numerous writers : Cicero, Plato, Plutarch, Horace, Diogenes, etc.; among the EngUsh, Pope, Johnson, Bacon, and others, but does not mention Young? The correspondence between the thoughts here expressed and similar ones in Young are even vaguer than in the case of Crugot, and one is rather inclined to look upon this as a simi- larity of philosophy of life and not as a case of direct influence. JOHANN KaSPAR LaVATER (1741-1801) Lavater's work " Aussichten in die Ewigkeit" deals philosoph- ically with the same themes found in the "Night Thoughts." But Lavater says in his first epistle that he can not consider Young's "Night Thoughts," however excellent they are, since they deal more with immortality of the soul in general than with the nature of immortal life ; ^ and further, that Young's arguments can not convince him of the immortality of the soul.^ Likewise, in the second part, he mentions Young twice and * Against Crugot's work was directed " Der wahre Christ in der Einsamkeit," by Karl Friedrich Bahrdt (1741-1792), Halle, 1762; Leipzig, 1764, — a work written in a more cheerful mood and showing joy in life, rather than consolation in solitude and in thoughts of death. Then, in turn, there appeared two pam- phlets against Bahrdt, which it was not possible to find : " Etwas an Herrn M(agister) K. Fr. Bahrdt, seinen verbesserten Christen in der Einsamkeit betreffend," Berlin, 1764; and "Zwei Briefe an M. K. Fr. Bahrdt, iiber seinen verbesserten Christen in der Einsamkeit." Breslau, 1764. ^ Cf. second edition, Hamburg, 1773, p. 5. ^ Cf. ibid., p. 2^. 95 allows part of the "Night Thoughts" to stand along with Racine as the only examples of poems written for the glory of the truth of the best religion.* The real influence of Young upon Lavater appears earlier in life. G. Gessner, in his life of Lavater,^ gives letters that prove zealous study of Young. What Lavater says here of time and eternity is an echo of Young. Further, an entry in his journal, in 1763, tells of a visit with his friend Spalding in Barth, during which they discussed the gain in cultivatmg such serious poetry as Young's "Night Thoughts" and Klopstock's "Messias," as opposed to the loss of time devoted to trifling, childish poetry. (/) Other Writers JoHANN Jakob Dusch (i 725-1 787) The first article written by Dusch on Young is a harsh review, in 1759, of Ebert's translation.^ Piqued by the shortcomings found in his own translation of Pope, as we have seen, and covetous of the universal praise that was being accorded Ebert's rendition of the "Night Thoughts," Dusch translated the "Resignation" in 1763.^ In the second part of his "Briefe zur Bildung des Ge- schmacks"^ he has a long critique of the "Night Thoughts," which shows that he admired the work to a degree that made him blind to its faults and exposed him to censure.® And so it is not surprising to see his work on the immortality of the soup draw upon Young's "Night Thoughts." This influence was pointed out in a contemporary review, which dwelt upon the inferiority of Dusch to Young.* In the introduction to his works, Dusch characterizes the * Cf. ibid., Vorrede, pp. vi, xiv. 2 " Lebensbeschreibung von G. Gessner." Winterthur, 1802, Chapter VIII. 3 In "Briefe an Freunde," etc. Cf. Bibliography, injra, 1759. * Cf. Bibliography, injra, 1763. " Cf. ibid., 1765. * Allgemeine deutscke Bihliothek. 1768. Vol. VII, ii, pp. 142-159. ' " Sammtliche Poetische Werke," Part I. Altona, 1765. * Allgemeine deutsche Bihliothek, 1767. Vol. V, i, pp. 2-8. 96 "Night Thoughts" as follows, "Solemn, exalted, majestic, the characteristic tone being the hyperbole." ^ He states that he has indicated all passages in which he himself is conscious of any imitation; accordingly, there are many footnotes refer- ring to Shakspere, Milton, Addison, etc., and in his poem "Die Wissenschaf ten " three notes cite passages from Young.^ JoHANN Georg Ham ANN (1730-1788) That Hamann thought all his opinions a mere afterbirth of Young's "Night Thoughts," and that he considered all his caprices impregnated with Young's figures, we have already seen,^ as also the fact that there are few ideas that can safely be traced directly to the "Night Thoughts."^ Hamann often mentions the "Night Thoughts" in his writings, and always with favor, frequently citing from them. In 1756, his mother died and he gave expression to his grief in the eulogy, " Denkmal," which bears as motto the following sentiment from Young's "Night Thoughts": "He mourns the Dead, who lives as they desire. Die beste Trauer um die Todten ist ein Wandel nach ihrem Sinn." ^ This expression of grief reminds one of Young's "Complaint," altho it is in plain, direct prose. The influence of Young was asserted as early as 1762 by Thomas Abbt, who saw in the work the same style, thoughts, and transition from one subject to the other.* Heinrich Wilhelm von Gerstenberg (i 737-1823) Gerstenberg stands in peculiar relations to Young. A critic and student of the drama, enthusiastic over Shakspere, he belongs to Young's school for the promulgation of original genius, as has been seen,^ and, on the other hand, he defends both Young's "Night Thoughts" and their German imitators. ^ Cf. "Werke," I.e. pp. xxiii, xliv. ^ Cf. supra, p. 29. ^ Cf. ibid., 68, 89, 121-122. " Cf. supra, p. 40. ^ Konigsberg, den 16. des Heumonats, 1756. Cf. "Schriften." Roth. Vol. II, pp. 329-338. ' Letter to Mendelssohn, June 21, 1762. ' Cf. supra, pp. 22-26. 97 His poems show the influence of Ossian/ not Young, to be sure, but he espouses the cause of Young against the opponents who attack the "Night Thoughts" and their influence. In the Briefe iiber Merkwiirdigkeiten der Litter atur (1766) ^ Gerstenberg compares the Danish poet Tullin with Young and Pope, in words that attest his high esteem of Young. He says, "You can easily see that I must have a high opinion of him (Tullin), when I give him so exalted a rank," i.e. compare him with Young. His reviews, too, in the Hamburgische neue Zeitungen (1767-1771)^ mention the "Night Thoughts" many times and always with admiration. He takes sides with Young against Gleim who would not give Young a memorial,* and against Jacobi for his declamations on the damage that Young had done with the "Night Thoughts ";^ and, finally, he objects to the improper joke" on the "Night Thoughts" in the German translation of the Frenchman Moissy's "Spiele der kleinen Thalia" (1770).' Christian Friedrich Daniel Schubart (1739-1791) Schubart knew Young's "Night Thoughts" intimately, altho only in translation. He writes to his brother-in-law Bockh of the books added to his library by some friends during his absence, and among them he mentions the "Night Thoughts" with special emphasis.^ In a letter to Wieland, the next year, he enumerates his demands of a poet : only that poet is really great, who uses his talents to promote virtue and religion. Among the modern poets, those who have done so have been more successful by far than those who forsook the paths of virtue * "Ossian in Germany." R. Tombo, Jr., Columbia University Germanic Studies. Vol. I, No. 2. New York, 1901, pp. 105-119. ^ "Deutsche Litteraturdenkmale." Vol. XXIX, pp. 1 71-175, 3 Cf. ibU., Vol. CXXVIII. * Cf. ibid., p. 268; also supra, p. 87. 5 Cf. ibid., pp. 338-339. " This joke still circulates in America. Frequently to the present day, book agents, more ambitious than scrupulous, have sold Young's " Night Thoughts" to ignorant, unsuspecting readers as an obscene work. ' Cf. "Deutsche Litteraturdenkmale," I.e. p. 393. 'Letter, dated Aalen, July 23, 1763. Cf. "Schubart's Leben in seinen Briefen." Strauss. Berlin, 1849. Vol. I, pp. 28-29. 98 and religion. Such successful poets are Milton, Klopstock, Young, and Wieland.* Young's moralizing philosophy and depth of thought found a responsive chord in Schubart's fantastic, mystic nature and exerted a great influence upon his poetry. Further, he is in sympathy with the imitators of Young. He writes to Haug (1763) ^ that he is tired of all the parodies on the "Christian in Solitude" and is glad to see something new. The poems of Schubart that especially show influence of Young are the songs of death, "Todesgesange," pubUshed in 1767. Here and in others we find many thoughts of death and the grave, time and immortality, and other themes of Young. Karl Ludwig Knebel (i 744-1834) Knebel's biographer tells us that the poet in his youth was saved from the abyss of doubt and uncertainty by the "Night Thoughts," which had been recommended to him by his brother. Young held him spellbound for a considerable period, and Knebel continued to devour the "Night Thoughts" up to the time when he entered the University of Halle ; and he was inclined, as a result of this reading, to the study of theology.^ Much of Knebel's poetry is of a serious vein, nature poetry, which shows the influence of Thomson. Schiller's philosophy is also unmistakable, and such poems as the "Hymnus an die Sonne," "Hymnus an die Erde," " Hymnus an den Geist der Erde," are suggestive of Young's rhetorical style, ending in a memento mori as the poet turns to thoughts of the grave and of the life hereafter. Jakob Michael Reinhold Lenz (i 751-1792) The great influence that Young had upon Lenz has been admirably sketched by Anwand in his recent contribution to ^ Cf. " Schubart's Leben in seinen Briefen." Strauss. Berlin, 1849. Vol. I, pp. 54-55- ^ Letter, dated Aalen, July 15, 1763. He refers to Crugot's " Einsamkeit." Cf. supra, p. 93. ^ " K. L. Knebel's Leben von Th. Mundt," in Knebel's " Nachlass." Leip- zig, 1835, pp. xi, xiii. 99 the study of the poems of Lenz.* The author shows how the natural hypochondriacal tendency of Lenz's youth was increased by the reading of the "Night Thoughts." The verbal resem- blances are very few and vague, but the themes in general are entirely under the spell of the "Complaint," and prove how thoroly the German poet imbibed the philosophy of the Enghsh bard. Death is the teacher of life for both poets, the redeemer to be welcomed, not feared. Altho not so evident at first glance, Lenz nevertheless occupies a position similar to that of Young as moral preacher, admonishing to repentance before it is too late; and he, too, invokes the muse to sing of dark trials and tribulations. Both poets depict the misery of unfortunate mortals, war, famine, pestilence, and conflagration. The "Satires" appear to have furnished Lenz with some of his sentiments. If Young seems to be present in the Nachtschwdrmerey, it is thru the medium of Klopstock. Goethe and Rousseau are also sources.^ JOHANN HeINRICH JuNG-StILLING (174O-1817) Jung-Stilling was an ardent admirer of Young's "Night Thoughts." In his autobiography he speaks of reading Milton's "Paradise Lost," Young's "Night Thoughts," and Klopstock's "Messias," and calls them three books which harmonized per- fectly with his soul. His former sanguinely tender tempera- ment had given place, he says, to mild, tender melancholy, which would very likely remain with him until death.^ At all events, his love for Young remained; for, in 1793, he advises Sophie von La Roche to read Young's "Night Thoughts on Time" as the best book in time of grief.'* Stilling's extreme piety pervades his work, and his material has much in common with Young; but having the same biblical sources, being a ^ " Beitrage zum Studium der Gedichte von J. M. R. Lenz." O. Anwand. Miinchen, pp. 52-63. ^ Cf. ibid., p. 105. ^"Sammtliche Werke." Stuttgart, 1835. Vol. I, p. 241. * Euphorion. 1895. Vol. II, p. 585. R. Hassencamp: "Brief von J. H- Jung-Stilling an Sophie von La Roche," dated Marburg, Nov. 27, 1793. Her daughter had died a short time before. L or r.. 100 student of Milton and Klopstock, as well as of Young, he was exposed to similar influences from these different sources, and it is impossible to demonstrate influence of the "Night Thoughts." Jean Paul Friedrich Richter (i 763-1825) Jean Paul was a student of Young and found much in this kindred spirit to admire. The Prince of Gotha presented him in 1801 with a de luxe edition of the "Night Thoughts," which he calls divine {englisch)} He mentions Young frequently in his works ; but one can hardly speak of real imitation, altho many thoughts and themes are found in Jean Paul that have parallels in Young, as has been pointed out by Barnstorff. Further, Miiller claims that the reading of Young, Pope, Gel- lert, etc., inspired the essay " Etwas uber den Menschen" (1781).^ There is a warmth in Jean Paul, however, and a direct simplic- ity that touches our hearts more effectively than Young ever does, Altho an admirer of the author of the "Night Thoughts," Richter was not bhnd to his faults and especially those of his imitators. He even satirizes himself among them, as it were: "Beim Himmel! Wir versalzen uns da Alle mit Nachtge- danken den heiligen Abend ohne Noth, und es weiss Keiner von uns, warum er so seufzt." ^ That he was not in sympathy with these tearful poets is proved decidedly in his "Lob der Dummheit." He calls them the poets who live on tears as the fish on water. They are snow men, who, contrary to the course of nature, are stif- fened by the frost, but at night are melted by the moonbeams. In the second Deluge, the one of tears that these poets lately caused in Germany, they proved themselves zealous as frogs thru their voices, as fish thru their gills. But, he concludes, it is not necessary to say much about them now, since they disappeared with the water.* > Letter to Ch. O. Meiningen, Nov. 21, i8or. Cf. also " Werke" in Kursch- ner's "D. N. L." Nerrlich. Vol. I, p. xlviii. ' Euphorion. Vol. VI, p. 567. ' "Werke." Hempel. Vol. IX, p. 474. ■* "D. N. L." I.e. p. 160. 101 JoHANN Christoph Friedrich Houderlin (1770-1843) Ebert's translation of the "Night Thoughts" furnished food for Holderhn's thoughts on the transitory splendors of earthly life. In his poem "Der Lorbeer" (1788) the youth pays a tribute to his ideal, and from that time on this life offers less and less to this melancholy poet. But Young was soon replaced by Klopstock, who offered as much peace to Holderlin's desire to quit this sphere and yet filled his soul with sublime, rather than morose, melancholy.* Friedrich von Hardenberg (Novalis) (i 772-1801) Altho Novalis's "Hymnen an die Nacht" (1797-1798) do not resemble or show influence of Young's "Night Thoughts,'* they must be mentioned, because critics until recently have claimed such influence.^ They were misled to this conception by a passage in Novalis's journal, which reads, "Abends in Young's Nachtgedanken geblattert." ^ It is very probable that the "Night Thoughts" had some influence in the choice of subject, or they may even have suggested the idea of giving vent to his grief in writing, for the cause was the same in both cases ; but here the resemblance ends. Barnstorff cites Worner's interpretation of an obscure passage in the third Hymn thru a similar thought in the "Night Thoughts," and this is the sum total of definite parallels.* * Cf. "Die Jugenddichtung Friedrich Holderlins." Rudolf Grosch. Berlin, 1899, pp. lO-II. ^ Just Bing, in his biographical sketch of Novalis, Hamburg und Leipzig, 1893, p. 113, voices the same opinion. ^ "Novalis Schriften," Ernst Heilbronn. BerHn. 1901. Vol. I, p. 268. * Cf. Roman Worner: "Novalis' Hymnen an die Nacht und geistliche Lieder." Miinchen, 1885, p. 16. The passages are: Novalis — "und mit einemmale riss das Band der Geburt des Lichtes Fessel." Cf. Young, Night I, verses 131-133: — " Embryos we must be, till we burst the shell, Yon ambient azure shell, and spring to life, The Hfe of gods (O Transport !), and of man." 102 {g) Minor Works oj Minor Writers that show or suggest Influence oj the " Night Thoughts " H. C. Kretsch (1725-1781). " Klagegedichte." 1753. An elegy treating of the vanity of earthly life, the fickleness of fame, and other themes that are favorites of Young/ J. F. Lowen (1729-1771). "Der Christ bey den Grabern." Hamburg, 1753. Anonymous. "Klage bey dem Tode der Geliebten." Al- tenburg, 1753. C. W. C. Fr, V. C. " Betrachtungen iiber Leib, Seele, Tod und Leben." Bresslau, 1754. Anonymous. "Der Christ auf dem Sterbebette." 1754. Contains citations from the "Night Thoughts" and treats of similar subjects.^ F. E. Natho (1736-1806). "Der Tod des Christen." Ph. L. S. Miiller, Professor zu Erlangen. "Einsame Nacht- gedanken, eine Wochenschrift oder moralische Betrachtungen iiber die Welt und Weltliche Begebenheiten." Wien und X.eipzig, 1761.^ Anonymous. " Nachtgedanken bey einer gefahrlichen Reise in Kriegeszeiten, vom Verfasser des Christen im Kriege." bresslau, bey Meyer, 1762.'* Anonymous. "Stunden der Einsamkeit." Leipzig, 1760.^ Anonymous. "Scherze der Lyrischen Muse." Leipzig, 1760. Even this contains night thoughts with direct reference to Young, Hervey, and Zachariae as typical nightly bards." Anonymous. "Mein Vergniigen in Zurich." Halle. This contains a series of complaints in Young's manner.^ * In " Anthologie der Deutschen," Ch. H. Schmid. Frankfurt und Leipzig, ,1770, Part I, pp. 314 ff. ' In " Schlesische Sammlung kleiner auserlesener Schriften," etc., Part III. Breslau und Leipzig, 1756, XXX, pp. 477-492. ' Harshly reviewed in Brieje, die neueste Litteratur betreffend, 1761. i82d ^' Brief," pp. 59-64. * Likewise harshly reviewed, ibid., p. 69. » Ridiculed, ibid., 183d " Brief," pp. 73 ff. ' Likewise ridiculed, ibid., p. 78. * This, too, is ridiculed, ibid., pp. 81 fif. 103 M. K. Curtius (i 724-1802), Professor der Ritterakademie zu Luneburg. "Kritische Abhandlungen und Gedichte." Hannover, 1760. Many poems contain mention of Young and follow in his footsteps. Cf. especially "Abhandlung von dem Erhabenen in der Dichtkunst," p. 38; "Die Weser," p. 160; "Die Schicksale der Dichtkunst," p. 180. "Der Einsame." Hamburg, 1766. A moral weekly con- taining articles on sohtude and the like, strongly influenced by the "Night Thoughts," which are frequently cited. Cf. especially. Part I, "Des Einsamen Bewegungsgriinde die Ein- samkeit zu suchen. Nutzen der Einsamkeit," pp. 3-8; "Vor- theile der Einsamkeit in Ansehung der Religion," pp. 193-200; Part n, "Von der pflichtmassigen Verlaugnung der Menschen, in Ansehung ihres Aufenthaltes auf Erden," pp. 89-96. Ph. E. Kern (1716-1777). "Triumph vor dem Todten- Bette." Hildburgshausen, 1764. This bears Young's name on the title-page and breathes the spirit of the author of the "Night Thoughts" in the treatment of Christian subjects.^ A. G. Hering. "Uber den Tod der Mutter." "Uber den Tod eines Bruders." Two complaints in the tone of Young's "Night Thoughts." =* Schilling. "Gedichte." Bremen, 1772. Many traits be- tray influence of the "Night Thoughts," especially in "Die Leiden einer jungen Muse." Bremen, 1769. " Gesellschaf thche Bemuhungen der Welt die christliche Rehgion anzupreisen: — Kein Licht, kein Trost erfreute mich, Kennt' ich nicht, Jesus Christus, dich." Vol. I, Stuck I. Gottingen und Gotha, 1772. 198 pp. Zeal- ous arguments to prove the immortality of the soul in Young's manner, citing the "Night Thoughts" for proof.' ' Review: Ausziige und Urtheile ziber die neuesten Schriften aus den sch'dnen Wissenschaften. Gotha, 1765, pp. 376-383. Unfavorable criticism that points out the fact that Kern is an admirer and imitator of Young. Against this criticism appeared the review in Ausjuhrliche und kritische Nachrichten Uber die besten und merkwiirdigsten Schrifien unsrer Zeit, etc. 1765, pp. 105-128. ' In "Anthologie der Deutschen," Ch. H. Schmid. Frankfurt und Leipzig, 1770, Part I, pp. 35-46. ^ Review in Frankjurter Celehrte Anzeigen vom Jahre, 1772. Reprint in 104 A. H. Heydenreich, C. S. Regierungs-Rathe. "Das Grab in Vier Gesangen." Coburg, 1775. A poem of forty pages on the grave and death, imbued with Young's spirit and borrowing largely from the " Night Thoughts." In fact, the resemblance is so strong that the poem was bound with the Schaffhausen edition of Ebert's translation of the "Satires." J. K. Wetzel (i 747-1819). "Epistel an die deutschen Dichter." Leipzig, 1775. " Die unvermuthete Nachbarschaft. Ein Gesprach," pp. 25-48. An imaginary conversation be- tween Young and Sterne, characterizing both writers. Young is represented as the pessimistic moralizer, Sterne as the jovial satirist. K. Ph. Moritz (i 757-1 793). In his psychological novel "Anton Reiser" (i 785-1 790), Moritz shows the warmth of his admiration for the "Night Thoughts," when the hero, avowedly the author himself, says that it seemed to him as if he found in the work of Young all his former ideas on the empti- ness of life and the vanity of all earthly things. He could not read the work sufficiently to satisfy himself, and he learned the leading thoughts and sentiments by heart.^ G. F. Staudlin (1758-1796). The poem "An die Schwer- muth" shows the influence of Young's "Night Thoughts."^ F. L. Fischbach. "Nachtliche Einsamkeit zum Gebrauch fiir jeden Menschen, der Vernunft hat." Stettin, 1781. The whole work, 184 pp., is written in language similar to Young's; there are similar thoughts, arguments, and figures, with the same irrelevant digressions that are typical of the "Night Thoughts." Night is invoked for inspiration and eulogized in Young's manner. F. T. Wettengel (1750-1824). "Trostgriinde bey den Grabem unsrer Geliebten." Greiz, 1785. The above- cited works are a few typical examples of the scores of imitations that sprang into existence like mushrooms " Deutsche Litteraturdenkmale des 18. und 19. Jahrhunderts." Vol. CXXX, PP- 332-338. ^ Cf. " Deutsche Litteraturdenkmale des i8. und 19. Jahrhunderts." Vol. XXIII, Part III, p. 227. 2 Cf. Weltrich's Schiller. Vol. I, p. 487. 105 over night. Goedeke's " Grundriss," Vol. VII, gives the titles of innumerable works by ephemeral poets that suggest Young, but the works are utterly forgotten now and, as a rule, can not be obtained in any of the leading German libraries. Besides these, nearly all the Moralische Wochenschrijten from 1750 to 1800 contain references to Young, as well as articles that show the influence of the "Night Thoughts." It would take us too far afield, however, to treat all this ephemeral literature. In Austria the movement lasted somewhat longer, as it had also developed more slowly, and after 1800 we find numerous unimportant poems and works by minor writers that suggest influence of the "Night Thoughts." Such poets as Glatz, Veillodter, Theremin, etc., etc.,^ seem to stand under the shadow of Young. Most of these minor works it was impossible to locate, so no detailed resume can be given. {h) The Classical Writers and the Reaction against the ^^ Night Thoughts^' Chkistoph Martin Wieland (i 733-1813) Wieland, in his earlier years, nourished his already over- zealous and somber piety thru the study of Klopstock and Young, so that he rejected all poetry that was not written in Klopstock's idealistic vein, and accused of indifference to reli- gion all who did not prefer the meanest hymn to the most charming anacreontic of Uz.^ His first acquaintance with the "Night Thoughts" must have been in German translation; for at the time when he began to learn English, March, 1752, he already shows great fondness for the work.^ He is prepared to love Bodmer's Crito for its review of the "Night Thoughts,"* and a little 1 Cf. Goedeke's "Grundriss," Vol. VII. ^ " Geschichte der deutschen Nationallitteratur," Koberstein. Vol. Ill, p. 119. ^ "Ausgewahlte Briefe." Zurich, 1815. Vol. I, p. 55, letter to Schinz, Tiibing- en, March 26, 1752. He burns with the desire to read Milton, Pope, Addison, Young, and Thomson in the original, he writes. * Cf. ibid., p. 256, letter to Bodmer, Tubingen, Jan. 19, 1752. 106 later he writes in the tenderest terms to Schinz about the lat- ter's review and is anxious to know whether the satires en- titled "The Love of Fame" are really by Young.^ Other letters evince the same unbounded admiration for this author, who "rises to the plane of the very angels."^ But two years later a complete reaction, largely caused by his associations with Zimmermann, has taken place in Wie- land. The former disciple of Young now considers that au- thor's poetical taste bad and capable of corrupting the taste of young writers. There was a time, he says, when Young charmed him ; but that time is past.^ And Wieland was cured forever. Fifteen years later, writing about the Ossianic bards, he urges the necessity of taking a whip to the Klopstocks and their imi- tators and the transcendental poetical fools.* Thus the period of Wieland's life that may be regarded as subject to influence from Young falls between the years 1751 and 1758. Ebert cites no less than forty-three passages that show this influence. The works especially to be considered here are: "Briefe von Verstorbenen an hinterlassene Freunde" (1753), "Sympa- thieen" (1754), "Empfindungen eines Christen" (1757), and there is no doubt a striking resemblance and abundant in- fluence. GOTTHOLD EpHRAIM LESSING (1729-1781) Lessing's acquaintance with Young's "Conjectures" and his relations to them have already been discussed.^ His reviews also prove his acquaintance with other works of Young and especially with the " Night Thoughts." ^ His review of Kayser's translation, in 1753, calls the "Night Thoughts" "this master- piece of one of the sublimest poets." ^ Ahho he must find fault with the hexameters, he feels that the translator deserves commendation for helping to spread the original. He hopes the translation will be continued so as to include all the Nights, and he cites the biographical data on Young with an interest ' Cf. " Ausgewahlte Briefe." Zurich, 1815. Vol. I, p. 59. * Cf. ibid., p. 221. " Cf. ibid., Vol. Ill, p. 134. ' Ibid., I.e. pp. 269-270. * Cf. supra, pp. 26-28. ' Lessing's "Sammtliche Werke." Lachmann-Muncker edition. Vol. VIII, pp. 79, 125; Vol. IX, p. 336. ' Cf. Bibliography, infra, 1752. 107 that is significant. At this time Lessing was studying English poets, Pope, especially, in addition to Young. Klopstock, too, occupied him ; but that his endurance of such poetry was limited, Lessing shows in the couplet: — "Wer wird nicht einen Klopstock loben? Doch wird ihn jeder lesen? — Nein." (1751) * And yet Lessing read him and tried his own poetical talents in serious verses on human happiness and religion. His fragment, first published in 1748, "Aus einem Gedichte iiber die mensch- liche Gliickseligkeit," ^ shows this tendency, which is further developed in the fragment "Die Religion," published in 1751.^ Like Young, he chooses the quiet hours of night to concentrate his soul,* and, overcome by the thought of the nothingness of man compared with the infinite God, he calls out in Young's words, ''Was ist der Mensch?" ^ The arguments thruout the fragment suggest Young strongly. Lessing did not remain in this mood long, and we find him writing anacreontics soon after. His admiration for Young cooled as he grew older, but he did not turn against him, as is sometimes said.^ His review (1759) of Cramer's periodical Der Nordische Aujseher,'' in which the latter considers Young sublimer than Milton and second only to David and the Prophets, calls this fanatical adoration "somewhat exaggerated" (etwas ubertriehen) ; but that is not a harsh rebuff. That Lessing shared the views of his fellow-critics who, in the Litteraturhrieje, waged war against the Nachtgedankenmacher, is a safe con- jecture; but this, too, is directed against the hosts of imita- tors of Young, not against Young himself. JoHANN Gottfried Herder (i 744-1803) Herder, whose life-long admiration for the "Conjectures" has been discussed,^ was a zealous student of the "Night * "Sammtliche Werke," l.c. Vol. I, p. 2. ■* Cf. verses 23-24, ibid., p. 257. * Cf. ibid., pp. 237-240. ^ Cf. verse 47, ibid., p. 258. ^ Cf. ibid., pp. 255-267. ' Euphorion, Vol. V, p. 140. ^ Cf. on Cramer, supra, pp. 63, 83-84; also. Bibliography, infra, 1758. * Cf. supra, pp. 40-57- 108 Thoughts," as is evinced by the innumerable discussions in his reviews, writings, sermons, and letters. He himself had many points in common with Young, and his sermons, naturally dealing with the same problems that are found in the "Night Thoughts," were especially open to influence from that source. He translated a considerable portion, 125 verses, of Night I, some verses of Night II, and published 66 verses of the opening of Night V, a translation by G. W. Oeder, besides using several citations from the original or from Ebert's translation for various purposes of criticism.^ But in spite of his eager study of the "Night Thoughts" and the warm attitude that he shows toward them, he was by no means blind to their faults. As early as 1772, he calls Young the foremost of all gloomy poets, but finds fault with the chaos of thoughts and figures, and admxits that they must often cause headache and exasperation.^ He also prophesies of the imitators of Young and Hervey, that such gloomy singers must finally become the most distasteful and miserable of poets, "the most croaking raven of Herrnhut- isch death melodies." Elsewhere he speaks of these imitators as "schlechte Schmierer von Nachtgedanken." ^ Other pas- sages give full proof of the fact that Herder, with his sharp eye for literary merit, was fully aware of Young's weaknesses. He reaches the height of his reaction against the "Night Thoughts" in the following statement. Having given as his opinion that Young could not attain the standard of Milton, Herder says: "Young . . . who wished at all costs to be an original, vied with Shakspere, Milton, Pope, and all the didactic poets of the world. ... A bold wish to be an original, with which he, however, finally produced nothing more than sermons, no matter whether he called them Night Thoughts, Odes, Satires, or Tragedies. His greatest and fa- vorite figure in the 'Night Thoughts' is the parenthyrus (hyper- bole), which, to be sure, heaps one tirade of wit upon the other and says many beautiful things, but as a result does nothing further than to force (schrauben) the human understanding ' Cf. Bibliography, injra, 1803. ' " Sammtliche Werke," Suphan edition. Vol. V, pp. 290-291. 3 Cf. ibid., Vol. I, p. 253. 109 above its natural level. I am surprised that Young was ever considered a deep thinker; he is on all sides an extremely- witty, hyperbolical poet, striving for originality. Rich in thoughts and figures, he did not know how to control them. As he studied English theology in Thomas Aquinas, upon the malicious advice of Pope,* he likewise would have studied it in the Koran. Few poets are, therefore, to be read with so much caution. In his ' Night Thoughts, ' as the name imphes, he is to be tested as a thinker, and every coquetry of wit is to be esteemed for what it is, even if it concerns the hohest things." ^ But this is not Herder's final judgment; at least, it con- tains no malice, and he gives as his last estimate the following characteristic: "Young's 'Night Thoughts,' finally, are the non plus ultra of sententious, witty, sublime, pious thoughts, brilliant as the nightly firmament ; who can arrange and count them?" 3 JoHANN Wolfgang Goethe (i 749-1832) In 1766, Goethe wrote to his sister from Leipzig about his learning English from Milton and Young.^ A letter to his grandmother from Strassburg, in 1771, upon the death of his grandfather, contains thoughts that remind one of Young, and a letter the same year to Salzmann speaks of grasping after phantoms, in words that resemble Night I, verse 202.^ Other letters contain similar philosophy that shows the youthful Goethe still busy with the "Night Thoughts," whether for the purpose of learning English or for the poem itself. That "Werther," which appeared soon after, contains a view of the philosophy of life and death similar to that found ^ This refers to the curious anecdote, related by Ruffhead, of Young having been persuaded by Pope to study the writings of Thomas Aquinas as the best course of preparation to be pursued by a candidate for holy orders in the Church of England. Cf. Young's, " Complete Works," edited by Doran. London, 1854, Vol. II, p. 559, note. ^ "Sammtliche Werke," Suphan edition. Vol. XVIII, p. 106. ' Cf. ibid., Vol. XXIII, p. 236. "Adrastea," 1801. * " Goethes Briefe," Weimar edition, 1887. Vol. I, p. 71. * Cf. ibid., pp. 254, 263. Cited by S. Wukadinovic. Euphorion. Vol. V, p. 141. 110 expressed in the "Night Thoughts," is therefore not astonish- ing. Barnstorff cites a number of interesting similarities.^ In the Thirteenth Book of his autobiography, Goethe character- izes the effect that the gloomy English poets had upon Germany at that time, and attributes to them, mentioning the "Night Thoughts" as the work in which the pessimistic weariness of life is preeminently worked out, the conditions that caused "Werther" to strike a responsive chord everywhere.^ But Goethe, having delivered himself of this melancholy burden in his "Werther," was cured, and henceforth the "Night Thoughts" had no more attraction for him; whereas his fellow- countrymen continued in their melancholy. Barnstorff cites the French imitation "Wertherie," Paris, 1791, where the catastrophe is developed by a passage read from the "Night Thoughts." 3 During Goethe's sentimental period, as sketched above, a poem of 60 verses appeared in Hamburg, entitled " Eine Elegie von Herrn Doct. Gothe." * The anonymous author, cer- tainly not Goethe, makes free use of Young's " Night Thoughts," especially of Nights III and IX. Finally, Goethe's humor on this subject, as displayed in his verses " Das Alter," might be added : — "Das Alter ist ein hoflich Mann, Ein Mai iibers andere klopft er an, Aber nun sagt Niemand: herein! Und vor der Thiir will er nicht sein. Da klinkt er auf, tritt ein so schnell, Und nun heisst's, er sei ein grober Gesell." ' Karl Weinhold, in the Zeitschrijt des Vereins jiir Volks- ' Cf. I.e. pp. 74-75- ^ When L. Geiger, in the Jahresherichte jiir neuere deutsckc Litteraturge- schichte, Vol. Ill, IV 8d: 17, criticises a similar claim made by F. Duebnerin his "Quelques remarques sur 'Werther,'" etc., he loses sight of the fact that the great reading public could be affected by the wave of English influence secon- darily, and did not have to be brought directly into contact with English sources. 3 Cf. I.e. p. 75. * Cf. Bibliography, infra, 1774. ^ Sent in a letter to Zelter, Feb. 14, 1814. First printed in Goethe's "Werke." Stuttgart und Tubingen, Cotta, 1815-1819, Vol. II, p. 286. Ill kunde,^ cites these verses in connection with the couplet painted on the wall of an inn in the Otzthal, in the Tirol : — "Der Tod der ist ein grober Mann, Er kommt herein und klopft nicht an." Cf. for both, Young's "Night Thoughts," Night V, verses 618-620: — "and death Already at the door? He knocks, we hear him, And yet we will not hear." JOHANN Christoph Friedrich Schiller (i 759-1805) During the years of his schooling in the Military Academy of the Duke Karl Eugen (1773-1780), the youthful Schiller read Young and again took up the study of Klopstock. But the influence of the latter diminished as Schiller recognized his own ability in the dramatic field, and Klopstock's religious muse became more and more foreign to him.^ Any influence of Young that might have been exerted on Schiller's poetry would very likely come thru the medium of Klopstock, and only during these early years. The poem "Der Abend" (1776)^ revels in the beauties of nature and celebrates the supremacy of the Creator in language that reminds one of Young; and the " Leichenfantasie " (1780) ^ is a gloomy memento mori in which the youthful poet cries out in Young's words : " Wiedersehen — himmhscher Gedanke!""^ The elegy written upon the death of Weckerlin dwells upon the vanity of this transitory life, in thoughts that reflect Young.® Schiller's adieu, as it were, is said to Klopstock and his school in the Anthology of 1782,^ in the couplet entitled " Messiade" : — "Religion beschenkte diss Gedicht, Auch umgekehrt? — Das fragt mich nicht." ' Cf. ihid., Vol. VI, p. 211. 2 "Friedrich Schiller," Richard Weltrich. Stuttgart, 1899. Vol. I. p. 236. ^ "Schillers sammtliche Schriften," Goedeke. Stuttgart, 1867. Vol. I, pp. 27-30. * Cf. ibid., pp. 106-108. « Cf. ibid., pp. 178-183. ^ Cf. ibid., p. 108, verse 64. ' Cf. ibid., p. 265. 112 Later in life, having outgrown these youthful tendencies, Schiller, in his essay on "Naive and Sentimental Poetry" ( 1 795-1 800), mentions Young among the satirists of pathos, who were directed into this channel by their period of degen- eracy. ^ In the same essay, where he treats of elegiac poetry, he reveals his complete recovery from all sympathy with the tendencies of Klopstock and Young as follows: "No poet — with possibly the exception of Young, who in this respect de- mands even more than Klopstock, without, however, giving us as much in return, — no poet could be less adapted than Klopstock to serve as one's favorite author and guide thru life; because he always leads us away from real life, always engages only our souls, without refreshing our minds with the calm presence of anything material. Chaste with nothing of the earthly, immaterial, as holy as his religion, is his muse, and one is forced to wonder that he, altho he often loses his way in these lofty heights, never falls from them. I, there- fore, sincerely confess that I have some fears for the intelligence of those who in all sincerity and without affectation choose him for their favorite poet." ' When W. Waiblinger (1804-1830), himself a hyper-senti- mental nature, friend of Holderlin and follower of Byron, pro- nounced Schiller "a species of Young, in whom chaos rules," ' he can not mean influence of Young, but that rhetorical loftiness in Schiller's poetry, that subhme, ethereal, ideal philosophy of life that rises above the imagination of the ordinary man ; and so far he is correct. This similarity exists. It is interesting to note further that the same criticism was passed by Wieland, after he had been cured of his sentimental " Youngizing," in 1789, when he refused to call "Die Kiinstler" a poem, but pro- nounced it "philosophical poetry of the species of Young's 'Night Thoughts.' " " ' Cf. "Schiller's sammtliche Schriften," Goedeke. Vol. X, p. 459. ' Ibid., Vol. X, pp. 473-474. ' Cf. " Goethe Jahrbuch." Vol. XII, p. 320. Letter to Wurm, March 5, 1821. Cited by S. Wukadinovic. Euphorion. Vol. V, p. 141. * Cf. Schiller's letter to Korner, Weimar, Feb. 25, 1789, in " Schillers Briefe," Jonas. Vol. II, p. 236, 113 Justus Moser (1720-1794) In his "Schreiben einer Dame an ihren Capellan iiber den Gebrauch ihrer Zeit," Moser allows his lady to say that the "Night Thoughts" cause her most violent headaches the mo- ment she begins to read them,* In another writing, on the removal of cemeteries, he connects Young's name with the expression, "The melancholy muse can croak only a funeral carmen."^ In his "Harlekin"^ he also mentions Young three times and always with a satirical turn. The spirit of the whole book is opposed to melancholy and seriousness ; and a contemporary critic even went so far, at the time of its ap- pearance, as to see in it a satire directed against the gloomy "Night Thoughts."* JOHANN Benjamin Michaelis (i 746-1 772) Michaelis told a confidential friend that the craze of his fellow- countrymen to imitate English writers, and the fever to trans- late certain authors, had for a long time filled him with satir- ical wrath. ^ He expresses this wrath against the wave of " Youngizing" that had deluged Germany, in his second satire, as follows : — "Empfindungen, Bardiet, Theater, Reverien, Fragment, Bibliothek, Einfalle, Rhapsodien, Museum, Walder, Brief, Anthologie, Versuch: ' Aus diesem nimm ein Wort, und setz' es vor ein Buch; Wenn dann vor seiner Stirn ein englisch Motto schmettert, So wird dein Werk verlegt, bezahlt, gekauft, vergottert." ' * "Sammtliche Werke." Berlin und Stettin, 1798, Vol. I, p. 281. » Cf. ibid., Vol. IV, p. 179. ' "Harlekin oder die Vertheidigung des Groteske-Komischen." 1761, 80 pp, Cf. "Werke," I.e. Vol. VII, pp. 70-115. * Thomas Abbt's Letter to Mendelssohn, Rinteln, Oct. 13, 1761. * "Sammtliche Poetische Werke." Wien, 1791, Part I, Preface, p. 103. ' Earlier editions had : — "Gedanken, Possen, Trost, Empfindung, Magazine, Sammlung, Bibliothek, Einfalle, kom'sche Biihne, Scherz, Klagen, Zeitvertreib, Zerstreuungen, Versuch:" ' Cf. " Sammtliche Poetische Werke," I.e. p. 112. 114 His disgust is also shown in the following verses: — "Die Deutschen wollen nicht, sie konnen alles seyn; AUein sie bleiben stets, in andrer Werth verloren, Nachahmende Genies, originelle Thoren. Zehn plappern narrisch nach, was einer weislich sprach. So bald ein Deutscher denkt, schwarmt auch ein Deutscher nach ; Und war am meisten gilt, erhalt von Zeit und Mode Lied, Epopee, Idyll, Erzahlung, Fabel, Ode." ' This is aimed directly against imitation of Young in this couplet : — "Young klagt — kein Jiingling ist, der nicht sogleich sich harmt, Von Grabern etwas lallt, vom Sterben etwas schwarmt." ' And finally, in his verses "Liebe und Hass," he again satirizes the imitation of Young : — "Young klagt — Dorinden schmaht Amynt; Gleim scherzt — Dorinden lobt Philint : Bey Madchen und der Welt kommt's auf die Seite an, Von der wir sie zum ersten Mahle sahn." ^ Heinrich Leopold Wagner (i 747-1 779) In the tragedy "Die Kindermorderin, " Young's "Night Thoughts" in French translation are said to be the heroine's favorite book in her ever increasing melancholy. To this von Hasenpoth replies: "God be merciful unto her! — If I had to read a single page of it, I should play the Englishman, and hang myself with my garter." * A sentiment that was very likely Wagner's own. > Cf. "Sammtliche Poetische Werke," I.e. p. 113. ^ Cf. ibid., p. 116. ' Cf. ibid.. I.e. p. 177. * This passage was omitted in K. G. Lessing's revision, as has been pointed out by E. Schmidt. Cf. " Deutsche Litteraturdenkmale des 18. und 19. Jahr- hunderts." Vol. XIII, p. vii. Cf. also S. Wukadinovic, in Euphorion. Vol. V, p. 141. 115 JoHAim Jakob Wilhelm Heinse (i 749-1803) In a letter to Gleim (1772) Heinse says that the former's poem on the existence of God, "Das Daseyn Gottes," ^ is dearer and of more value to him than all the Youngish, Senecan, Platonic, and Herrnhutherischer nonsense on the Being of Beings.^ This is a corroboration of the attitude in an earher poem (1766), entitled " Empfindungen in einem entziickenden Thai' im May 1766, niedergeschrieben von einem Junglinge, der noch ein Knabe war." After 54 anacreontic verses, full of exuber- ant outbursts over the joy of living, he exclaims : — "Young und Plato eurer Schwarmerey Stimmet man nur mit dem Munde bey!" Thoughts of death and of the grave creep over him in his senti- mentally happy mood, but he dispels them and thinks only of the pleasures of earthly life.^ JOHANN GeORG JaCOBI (174O-1814) Jacobi occupies a peculiar position in reference to the "Night Thoughts"; an admirer of Young himself, he nevertheless could not tolerate Young's innumerable imitators. Quite the opposite of the serious Young, Jacobi, in his light, bantering, satirical tone, was, however, capable of serious thoughts of the grave and death, as is shown especially in the last stanza of his poem "Klage" : — "Willkommen, kalter Schauer! Du Nachtgefliister du ! Willkommen meiner Trauer ! Im Grabe nur ist Ruh." * In his poem "An Betty" there is a hidden thrust at the theme of nightly visions, when he chides Betty for her recent gloom, * "Liederfiir das Volk," 1772. In " Sammtliche Werke." Vol. I, p. 358. ^ Qtiellenschrijten zur neuen Litleratur- und Geistesgeschichle. Vol. II r " Briefwechsel zwischen Gleim und Heinse." Schuddekopf. Weimar, 1894, p. 82. ' Cf. ibid., "Anhang," pp. 254-258. * "Sammtliche Werke." Zurich, 1825. Vol. II, p. 367. 116 and cautions her that if she continues she will have visions and see . . . "lauter Graber . . . Und zwischen Knochenhausern gehn. Einher auf Leichensteinen kriechen Und ihre Todtendiifte riechen." '■ But it is in his " Nachtgedanken " ^ and the poem "Die Dichter," a satirical opera played in the nether regions, that Jacobi has expressed himself most freely. Critics have called Jacobi's "Nachtgedanken" a parody on the "Night Thoughts" of Young, as the title suggests and even a first reading might seem to show ; but the note to the first Night, added by Jacobi himself, informs his readers expressly that these night thoughts are merely the capricious thoughts that occurred to him while spending the required two nights in a cell to qualify for his ecclesiastical orders. The gloomy surroundings reminded him of the "numerous unfortunate imitators of Young." The work bears no suggestion of Young's "Complaint"; in fact the first Night closes with a love poem to Belinde. The second Night, too, has nothing in common with Young.' Jacobi's epistle to Klotz * tells how often he had scoffed at the poets of misery, who, without cause or genius, imitate worthy Young and debase his fair name. He further speaks of them as "funeral bards," and "black prophets" to stone whom would be no great loss.^ Since this " Youngizing" tendency is 1 Cf. " Sammtliche Werke," I.e. p. 199. ' Written Jan. 7, 1769. ' Earlier in life, Jacobi had used the title "Nachtgedanken" with a purely satirical significance. Cf. his letter to Klotz, Dec. 27, 1768 (in " Brief e Deutscher Gelehrter." Hagen, 1773, p. 170). He used the title "Night Thoughts" for these lines, he said, because the lines were written at midnight. Cited by G. Ransohoff: " Jacobi's Jugendwerke." Dissertation. Berlin, 1892. Note, pp. 34-35- * Letter to Klotz. Cf. "Sammtliche Werke." Zurich, 1825. Vol. I, pp. 278 ff. ' These attacks upon the "nightly singers" called forth a fierce remonstrance from the pen of a certain Daneil in the Kritische Nachrichten, Lindau am Bodensee. Cf. the letter from Uz to Gleim, Sept. 11, 1769. Vol. CCVIII, p. 386, of the "Bibliothek des litterarischen Vereins in Stuttgart." Klopstock, Herder, and others were opposed to Jacobi's bantering. Cf. Qtiellen und Forschungen zur Sprache und CuUurgeschichte. Vol. II, pp. 9, 27. 117 a thing of the past, he says, there is now a tendency to burlesque, which is also displeasing to him, since no poet of joy is tolerated. And so he hits imitation with another satirical dart. Jacobi's best satire against the imitators of Young is in the opera "Die Dichter," the first scene of which depicts the first age of innocent, naive poetry, corrupted in the second scene by the "unwise imitators" of "wise Young." A siege of joy follows, which is relieved in the third scene, and the nocturnal spectres are allowed to depart unmolested, only a few moralists and uninvited judges of beauty remaining behind. Then the imitators of Yorick appear upon the scene, and in the fifth scene unhired bards, running loose merely for the sake of some- thing new, try to destroy the temple of the Greek gods.^ This, too, shows a kindly attitude toward Young,^ but venom for his distasteful imitators. His preface, subsequently added, says the poem was not intended to satirize individual poets, but the prevalent craze of imitation. The lines that depict the imitators of Young's "Night Thoughts" read: — "Die Lustgefilde waren stiunm; Die Klagen sender Ende: Man weinte, wusste nicht warum;"' Friedrich von Matthisson (1761-1831) Matthisson's letters, incorporated in his works as memoirs, " Erinnerungen," speak of Young in a tone that shows he was very familiar with the "Night Thoughts." * In 1785, he de- scribes a hermitage, in the garden of which there were many inscriptions largely taken from Young.^ The next year he made the acquaintance of Ebert in Braunschweig, of whom he writes in ardent admiration, speaking of him as "der Vertraute 1 "Sammtliche Werke." Zurich, 1825. Vol. II, pp. 52-53. ^ In his poem, which was later not included in his works, " Ueber die Wahr- heit," Diisseldorf, 1771, Jacobi says on occasion he will weep with Young, showing here, too, his kindly feeling toward the original "Night Thoughts" poet. Cf. "Hallers Gedichte." Hirzel. Frauenfeld, 1882, p. cdlxxiv. ^ " SammtHche Werke," I.e. p. 56. * "Briefe von Friedrich Matthisson." Zurich, 1795. Part I, p. 31. ^ Cf. ibid., Part II, p. 24. 118 Youngs." ^ Later, however, Matthisson turned to Gray, Ossian, Milton, and Klopstock, and Young does not seem to interest him. His elegiac poetry shows the influence of Gray and Ossian especially, but not of Young. That he was no ad- mirer of extenuated complaints is seen in his poem "Stummes Dulden": — "Feige Sterbliche nur und aberwitzige Schwarmer Schreyn von den Dachern ihr Weh, Mitleid erbettelnd vom Volk. Klage geziemt nicht dem Starken. . . ." ^ Heinrich Wilhelm von Kleist ( 1 777-181 i) That Kleist did not share in the admiration of Young is natural, and he has left behind a tangible proof in his short essay on a picture, entitled " Empfindungen vor Friedrichs Seelandschaft." The picture, he says, lies there with its two or three mysterious objects like the Apokalypse, as if it had Young's "Night Thoughts," and since, in its monotony and lack of shore, it has nothing but the frame as foreground, it looks like a person with his eyelids cut off.^ JOHANN LUDWIG TiECK (1773-1853) In Tieck's novel "William Lovell," Mortimer can not find words expressive enough to assure Karl Wilmont how much he misses him. In his despair he longs to turn his ink into black songs of complaint, or to copy any passage of the "Night Thoughts." * And in the same novel the Countess Blanville says she is as sentimental as Rousseau's Julie: a little melan- choly, a slight touch of Young, and a moral babbler, as tedious as the heroines of English novels.^ But a little later in life Tieck makes Young the subject of * " Erinnerungen." Zurich, 1810. Vol. I, p. 168. * "Schriften." Zurich, 1825. Vol. I, p. 215. « "Sammtliche Werke." Kurschner's "D.N.L." Vol. IV, p. 289. * Ludwig Tieck's "Schriften." Berlin, Remur, 1828, Vol. VI, Part L p. 29. ^ Ibid., p. 78. 119 satire, when he introduces the "Night Thoughts" in "Der gestiefelte Kater," as follows : — "Prinzessin Hier ist mein Versuch, ich habe ihn Nachtgedanken uberschrieben. Leander (liest) Treflich ! Geistreich ! — Ach ! mir ist als hor' ich die mitternachtliche Stunde Zwolf schlagen. Wann haben Sie das geschrieben? Prinzessin Gestern Mittag, nach dem Essen." ' Clemens Maria Brentano (1778-1842) That Brentano, as a representative of the Romantic School, felt no direct sympathy with Young's "Complaint," can be seen from the following verses : — "Die Klage, sie wecket Den Todten nicht auf, Die Liebe nur decket Den Vorhang Dir auf." ' * Cf. ibid., Vol. V, Act I, Scene II, p. 190. ' Written in an undated letter to a relative who had just lost a child. Ca. 1800. CHAPTER IV OTHER WORKS OF YOUNG IN GERMANY I. "The Love of Fame, the Universal Passion. In Seven Characteristical Satires" The story of Young's "Satires" in Germany is easily told. Unknown until many years after Pope's superior satires had found response in Germany, Young's work was eclipsed before it had fairly emerged above the horizon. Then, too, in Young's "Satires" there is so much that has only a local bearing, that they were destined to remain food chiefly for English thought of the period in which they were written. Pope was more uni- versal; he could find response wherever man thought on man. Altho the "Satires" were written as early as 1725-1728, the first notice that seems to have appeared in Germany bears the date 1745 and is of the fourth edition. This review by Gottsched analyzes the first four Satires, quotes 130 verses from the original and translates them into German prose, with a r^sum6 of the whole work. Gottsched finds the method of Young all that could be desired, and expresses a wish that his fellow-countrymen might satirize German conditions after the manner of Young. Altho Gottsched attributed these "Satires" to Glover, thus robbing Young temporarily of some fame, his review served to call attention to the work.^ By 1749, Rodmer had studied the "Satires," and his Neue Critische Bricje added to the popularity not only of the poems, but also of Young, by citing as sufficient proof of the excellence of the "Satires" the fact that they were the work of the " Author of the * Night Thoughts.' " The review translates numerous verses * Thruout this chapter all works that can easily be found under the given date in the Bibliography, Chapter V, are not cited in the footnotes. 120 121 of the "Satires," probably Bodmer's own work, altho that has recently been disputed/ It is quite natural to suppose that all who read and studied the "Night Thoughts" in these years also became acquainted with the "Satires," but the extent of this familiarity, as well of the influence they had upon the minds of German readers, is very sparsely attested. Hagedom mentions them and quotes a few verses in 1752,^ and Gleim, Lenz, and others have left behind proof of their acquaintance with the work. In 1753, a Hamburg periodical translates and paraphrases, to apply to German conditions, some 80 verses of Young's "Satires," — an endeavor to utilize them along the lines suggested by Gottsched. The first attempt at a complete translation was made in prose (1755) by an unknown translator, who published his work in Frankfort and Leipzig and revised it the next year. Both editions, strange to say, seem to have excited no comment at the time, even upon the great inferiority of the translation. It was, however, the weakness of this rendition that inspired Ebert later to retrieve the reputation of this work of Young and to give it a place alongside the "Night Thoughts" in his zealous labors : a translation that was announced upon the title-page of the 1760 annotated edition of the "Night Thoughts," but was not pubHshed until 1771. This translation of the " Satires" evinces the same care and erudition that was so evident in the new edition of the "Night Thoughts," both in the faithful re- production of the original and in the explanatory notes, which are not so copious, however, as those to the "Night Thoughts." The original is printed on the pages opposite, as was done in the preceding volumes containing the "Night Thoughts." The translation received favorable criticism, and Ebert was given the credit of having rescued the work from the disgrace of the previous miserable translations. Doubt was expressed by some as to the value of the notes, but on the whole the attitude of critics was very friendly. The year 1772 brought a * Cf. " Johann Jakob Bodmer, Denkschrift zum C. C Geburtstag." Zurich, 1900, p. 341. ^ Cf. the preface to the edition of 1800 of Hagedorn's works, p. xxviii. 122 new edition, without notes or English text, likewise in Braun- schweig ; and two years later a reprint appeared in the SchafiF- hausen edition, also German text only, without notes. This was again reprinted in 1777, as Vol. IV of the Schaffhausen edi- tion of the "Night Thoughts" and "Satires," and also sepa- rately with a new title-page. During the next year, the 1771 annotated edition passed thru a new edition, likewise in Schaffhausen, as Vol. V of the four volumes that already con- tained the 1774 and 1777 editions of the "Satires" without notes. When Ebert's translation of the "Night Thoughts" and other works of Young was published in the "Sammlung von Religions- und Sittenschriften," in Speier (1780), the new editor omitted the "Satires," declaring satire and religion incompatible and including the "Resignation" instead. An- other anonymous edition, published in Frankfort in 1782, refuted this opinion, however, and included the "Satires," on the ground that satire is a splendid, iconoclastic aid in the benefi- cent work of religious teachings. When Professor Eckert published his improvement on Ebert, Mannheim, 1780, he, of course, included the "Satires," prac- tically another reprint of Ebert's already popular translation, which by this time had passed thru five editions, the Frank- fort edition of 1782 being the sixth. Eckert's edition appeared again in 1784, and then ten years elapsed before another came out. Ebert's final edition (1794), annotated and with the English original, is the last one of the eighteenth century, the reprint published in Leipzig in 181 1 being the very final one to appear. The years 1804 and 1805 brought selections of verses of the " Satires" by Hensler, in Halem's Irene and in the Neue Teutsche Merkur, the last and only attempt of the nineteenth century to translate Young's "Satires," No imitation was called forth in Germany, even influence seems lacking, beyond reviews and notices in periodicals and works of criticism. Schmid's "Theorie der Poesie" (1767) mentions the "Satires" favorably, and the " Betrachtungen iiber die englischen Dichter" (1779) considers the work excel- lent; otherwise the notices are very meager and are confined to Ebert's translation. 123 The one writer, Gockingk, who left behind the most tangible proof of influence, did so in a short parody on Young, entitled "Golddurst," a poem of some sixty verses directed against the mercenary tendencies and corruption of the Germans,^ the opening verses of which run as follows : — "Die allgemeine Leidenschaft 1st nicht Ruhm ! In meinem Vaterlande Zum mindsten nicht. Denn ach ! der Deutsche rafft Nach Goide nur. Was kiimmert ihn die Schande? Was thut der Deutsche nicht fiir Gold ! — Ein schoner Ruhm ! Ein Sprichwort edier Zonen ! Wie? bauet er, dem Britten gleich, sein Feld? Und nahrt er schon zu viele Millionen?" 2. The Tragedies "BusiRis, King of Egypt," "The Revenge," "The Brothers" An anonymous prose translation of all three tragedies was pubhshed in 1756 and reprinted in 1767, — the only editions including all three. The Beytrdge zur neuesten Geschichte der Litter atur (1759) reviews these translations and praises Young's portrayal of natural characters, as follows: "His characters live and are the types that the stage needs, if the spectator is to be moved." Even the points in which the characters are overdravm the reviewer excuses as exigencies of the stage. He commends the English license, but still is of the opinion that a little more moderation and closer observance of the Unities would make their plays still greater. Schmid's "Theorie der Poesie" (1768) reviews these translations, in the reprint of 1767, as a "most miserable" rendition. The Bibliothek der schonen Wissenschaften is of the opinion that Young's tragedies read well, but are not successful on the stage. (a) "Busiris^^ (1719) The second translation of " Busiris" appeared, likewise anony- mously, in Basel, in 1758, and was unfavorably reviewed by ' Cf. the 181 7 edition of his works. 124 the Bibliothek der schonen Wissenschaften. Gottsched mentions only this one of the three tragedies in his " Handlexicon " of 1760. " Busiris" was also done into prose by Eckert, in Vol. V of his 1784 edition of Young's works, — the best of the three translations that appeared in Germany. The Neue Bibliothek der schonen Wissenschaften (1767) says that the play has many good passages, which are, however, mingled with so much bom- bast and mediocrity, that one can not but wonder how a genius that attains such heights can fall so low. (b) ''The Brothers'' (1726)^ The same year (1756) that produced the above-discussed, anonymous translation of Young's three tragedies also brought a second rendition of "The Brothers," anonymous and in prose. In 1764, J. H. Schlegel, in Kopenhagen, translated the play, a good reproduction in blank verse, with a historical sketch ap- pended, showing how closely Young followed his source in Roman history, Livy. The translation received very favorable criticism. A third translation was published anonymously in Frankfort and Leipzig, in 1 768, very likely a reprint of the prose transla- tion of 1756 and 1767 ; ^ and a translation, bearing the title " Per- sius und Demetrius, oder die feindlichen Briider," in monotonous Alexandrines, appeared the next year in Prague. "The Brothers" was quite generally considered the weakest of Young's tragedies ; the Neue Bibliothek der schonen Wissen- schajten (1757) calls it a copy of a French play,^ and says the purpose was far better than the execution, Young having do- nated the proceeds to the poor.* The Brittische Bibliothek, in ' Altho completed in 1726, this tragedy was not made public until 1753. Cf. W. Thomas: "Le poete Edward Young," pp. 184-185. It is discussed here before " The Revenge," however, because like " Busiris" it is less important. ^ Cf. Bibliography, infra, 1768. ^ As a matter of fact Young's tragedy, " The Brothers," is merely a plagiar- ized version of Corneille's "Persee et Demetrius." * Young had intended to donate the profits to the Society for the Propagation of the Gospel, and realizing only £400 on the play, he added £600 from his own purse. 125 Leipzig, reviews, also in 1757, "The Brothers" as acted in Drury Lane and points out the parallel in Corneille, but thinks that Young's treatment is superior to Corneille's, and that, altho inferior to" Busiris"and"The Revenge," its faults are due to the nation, not to Young. Schmid, on the contrary, in his " Anwei- sung der vornehmsten Biicher " (1781) pronounces "The Broth- ers" Young's best tragedy ; but he was very probably influenced by the superiority of Schlegel's translation. (c) "The Revenge^' (1721) This, the most successful of the three tragedies, was the one most translated and reviewed, the one most favorably received in Germany, and the only one that exerted any influence. The similarity to Shakspere's "Othello" was recognized at once by all, several critics even calling it "an improved Othello";' but most of them judged it correctly as an imitation. The Neue Bihliothek der schonen Wissenschaften, in 1767, says the plot is borrowed from "Othello," the character of Zanga from Mrs. Behn's " Abdelazer," and gives a detailed comparison of "The Revenge" with " Othello." Schmid, in his "Theorie der Poesie" (1768), as well as in his " Anweisung der vornehm- sten Biicher" (1781), calls Young's play an imitation of Shak- spere. The most important review of "The Revenge" was written by Gerstenberg in his Brieje iiber Merkwilrdigkeiten der Litteratur (1766).^ In this article Gerstenberg considers "The Revenge" not so much a copy of "Othello" as "the converting of an irregular drama into a tragedy." The original he considers superior to the imitation, but, he says, considering merely vio- lent emotions and tragical purpose, the palm goes to the imitator.^ Young, Gerstenberg continues, viewed the nature of jealousy from the side that was to wrest a shudder, horror, and sympathy from the heart. Shakspere endeavored to develop the finest ' Cf. Brittische Bihliothek (1757); Bihliothek der schonen Wissenschaften (1760). ^ Cf. reprint in " Deutsche Litteraturdenkmale des i8. und 19. Jahrhun- derts." Vol. XXIX, pp. 1 14-125. ^ Cf. also, supra, pp. 23-24, 96-97. 126 shades of jealousy and to reveal its most secret machinations. Young portrayed passions, Shakspere the sentiment of passions. In this tragedy Young's ignorance of man is revealed most clearly ; the characters are drawn according to French patterns. Zanga, with all his villainy, is still depicted as a man of sublime philosophy like all of Young's heroes. lago is a rascal who makes no pretensions to greatness of soul. In the portrayal of jealousy Young has successfully followed Shakspere, Ger- stenberg admits, and he thinks that the struggle in Alonzo of love and hatred is depicted in such vivid colors that both the reader and spectator must burst into streams of tears. And later, in the "Dritte Sammlung," discussing Shakspere, Gerstenberg says, "Young is magnificent and sublime; but his masterpiece will nevertheless always be the one tragedy that he created after Shakspere's great model." ^ Having, like the other two tragedies, been translated into prose by an unknown translator in 1756, and reprinted in 1767, "The Revenge" also appeared in the second anonymous translation of 1758, with " Busiris," in Basel. " Die Deutsche Schaubiihne" (1761), of Vienna, contains Ruber's translation, entitled " Zanga, oder die Rache." This is a stage version translated freely, in which the tragedy is remodelled to suit the taste of the translator, as is indicated in his words, "a new tragedy in prose, taken from the English of Young." In Act V, Leonore dies on the stage and is not led out by Isabella, and the greatest heightening of effect is produced by the change which makes Zanga stab him- self with the dagger that he tears out of Alonzo's breast. Schmid's "Theater der Britten" reprinted one of the earlier anonymous prose translations, for which the Almanack der deut- schen Musen of Leipzig (1771) censured him, on the ground that such miserable translations should not be continued. Eckert's translation, " Die Rache," appeared in 1784, and, as in the case of " Busiris," is the best German version of Young's "Revenge," The final translation is by Bliimner (1794), likewise in prose. In the preface, the translator calls this the "work of a genius," and expresses his opinion that it ought to find a warm reception in Germany, considering the prevailing dearth of good plays. ' Cf. "Litteraturdenkmalc," I.e. p. 277. 127 Bliimner considers "Othello" superior as a natural character. In "The Revenge" he sees the hand of the artist; it is more brilliant, tho Shakspere's play is more true to life ; and yet, the critic goes on to say, the admirable manner in which Zanga leads his victim on, the excellent struggle between Alonzo's love and his desire for revenge, the denouement and final catas- trophe, all show the thinking poet and raise him above the rank of a mere imitator. This version combined Acts III and IV, since they really form one element in the plot. At the end of Act I, the parting of Leonore and Alonzo in sorrow and uncer- tainty was changed into a happy declaration of love, and at the end of the play, altho Zanga is led off, as in Young, the final speech of Alvarez is omitted. "Busiris" and "The Brothers" did not possess the qualities to make them good stage plays, and were too weak to inspire imitation. "The Revenge," however, as the stage versions of Huber and Bliimner would indicate, was better adapted to the stage; it was read more and was taken as model for the two tragedies, " Der Freygeist " and " Brutus, "of the youthful drama- tist Joachim Wilhelm von Brawe (i 738-1 758) The similarity of the "Freygeist," written in 1 756-1 757 and printed in 1758, to Young's "Revenge" attracted attention at once, and Ramler dwells upon it in the introduction to the first edition, claiming that this similarity is no blemish on the honor of the young dramatist. Lessing's "Miss Sara Sampson" was also a model, but that does not concern us here. The main points of similarity between the "Freygeist" and "The Revenge" are as follows:^ As Alonzo is led by Zanga to believe his wife untrue and to have his friend Carlos mur- dered as the paramour who has claimed her affections, and finally to kill himself; so Cleredon of the "Freygeist" is induced by his rival Henly to believe his former sweetheart unfaithful, and to kill his best friend in a duel, after which he slays his false ' These facts on Brawe are all taken from the excellent monograph, " Joachim Wilhelm Brawe. Der Schiiler Lessings." August Sauer. Strassburg, 1878. cf. pp. 42-45. 70-73- 128 friend Henly and himself. The same means are employed, lies and forged letters; and after the accomplishment of his purpose, Henly like Zanga confesses his plans of revenge in triumph, and gloats over his victim. The opening scenes of both dramas are similar : the plan of revenge is developed simi- larly, it is to be the Hfe's work of both villains ; simple murder will not suffice, their victims must be tormented and painfully racked. Life has no more worth for the villains after their deed has been done. The whole tone is that of Young's "Re- venge"; in both tragedies the gloomy cloud of revenge hovers over the victims ready to burst at any moment. Brawe's second tragedy, "Brutus," completed in 1758, shortly before his death, but not published until ten years later, also shows very plainly influence of "The Revenge," perhaps not in so many details, but much more in the main traits. In both there is the element of patriotism, and national hatred is alhed with family hatred. As Alonzo had killed in battle Zanga's father, a Mohammedan prince, and had made captive and slave the son who as heathen hated the Spaniard; so in "Brutus," Publius, as Samnite, is the deadly enemy of the Romans. Brutus has killed Publius's father and brothers in battle. Pub- lius, like Zanga, seeks to avenge the protracted servitude of his race on the man >vhom he hates personally. He feels the spirits of his fallen countrymen calling for vengeance ; he invokes them for aid, and, after the success of his deed, he calls upon them to rejoice with him. And as Zanga gloats over his crushed victim, Publius is too overcome with joy at the sight of the annihilated Brutus to desire anything more as satisfaction. Thus Young's "Revenge" came into Germany at the time when Lessing's "Miss Sara Sampson," having been inspired by Lillo's "George Barnwell," had taught the Germans, as Lillo had shown the English, that the bourgeoisie also furnished suitable material for serious tragedy. "The Revenge" worked hand in hand with this movement, and thus became one of the prototypes of the new drama in Germany, built upon the pathos of the life of the middle classes.^ ^ The name of the Moor, Zanga, in Grillparzer's " Dor Traum, ein Leben," ^yas most likely taken from Young's character; but there is no influence. Both 129 3- The Minor Works included in Ebert's Translation OF 1754-1756 These works, which remained practically without influence upon German hterature, have nevertheless left behind proof of the fact that they were read, and that they aroused at least a passing interest among the German reading public. Ebert, having completed his labors on the "Night Thoughts," in 175 1- 1752, for the first edition, turned his attention to Young's less important prose and verse, which can be most easily fol- lowed in the various editions of this translation of 1754-1756. These works are: "A Poem on the Last Day" (17 13), "The Force of Rehgion or Vanquished Love" (17 14), "A Paraphrase on Part of the Book of Job" (17 19) — the translation of which appeared in 1754; "A Vindication of Providence: or, a True Estimate of Human Life" (1728) — which was translated in 1755 ; " Two Epistles to Mr. Pope concerning the Authors of the Age" (1730), "The Centaur not Fabulous: in Five Letters to a Friend, on the Life in Vogue" (1755) — which appeared in translation in 1756. These works were all included in Part II of the new collection by Ebert, entitled :" Einige Werke von Dr. Eduard Young" (1767, 1777, 1799); in the Speier edition, "Sammlung von Religions- und Sittenschriften," Vols. II-III, 1780; in the reprint in Frankfort (1805) ; and in Eckert's edition of Young's works, Vols. III-IV, Mannheim, 1 780-1 784, virtually another edition of Ebert's translation. These editions are all in prose, German text only, without notes, and passed without reviews or notices in contemporary literature. (a) "A Poem on the Last Day^^ (1713) Steele's Guardian brought the first verses of the "Last Day" into Germany, so unostentatiously, however, that their presence villains are enslaved captives, but Young's Moor leads his victim on in order to avenge his wrongs, whereas Grillparzer's Zanga simply desires to gratify his longing for a martial career. 130 was hardly detected. That periodical of 17 13 contains 26 verses of this poem shortly to appear, and so, when Louise Gottsched published her translation as Der Aufseher, Leipzig, 1745, she incidentally became the first German translator of verses of the "Last Day." In 1757, three years after Ebert's translation, a hexameter translation was published in Basel, in " Vier auserlesene Meister- stiicke so vieler englischen Dichter," etc., which was reviewed in the Litteraturbrieje by Lessing. The translation purporting to be Elizabeth Rowe's "Auserlesene Poesien aus den meisten und besten Englischen Dichtem," Zurich, 1761, contains eleven selections from the "Last Day" in rimed trochaic octameters, unfavorably reviewed in the Leipziger Zeitungen, and in 1760, Gottsched's " Handlexicon " contains a citation from the poem; while a notice, in 1804, of Dmochowski's Pohsh translation appeared in the Gottingische Anzeigen. Lessing, in his " Hamburgische Dramaturgic" (1767), cites verse 60 of Book I : " Young sagt von der Sonne, es ware Sunde in den Heiden gewesen, sie nicht anzubeten." ^ J. A. Schlegel, in his poem "Von der Holle," draws a picture of the Judgment Day in language that resembles Young's "Last Day," ^ but which may also owe its origin to " Night Thoughts," IX. Influ- ence of the "Last Day" is very uncertain and difficult to deter- mine, since most of the remarkable passages have parallels in the "Night Thoughts," which were, of course, better and more widely known. Gottsched's "Handlexicon" (1760), Schmid's "Anweisung der vornehmsten Biicher" (1781), and Blankenburg's "Litte- rarische Aufsatze" (1796) contain notices of the " Last Day," the "Force of ReHgion," and the "Paraphrase on Part of the » R. Boxberger (" Lessings Werke," Kiirschner's " D.N.L.," Vol. X, p. i6g\ in his note to this passage, cites "Night Thoughts," IX, verses 799-807 of Kayser's hexameter translation of 1761 (falsely given as 1760), Vol. II, p. 355. Dr. Cosack, in his " Materialien zur Hamburgischen Dramaturgic," p. 221, having pointed out that the passage cited by Lessing is found verbatim in the "Last Day," Book I, verse 60, Boxberger, in the Archiv jiir Litteraturgeschichte, Vol. VIII, pp. 437-438, 1879, acknowledged the correction and incorporated it in his note. ' Cf. Barnstorff, l.c. p. 26. 131 Book of Job," but with the exception of these notices these works have left behind no trace in Germany. The notices in the Leipziger Zeitungen of 1728 and 1 731, of the "Vindication of Providence" are the first mentions of Young or his works in Germany, and the last of this particular sermon. The " Epistles to Mr. Pope" also received the first and last notice in that Leipzig periodical, in 1737. {h) ''The Centaur not Fabulous^' (i755) The "Satires" had to wait twenty years for an introduction into Germany (1745), but the "Centaur," appearing at the time when interest in Young was intense, naturally received immediate attention, so that the same year (1755) that produced the first translation of the "Satires," thirty years after they were written, also saw the first translation of the "Centaur," which Young had pubhshed in London only that very year. As early as May, 1755, the Leipziger Zeitungen had reviewed the first English edition, and by October that periodical was able to publish a review of the first German translation. This is a better piece of work than the translation of the "Satires," and received many very favorable reviews. Ebert's translation appeared the next year, and passed thru seven editions, as shown above; but the anonymous translation of 1755 was the only one to receive special notice. Like the "Satires," the "Centaur" exerted little tangible influence upon German writers. There are scattered indica- tions that the work was read, none that it was followed or imi- tated. The reason is probably to be found in the fact that in it Young is the moral preacher, who had said all he had to say about the world and man in a far better manner in his "Night Thoughts." Herder said (1801) Young's "Night Thoughts" and "Centaur" were probably read less, because the people saw their own images in Lorenzo and the Centaur.^ The " Night Thoughts" were read zealously, however, and whether Herder judged correctly the failure of the pubhc to read the "Centaur" is not attested by literary documents. The real reason is very 1 Cf. " Werke." Suphan edition. Vol. XXIV, p. io6. 132 likely that already given above, the fact that the "Night Thoughts" overshadowed this work, which after all offered very little that was new. (4) "Resignation" and Other Minor Works (a) "Resignation^^ The "Resignation" (1762), Young's last work, was first translated, in 1763, by Dusch in Altona, under the title "Die Verlaugnung," and a little later the same year, by Ebert in Braunschweig, under the title "Die Gelassenheit im Leiden," both in prose. Ebert's translation has the German text only, whereas Dusch printed the original on the pages opposite. Both were reviewed immediately after their appearance, Ebert's favorably, Dusch's with both ardent praise and severe criticism. Dusch's translation appeared in only this one edition, whereas Ebert's was pubHshed in two others (1766, 1776), the second passing without notice, the third being favorably reviewed. Ebert's edition was further reprinted in the 1782, Frankfort, supplementary volume to the Speier edition of Ebert's transla- tions, but was not included in Eckert's copy of Ebert (1784). The "Handbuch der EngHschen Sprache" (1793) contains verses 1-12 of the poem in the original, and the story of the "Resignation" in German literature is told. Being a weak repetition of many of the maxims of the "Night Thoughts," it is quite natural that no influence should have been exerted by the poem. (b) Odes and Lyrics I. " Ode to the King." II. "A Discourse on Lyric Poetry." III. "Ocean: An Ode" (1728). "Imperium Pelagi: A Naval Lyric. Preface. The Merchant" (1730). IV. "Sea- Piece: Containing I. — The British Sailor's Exultation. II. — His Prayer before Engagement" (1733). Young's treatise on lyric poetry was translated in "Sammlung vermischter Schriften" (1759), and the fifth volume of Eckert's translation (1784) contains a German version of the "Sea- 133 Piece." These are the only ones of the above-named short works of Young that were translated into German. An edition of the English original of the "Sea- Piece" was pub- lished in Vienna, in 1783, however, and the Unterhaltungen of Hamburg, in 1770, announced the publication posthumously of "The Merchant." The reviewer says that this mediocre poem, if it is really one of Young's, should never have been published, since Young had not talent for the lyric. This is the attitude of all the critics who mention Young's odes and lyrics. Schmid's "Theorie der Poesie" (1767) calls lyric poetry Young's weakest side; his "Anweisung der vomehmsten Biicher" (1781) re- views the four odes as the least important productions of Young's pen, and sees in the fact that" The Merchant" was not published by Young himself, the poet's own hatred for the work.* Blanken- burg's "Zusatze" (1796) brings a notice of the 1759 translation of the "Discourse on Lyric Poetry," and speaks of Young's four "cold odes." (c) Gottsched, who, in his sketch of Young in the "Hand- lexicon" of 1760, forgot to mention the "Night Thoughts,'* "Satires," and "Conjectures," the "Centaur," "Revenge," and "Brothers," includes seven of the least important writings of Young, of which three received no other mention elsewhere in Germany. These are: "On Michael Angelo's Famous Piece of the Crucifixion" (1718), "On the Late Queen's Death" (1714), "A letter to Mr. Tickell, occasioned by the Death of the Right Hon. Joseph Addison, Esq." (1719). Of the "Epistle to the Right Honourable George Lord Lans- downe" (17 12), which Gottsched also includes, about fifty verses were published in English, in the Brittische Bibliothek of 1778, and Ebert discusses this "Epistle" in the Deutsches Museum (1780), in a letter to Eschenburg. One could hardly expect such ephemeral local writings to influence German readers, but the mere fact that they were mentioned in Germany, and that some were translated, fur- nishes a very strong proof of the intensity of the interest taken at that time in Young on the other side of the Channel. ' Young had, as a matter of fact, published this poem in 1730, but he later rejected it when he published collected editions of his works. CHAPTER V BIBLIOGRAPHY OF GERMAN TRANSLATIONS, EDITIONS, REVIEWS, AND NOTICES I. Introduction The following bibliography contains the results of research in all the leading German libraries and bookshops, but does not claim absolute completeness. The material given is, with very few exceptions, based upon personal investigation. In a few cases, however, it was impossible to find the works cited or to obtain them for personal perusal; but, being mostly of minor importance, sufficient data could be gathered from reviews in most cases. Such examples are always noted. It is the purpose of this bibliography to furnish as complete a list as possible of the German translations and editions of Young's works with the pertinent notices and reviews in chrono- logical order, so as to reflect in contemporary literature a picture of the reception that was accorded to Young in Germany. The reviews are not arranged chronologically, but are, wherever possible, appended to the works they review. Some of the most important articles, especially those that do not hinge directly upon some definite edition or translation, are given independent notice. Titles are as a rule given as found, retaining, as far as feasible, antiquated spelling, punctuation, etc. In the case of periodicals and works of minor importance, abbreviations are used, but the titles of translations are in most cases a repro- duction of the original title-page, even including the house of publication, later editions being abbreviated and referring back to the first notice for fuller data. Special completeness was aimed at for the decades 17 50-1 780, in which Young exerted the greatest influence, but even here the bibliography does not claim absolute completeness. There may 134 135 be other reprints of Ebert's translations, for instance, that it was impossible to locate ; besides, dates in catalogs are often wrongly printed. After 1800 only the translations and most important notices are included. No attempt was made, for example, to include the hundreds of text-books, anthologies, and works on literary criticism and history, in which Young's works are treated without special bearing. 2. Bibliography 1728. Neuer^ Zeitungen von Gelehrten Sachen des Jahres MDCCXXVIII. Anderer Theil. Leipzig. (Vol. XIV.) Notice, p. 607, dated Leipzig, Aug. 5, of the publication, in "Londen," of A Vindication of Providence, a sermon by "Herr Young." 1 73 1. Neuer Zeitungen von Gelehrten Sachen des Jahres MDCCXXXI. Anderer Theil. Leipzig. (Vol. XVII.) Notice, p. 482, dated Leipzig, July 9, of the appearance, in "Lon- den," of the third edition of the above-mentioned sermon by "D. Young," under the title, A True Estimate of Human Life. 1737. Nothiger Beytrag zu den Neuen Zeitungen von Gelehrten Sachen, oder Umstandliche Auszuge aus denen Gelehrten Monatsschriften, welche in den Neuen Zeitungen von Gelehrten Sachen nicht Platz hatten. Anderer Theil. Leipzig. 11. Band, 18. Stuck, pp. 286-287 •■ 2) Two Epistles to Mr. Pope concerning the Authors of the Age. 1730. A very favorable review of the purpose and merit of these epistles. 1745. Neuer Buchersaal der schonen Wissenschaften und freyen Kunste. Des I. Bandes, I. Stiick. Leipzig, im Monat Julii. (Gottsched.) Pp. 52-73: Review of the Love of Fame, the universal Passion, in seven characteristical Satires. The fourth edition. Lon- don, 1 741. D. i. Die Liebe zum Ruhme, als die ^ This title is given as found upon the title-page. 136 allgemeine Leidenschaft, in sieben Satiren vorgestellt. Vierte Auflage. A very favorable review in which Gottsched attributes the Satires to Glover. The first four Satires are very carefully analyzed, and 130 verses are quoted from the original and translated into German prose ; then follows a general statement of the nature of Satires V-VII. Der Aufseher, oder Vormund. Aus dem Englandischen ins Deutsche iibersetzt von L. A. V. G(ottschedin). Leipzig, 1745. This is the first German translation of the Guardian and contains 16 verses of the manuscript of the Last Day, before its publication, p. 262 ; 10 verses, p. 264. The latter selection is Book I, verses 13-22, whereas only 8 verses of the first selection, the original opening of Book II, were retained by Young in the poem when published, slightly altered, as verses 5-12 of Book II. 1746. Gottingische Zeitungen von Gelehrten Sachen auf das Jahr MDCCXLVI. Gottingen, 22. Stiick. Den 17. Martius. Under London, p. 173, there is a notice of the completion of the excellent didactic poem "desz D. Younge the nightothougths." ' Neuer Zeitungen von Gelehrten Sachen auf das Jahr MDCCXLVI. Erster Theil. Leipzig, den 16. Jun. Notice of the completion of the Night Thoughts, pp. 457-458, among the new announcements from London. Contains a very favorable review. 1749. Neue Critische Brief e iiber gantz verschiedene Sachen von verschiedenen Verfassern. Zurich, 1749. The 35th "Brief," pp. 287-289, contains a poem entitled An Sipha, dealing with the theme of friendship, and is a free translation and adaptation of Night II, verses 461-537. The 56th "Brief," pp. 391- 399, contains a very favorable review of the Satires and their purpose, as outlined by Young in his preface. Satire 11,^ verses 21-44, are translated into blank verse. The 57th "Brief," pp. 399-401, contains numerous selections of the Satires in prose translation. The 64th "Brief," pp. 448-451, has a glowing tribute to the Night Thoughts, and a translation of verses 627-648, 677-689 of the sixth Night. These translations are probably by Bodmer himself.' * Corrected in a note on p. 188, to " nightthougths." 'Incorrectly cited as Satire I. ' Cf. supra, p. 121. 137 I750' Gottingische Zeitungen von Gelehrten Sachen auf das Jahr MDCCL. Gottingen, 103. Stiick. Den 12. October. Under London, pp. 819-820, notice is given of a new and better edition of the "nigth thougths," followed by a review that character- izes Nights V-IX. 1 75 1. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller. Erster Band. Worinn folgende drey Gedichte von D. Eduard Young enthalten sind: Klagen, oder Nacht- gedanken iiber Leben, Tod, und Unsterblichkeit : Der Jiingste Tag : Und eine Paraphrase iiber einen Theil des Buchs Hiob. Erstes Stiick. Braunschweig und Hildesheim, verlegts seel. Ludolph Schroders Erben, 1751- This translation, the preface of which bears the date of April 10, 1 751, is the first by Prof. Johann Arnold Ebert.' Vol. I, Parts I and II, contains the first seven Nights translated into prose, 316 pp. The last two Nights did not appear until 1 752, q.v. The second edition appeared in 1753, the third in 1756, and the fourth in 1763, q.v. Reviews: Critische Nachrichten aus dem Reiche der Gelehrsam- keit. Auf das Jahr 1751. Berlin, 1752. 26. Stiick, pp. 206-207. A very favorable review, which betrays the fact that the writer was not acquainted with the original, in the statement that the Night Thoughts consist of four Nights, and in the mention of rime. Crito. Eine Monatsschrift. Zurich, 1751. This review is re- viewed in turn by the Westphalische Bemiihungen zur Aufnahme des Geschmacks und der Sitten. Lemgo, 1753. Erster Theil. Zweites Stuck, pp. 1 16-122. 1752. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten EngHschen Schriftsteller. Erster Band. Drittes Stiick. Braunschweig und Hildes- heim, verlegts seel. Ludolph Schroders Erben, 1752. This volume contains Nights VIII-IX, pp. 319-507, and is a con- tinuation of Ebert's translation of 1751, q.v. The second edition appeared in 1753, the third in 1756, and the fourth in 1763, q.v. Der Christen-Sieg als das einzige Mittel wider die Furcht des Todes aus denen Nachtgedanken des Herm Young ' Ebert was not appointed Professor until 1753, to be sure. 138 ins Teutsche iibersetzet von Hartmann von Geusau. Jena, bey Christian Heinrich Cuno, 1752. This is a translation of Night IV, into Alexandrines. It is an adaptation rather than translation of Young, done into very miserable, monotonous verses, vi + 88 pp. The preface bears the date of Feb. 20, 1752. Reviews: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1752, p. 542. Gottingische Zeitungen von Gelehrten Sachen. Gottingen, 1752, P- 372- Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. Englisch und Deutsch. Die vier ersten Nachte. Gottingen, bey Johann Wilhelm Schmidt, Univ. Buchhandler, 1752. This translation, which appeared anonymously, is the work of Ch. B. Kayser. It contains, as preface, selections from Tschamer's letter to Haller on the circumstances that gave rise to the Night Thoughts. It is in hexameters, and prints the EngHsh original on the pages opposite. 225 pp. For the enlarged and revised edition, cf. infra, 1760, 1761. Reviews: Gottingische Zeitungen von Gelehrten Sachen. Got- tingen, 1752, pp. 589-390. Favorable. This is by Haller. Berlinische Privilegirte Staats- und gelehrte Zeitung, 1753, pp. 152-153. This review is by Lessing, who hopes the translation will be continued. Cf. the Lachmann-Muncker edition of Lessing's Works, Vol. V, pp. 152-153. Gelehrte Nachrichten. Rostock und Wissmar, 1753, pp. 452-453. An Young. An ode by Klopstock, "Stirb, prophetischer Greis, stirb!" etc., written in 1752, while learning English from the Night Thoughts. 16 verses. To be found in all the editions of Klopstock's works. Used as frontispiece in Stemau's translation; cf. 1825, 1827. 1753. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten EngHschen Schriftsteller. Erster Band. Worinn D. Eduard Youngs Klagen, oder, Nachtgedanken iiber Leben, Tod, und Unsterbhchkeit, enthalten sind. Zweyte und verbesserte Auflage. Braunschweig und Hildesheim, 1753. This is the second edition of the translation by Ebert, which ap- peared in 1 751-1752. The third edition appeared in 1756, and the 139 -fourth in 1763, q.v. The revision in these editions consists in very minor changes in phraseology. Hamburgische Beytrage zu den Werken des Witzes iind der Sittenlehre. Hamburg, 1753. Drittes Stiick. This contains the following selections from the Satires, mostly translations. Some are adaptations rather than close translations. Der Patriot. Nach dem Young, p. 737. 20 verses. Satire IV, verses 15-36. Der Witz vieler Schonen. Nach Young, p. 739. 12 verses. Satire V, verses 133-144. Julchen. Nach Young, p. 742. 18 verses. Satire V, verses 297-308. Der Hunger und die Liebe. Nach Young, p. 743. 10 verses. Satire V, verses 309-318. Die Ewige Liebe. Nach Young, p. 744. 10 verses. Satire V, verses 322-328. En einen Liebhaber schoner Bande. Nach dem Young, p. 748. 8 verses. Satire II, verses 57-62, 96-97. 1754. Hamburgische Beytrage zu den Werken des Witzes und der Sittenlehre. Zweyter Band, erstes Stiick. Ham- burg, 1754: Der Riickfall. Von Dr. Eduard Young, PP- 33-78. This is a translation of Night V, 1068 verses, in the original blank verse. The introduction says that it is the work of the late Herr Oeder of Thron, who found special consolation in this Night, after the death of his son. Herder published the first 66 verses of this translation in his Adrastea, Part V, pp. 293-295, in 1803, q.v. infra. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller. Zweyter Band. Erstes Stiick. Braunschweig und Hildesheim, 1754- This contains Ebert's first translation of: Der Jiingste Tag; Die Macht der Religion ; Paraphrase iiber einen Theil des Buches Hiob, 144 pp. Some editions bear the date 1762, which is, however, only a new title-page for this first and only edition. This is the first part of the second volume of Ebert's translation, the first volume of which includes the Night Thoughts. Cf. 1 751-1752. 1755. Klagen, oder Nachtgedanken, von Leben, Tod und Unsterblichkeit. Eine freye poetische Uebersetzung aus dem Englischen des Herm Young. Frankfurt am Mayn, bey Johann Friedrich Fleischer, 1755. 140 An anonymous, trochaic octameter translation of Night I, with fixed caesura and rime in couplets. 29 pp., quarto, without pagination. Reprinted as No. i, in Drey Auserlesene Gedichte, 1759, 1762, q.v. Die Ruhmbegierde, die Hauptleidenschaft der Menschen. In Sieben Satiren. Von Dr. Edward Young. Aus der funften englischen Auflage iibersetzt. Frankfurt und Leipzig, in der Knoch- und Esslingerischen Buchhand- lung, 1755. An anonymous translation into prose of the Satires. 160 pp. Rather poor. For the second, revised edition, cf. injra, 1756. Der nicht fabelhafte Centaur in sechs Brief en an einen Freund iiber das im Schwange gehende Leben. Aus dem Englischen Herrn D. Eduard Youngs. Leipzig, verlegts Johann Gottfried Dyck, 1755. An anonymous translation, the first of the Centaur to appear. 222 pp. Reviews: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1755, p. 773, under the date of Oct. 30. The same volume, p. 361, May 22, had reviewed the first English edition. Both reviews are very favorable. Gelehrte Nachrichten. Rostock und Wissmar, 1756, pp. 7-8, 15-16. Praise for both the original and the translation. Freye Urtheile und Nachrichten zum Aufnehmen der Wissenschaften und Historic uberhaupt. Hamburg, 1756, p. 200. Favorable. Bibliothek der schonen Wissenschaften und der freyen Kiinste, Vol. Ill, i, p. 200, 1758. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller. Zv^eyter Band. Zweytes Stiick. Braunschweig und Hildes- heim, 1755. Ebert's first edition of: Der wahre Wehrt ' des menschUchen Lebens. 124 pp. Neue Erweiterungen der Erkenntnis und des Vergniigens. Frankfurt und Leipzig, 1755. VIII. Des Herrn von Bar Selbtsgesprach bey dem fruhzeitigen Tode des Herrn von Hagedoms, etc. ; ins Deutsche iibersetzt, pp. 81-86. IX. Sinngedicht auf des Herrn von Bar Selbstgesprach bey des Herrn von Hagedoms Tode, p. 86. * Ebert's spelling. 141 Verses 9-12, p. 81, show that the inspiration came from the Night Thoughts. There is also a long footnote on the Night Thoughts and their cause. The poem, on p. 86, proclaims Bar the Young of Ger- many's fame, and is by the translator of the above-cited verses. These poems are reprinted in: Auszug merkwiirdiger Sachen aus den Neuesten Monatsschriften der Gelehrsamkeit. Merseburg, 1755. (The title-page bears the date 1754.) Vol. I, pp. 161-166. 1756. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller. Erster Band. Worinn D. Eduard Youngs Klagen, oder Nachtgedanken uber Leben, Tod, und Unsterblichkeit, enthalten sind. Dritte und verbesserte Auflage. Braunschweig und Hildesheim, 1756. Contains the nine Nights, 507 pp., the third edition of Ebert's prose translation of 1 751-1752. The second edition appeared in 1753, the fourth in 1763, q.v. There is a reprint of Part II, Nights V-VII, bearing the date 1762. Der Triumph der Christen iiber die Furcht des Todes. Eine freye poetische Uebersetzung aus dem EngHschen des Herm Young. Frankfurt am Mayn, 1756. An anonymous translation of Night IV. into trochaic octameters, with rime in couplets, evidently by the translator of Night I, 1755, q.v. 50 pp., quarto, without pagination. Reprinted as No. 3, in Drey Auserlesene Gedichte, 1759, 1762, q.v. Ruhmbegierde, die allgemeine Leidenschaft der Menschen. In Sieben Satiren. Von Dr. Edward Young. Aus der fiinften Englischen Auflage iibersetzt und in diesem zweyten Druck verbessert. Frankfurt und Leipzig, in der Knoch- und EssHngerischen Buchhandlung, 1756. The first edition appeared in 1755, q.v. 173 pp. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Enghschen Schriftsteller. Zweyter Band. Drittes Stuck. Braunschweig und Hildes- heim, verlegts seel. Ludolph Schroders Erben, 1756. This volume contains: Der nicht fabelhafte Centaur; Zwey Poetische Sendschreiben an Herm Pope, translated by Ebert. 336 pp. For the other volumes of this translation, cf. under 1751, 1752, 1753, 1754, 1755, 1763- 142 D. Eduard Youngs Trauerspiele, nebst der Boadicea, einem Trauerspiele des Herrn R. Glovers. Aus dem Englischen iibersetzt. Hamburg und Leipzig, bey Georg Christian Grund und Adam Heinrich HoUe, 1756. This anonymous translation contains: Busiris; Die Rache; Die Briider. 322 pp. A reprint was published in Leipzig, 1767, q.v. Reviews: Gelehrte Nachrichten. Rostock und Wissmar, 1757, PP- 135-136- Beytrage zur Neuesten Geschichte der Litteratur, besonders des 1757*'^° Jahrs. Altona, 1759, pp. 149-151. Praises natural portrayal of character, but desires closer observance of the Unities. Die Briider. Ein Trauerspiel, von Dr. Eduard Young. Aus dem Englischen iibersetzt. Franckfurt und Leipzig. In der Knoch- und Esslingerischen Buch- handlung, 1756. An anonymous prose translation, of 158 pp. 1757. Brittische Bibliothek. Erster Band. Leipzig, 1757. Notice and review of the first edition, in London, of the Centaur not Fabulous (1755), in Zweytes Stuck, pp. 167-175. A careful de- tailed review. The critic pronounces it too poetical for prose, too witty for such a serious subject, and yet, he thinks, this very wit is the charm of the book. Notice and review of: The Brothers, a Tragedy. Acted at the Theatre Royal in Drury-Lane. London. Printed for R. Dodsley in Pali-Mall, 1753. In Drittes Stiick, pp. 256-293. This reviewer calls the Revenge "an improved Shakspere's Othello." The theme of the Brothers had already been used by Corneille, says the critic, but Young is superior to Corneille. Dodsley's Prologue is translated complete, pp. 258-259. Resume of the entire play, scene for scene, with occasional quotations and criticisms, pp. 260-293. It is inferior to Busiris and the Revenge, but its bombast and other faults are the faults of the nation, not of Young, the reviewer concludes. Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1757. Vol. I, i, IV : (A review of) Aufmunterungen in moralischen Gedichten von Joh. Lorenz Withof, etc. Dortmund, 1755. A short comparison of Pope and Young, pp. 87, 95. 143 Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1757. Vol. I, ii, I: Betrachtungen iiber die Quellen und die Verbindungen der schonen Kiinste und Wissenschaften, pp. 231-268. A criticism of Young's tragedies, p. 260, says they read well, but they are not successful stage plays. Vier Auserlesene Meisterstiicke so vieler enghschen Dichter, etc. Basel, 1757. This volume contains Young's Last Day in hexameter translation. It was not to be had. Review: Briefe, die neueste Litteratur betreffend. 39th "Brief," pp. 280 ft. This review is by Lessing. Cf. the Lachmann-Muncker edition of his works, Vol. VIII, pp. 79 ff. 1758. Der Nordische Aufseher, herausgegeben von Johann Andreas Cramer. Erster Band. Kopenhagen und Leipzig, 1758. Dreyzehntes Stiick, pp. 158-182. This is the review of the worth of the Night Thoughts that places Young next to David and the Prophets. An analysis of Night IV is given, pp. 164-181, quoting about 225 verses in German prose translation. Reviews: Briefe, die neueste Litteratur betreffend. BerHn, 1759. The 48th "Brief" finds the above-mentioned praise exaggerated. This review is by Lessing. Cf. the Lachmann-Muncker edition of his works, Vol. VIII, pp. 125-126. Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1759. Vol. V, ii, pp. 280, 281. Neue Probestiicke der Englischen Schaubiihne, aus der Ursprache iibersetzt von einem Liebhaber des guten Geschmacks. Basel, 1758. I, i, Rache; 3, Busiris. This translation was not to be had. Review: Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1760. Vol. VI, i, p. 73. Adverse criticism. This reviewer also calls the Revenge, Shakspere's Othello improved. Gelehrte Nachrichten auf das Jahr 1758. Rostock und Wissmar. Under the date of April 30, p. 196, Young's appointment as Bishop of Bristol is announced. 144 Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1758. A review, Vol. Ill, ii, pp. 341-361, of Ramler's Einleitung in die schonen Wissenschaften, a translation of the French of Batteux, cites a passage of Ebert's translation of the Night Thoughts, to illustrate poetical forms in harmonious, exalted prose, p. 356. Zum Vergniigen. Hamburg und Leipzig, 1758. Das 10. Stiick, pp, 73-80: Vorurtheile der Freundschaft. A long treatise on close and intimate friendship, resembling Young's thoughts on the subject in the second Night, verses 505-515, 465-479, of which are quoted in translation. Herm Abt Batteux . . . Einschrankung der Schonen Kiinste . . . aus dem Franzosischen iibersetzt . . von Johann Adolf Schlegeln. Leipzig, 1758. Vol. II, pp. 177-178, contains a favorable discussion of the Night Thoughts and of Ebert's translation. The second edition appeared in 1759, the third in 1770. 1759. Drey auserlesene Gedichte. Fine freye poetische Ueber- setzung aus dem Englischen des Herrn Young. Frank- furt und Leipzig. In der Fleischerischen Buchhand- lung, 1759. Contains: (i) Klagen oder Nachtgedanken vom Leben, Tod und UnsterbHchkeit. Erste Nacht. 28 pp. Reprint of the 1755 transla- tion, which appeared in 1762 also, q.v.; (2) Klagen oder Nachtge- danken von Zeit, Tod und Freundschaft. Zweyte Nacht. 48 pp. ; (3) Der Triumph der Christen iiber die Furcht des Todes. 48 pp. Reprint of the 1756 translation, which appeared also in 1762, q.v. Review: Das Neueste aus der anmuthigen Gelehrsamkeit. Leipzig, 1760, pp. 71-77. Gottsched again lavishes praise upon the meter, and seems to have forgotten, or to have missed, the previous verse translations. He again speaks of the rime of the original of Young. At the end of the review, speaking of No. 3 above, he remem- bers that he reviewed it in 1757. Sammlung vermischter Schriften zur Beforderung der schonen Wissenschaften und der freyen Kiinste. Ber- hn, 1759. Vol. I, i, pp. 206-219: Herm Eduard Youngs Abhandlung iiber die lyrische Dichtkunst. (Aus dem Englandischen iibersetzt.) 145 Notice: Bibliothek der schonen Wissenschaften und der freyen Kunste. Leipzig, 1760. Vol. VI, i, p. 128. Briefe an Freunde und Freundinnen iiber verschiedene kritische, freundschaftliche, und andere vermischte Materien. Altona, 1759. This is a work of J. J. Dusch, in which he objects to the unbounded praise that is being heaped upon Ebert as the only perfect translator of the age, supported by arguments and citations from the Night Thoughts. Vierter Brief, pp. 37-46; 39. Brief, pp. 220-227. 1760. Dr. Eduard Young's Klagen, oder Nachtgedanken uber Leben, Tod, und Unsterblichkeit. In neun Nachten. Sunt lacrymae rerum, et mentem mortalia tangunt. viRG. Nebst Desselben sieben Characteristischen Satiren auf die Ruhmbegierde, die allgemeine Leiden- schaft. Aus dem Englischen ins Deutsche iibersetzt, durchgehends mit kritischen und erlautemden An- merkungen begleitet, und nun mit dem nach der letzten englischen Ausgabe abgedruckten Originale Herausgegeben, von J. A. Ebert, Prof. Erster Band. Braunschweig, bey sel. Ludolph Schroders Erben, 1760. This is a new translation by Ebert, completely revised and recast, with the original Enghsh of Young on the pages opposite. It is replete with notes of interpretation and collateral citations from the works of other authors. This volume contains Nights I-IV, 446 pp. A second, revised edition appeared in 1768, q.v. The other volumes appeared as follows: Vols. II, III, in 1763; Vol. IV, in 1769, and Vol. V, in 1 771, q.v. Reviews: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1760, pp. 742-743. Special praise for the notes. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1760, pp. 1252-1254. Praise for Young, Ebert's zeal, erudition, and notes. Notice: Gelehrte Beytrage zu den Braunschweigischen Anzeigen. Braunschweig, 1761. Vol. I, p. 119. On p. 564, under the courses given at the Carolineum, Ebert announces that he will read Nights I-rV with advanced students. Vol. II, p. 156, announces a course in Nights V-VI; p. 554, a course in Nights VI-VII; Vol. Ill, p. 220, a course in Nights IV-VI. 1 762-1 763. D. Edouard Youngs Klagen, oder Nachtgedanken iiber Leben, Tod und Unsterblichkeit. Englisch und 146 Deutsch. Der erste Band. Hannover, bey Johann Wilhelm Schmidt, 1760. This volume contains Nights I-IV, 439 pp., in hexameter transla- tion, by Ch. B. Kayser. The English is printed on the pages op- posite. A revision and extension of the 1752 translation of Nights I-IV, Gottingen, q.v. As preface this also has: Einige Nachrichten von Doctor Young, aus einem Schreiben des Herrn von Tscharner an den Hofrath von Haller iibersetzet. Published with and without engravings. The second volume appeared in 1761, q.v. Reviews: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1760, pp. 270-271. Very favorable. Gelehrte Nachrichten. Rostock und Wissmar, 1760, p. 416. Cool. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1760, pp. 1254-1258. Considers Kayser a better student of English than Ebert. Freymiithige Briefe, etc. Hamburg und Leipzig, 1761. 37th "Brief." Very favorable. Notice: Hamburgische Nachrichten aus dem Reiche der Gelehr- samkeit. Hamburg, 1760, p. 547. Neuer Zeitungen von Gelehrten Sachen auf das Jahr MDCCLX, pp. 713-714- Review of Pensdes Angloises sur divers sujets de Religion, et de Morale. Amsterdam, 1760. A translation of selections of the best sentiments of the Night Thoughts, collected according to subject, by a translator who thinks the Night Thoughts the work of an anonymous poet. Unfavorable review. Cf. infra, 1761. Von der heiligen Poesie. A treatise prefixed to the 1760 Halle edition of the Messias, in which Klopstock pronounces the Night Thoughts the only work of sublime poetry that deserves to be without blemish. To be found in Back and Spindler's supplement to Klopstock's works. Leipzig, 1830. Vol. IV, II, 2. Neuer Zeitungen von Gelehrten Sachen auf das Jahr MDCCLX, pp. 137-140. Under the date of Feb. 25, there is a very favorable rdsum^ and review of the Conjectures on Original Composition, announcing that a German translation is soon to appear. (Teubern's, cf. infra.) Gedanken uber die Original-Werke. In einem Schreiben des D. Youngs an den * Verfasser des Grandison. Aus * The title-page has " dem." 147 dem Englischen. Leipzig, bey Johann Samuel Heinsii Erben, 1760. Signed "v. T." The translator is Hans Erich von Teubem, who used the second edition. A reprint was published in 1761, q.v. Cf. also supra, pp. 14 ff. Remews: Das Neueste aus der anmuthigen Gelehrsamkeit. Leipzig, 1760, pp. 671-680. Gottsched accuses Young of meddling with a subject of which he knows nothing. Cf. supra, p. 16. Briefe, die neueste Litteratur betreffend. Berlin, 1763. X*'' Theil, I72d-i73d "Briefe," pp. 310-322, dated June 25, 1761. In these articles Nicolai reviews the Conjectures very favorably, with equally harsh words for the above-mentioned criticism of Gottsched. Cf. supra, p. 16. Freymiithige Briefe iiber die neuesten Werke aus den Wissenschaften in und ausser Deutschland. Zweytes Stiick. Hamburg und Leipzig, 1760. Achtzehnter Brief, pp. 168-169; Drittes Stiick, Fortsetzung des Achtzehnten Briefes, pp. 225-261. A review of the Conjectures, which objects to the style, considering the work as a "letter." This is followed by a translation of the Conjectures, according to the first edition. Signed "G.*" Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1760. Vol. VI, i, pp. 180-183. Notice and review of the Conjectures, in words of most ardent praise. A two-page r^sum^. Notice of the two German translations given above, with the remark that the work is already too well known in Germany to need any further comment. Die Deutsche Schaubiihne zu Wien, nach alten und neuen Mustern. Neunter Theil. Wien, 1761. This collection contains Ruber's translation of the Revenge: Vorrede, Zanga oder die Rache, p. iii; Story of the action without critical comment, pp. iv-vi. Zanga oder die Rache. Ein neues Trauerspiel in Prosa, aus dem Enghschen Des HERRN D. Eduard Youngs entlehnet. Von Jos. Carl Huber, Wienn, in Kraussischen Buchladen, etc., 1760. 92 pp. A free translation and adaptation of Young. Cf. supra, p. 126. Handlexicon oder Kurzgefasstes Worterbuch der schonen Wissenschaften und freyen Kunste. Zum Gebrauch 148 der Liebhaber derselben, herausgegeben von Johann Christoph Gottscheden, etc. Leipzig, 1760. The sketch of Young, p. 1671, mentions seven of his minor works with a citation from the Last Day. It mentions the tragedy Busiris, but not the Night Thoughts, or Satires, or other most important works. 1 761. D. Edouard Youngs Klagen, oder Nachtgedanken iiber Leben, Tod und Unsterblichkeit. Englisch und Deutsch. Der zweyte Band. Hannover, 1761. This volume contains Nights VII-IX, 495 pp. The first volume was published in 1760, q.v. This is Kayser's hexameter translation continued. Cf. also 1752. Review: Gottingische Anzeigen von Gelehrten Sachen. Gott- ingen, 1761, p. 112. Very favorable. Moralische Gedanken iiber verschiedene Gegenstande der Religion, aus dem Englischen des Hrn. Young. Breslau und Leipzig, bey Daniel Pietsch, 1761. This work was not found. The reviews below, however, show the nature of the translation. Reviews : Hamburgische Nachrichten aus dem Reiche der Gelehr- samkeit. Hamburg, 1761, p. 725. This cites the 16 topics, under which the sentiments of the Night Thoughts are grouped. Gelehrte Nachrichten auf das Jahr 1762. Rostock und Wissmar. 17th "Stuck," pp. 182-184. The reviewer calls these selections the ^'kernel of the Night Thoughts." Auserlesene Poesien Aus den meisten und besten Eng- lischen Dichtern. Hierbevor der Frau Rowe Andachts- Uebung beygefiigt. Nun aber besonders gedruckt, verbessert und vermehrt. Zurich, 1761. This contains 11 selections from the Last Day; 17 from the Night Thoughts, in all 306 verses, translated into trochaic octameters with rime in couplets, pp. 22-49. Review: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1761, pp. 411-412. Unfavorable. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1761. Review, p. 232, of Pens^es Angloises sur divers sujets de Religion, et de Morale. Amsterdam, 1760. A favorable estimate of this col- lection of sentiments from the Night Thoughts. Cf. supra, 1760. 149 Gedanken iiber die Original- Werke. Etc. Zweyte Auf- lage. Leipzig, 1761. Reprint of Teubern's translation of 1760, q.v. Review: Gottingische Anzeigen von Gelehrten Sachen. Got- tingen, 1762, p. 375. Favorable for both the original and the trans- lation. Briefe, die ncueste Litteratur betreffend. Berlin, 1763. Xr" Theil. The i82d-i85th "Briefe," pp. 59-111, 1761, contain a bitter tirade against the excessive imitation prevalent at that time, especially against the hosts of ridiculous "Night Thoughts makers." A number of these are here reviewed very sarcastically by Nicolai. Cf. supra, p. 102. Bremisches Magazin zur Ausbreitung der Wissenschaften Kiinste und Tugend von einigen Liebhabem derselben mehrentheils aus den Englischen Monatsschriften gesammelt und herausgegeben. Vierter Band nebst Register. Bremen und Leipzig, 1761. XXXII, pp. 442-449: Auszug aus Conjectures on Original Com- position. Lond. 1759.^ Gedanken iiber Original- Werke. (Gentl. Magaz. 1759. May, S. 230.) This is a translation of the complete article in Vol. XXIX of the Gentleman's Magazine: 21. Conjectures on original composition, pp. 230-232. 1762. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller, etc. A reprint of Vol. I, Part II, Nights V-VII, 332 pp. Cf. 1756, supra. Also a reprint of Vol. II, Part I: Der Jungste Tag; Die Macht der Religion ; Paraphrase uber einen Theil des Buches Hiob, 144 pp. Cf. 1754, supra. Drey Auserlesene Gedichte. Eine freye poetische Ueber- setzung aus dem Englischen des Herrn Young. Frank- furt und Leipzig, 1762. A reprint of the 1759 edition, q.v. No. 2, Night II, bears the date 1759, in this 1762 edition. > The title has " 1 749 " by mistake. 150 Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1762. Vol. VIII has Young's portrait as frontispiece. Notice, on p. 352, of Young's Works in 4 volumes, revised by himself. London, 1762. 1763. Uebersetzungen einiger Poetischen und Prosaischen Werke der besten Englischen Schriftsteller. Etc. Vierte und verbesserte Auflage. Braunschweig und Hildesheim, 1763. The fourth, revised edition of Night Thoughts I-IX, by Ebert, 507 pp. The text follows the new, annotated edition of 1760, as far as it had appeared, q.v. The first edition appeared in 1751-1752, the second in 1753, and the third in 1756, q.v. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit ... J. A. Ebert, Prof. Zweyter Band. Braunschweig, 1763. For full title, cf. supra, 1760. This volume contains Nights V-VI, 377 pp. The third volume also appeared this year, with Nights VII- VIII, 547 pp. The first volume was published in 1760, the fourth in 1769, and the fifth in 1771, q.v. The second, revised edition of Vols. I-III, appeared in 1768, 1769, 1774, respectively, q.v. The numerous reprints are given under their respective dates. Reviews: Bibliothek der schonen Wissenschaften und der freyen Kiinste, Leipzig, 1763. Vol. IX, ii, pp. 270-272. Favorable, but with doubtful commendation of the lengthy notes. Review of Vol. II. Allgemeine deutsche Bibliothek. Berlin und Stettin, 1766. Vol. Ill, i, pp. 197-203. Review of Vol. III. Favorable, with both praise and blame for the copious notes. Resignation in Two Parts and a Postscript. To Mrs. B***** Die Verlaugnung in Zwey Theilen nebst einer Nachschrift, an Mad. B*****von D. Eduard Young. . . . Ahona, 1763. A prose translation, with the English original on the pages opposite. The work of J. J. Dusch. 175 pp. Reviews: Hamburgische Nachrichten. Hamburg, 1763, pp. 210-211. Altonaischer Gelehrter Mercurius. Altona, 1763, p. 104. Ardent praise. Ausfiihrliche und kritische Nachrichten von den besten und merk- wiirdigsten Schriften, etc. Lindau und Leipzig, 1764, p. 332. Harsh criticism. 151 Die Gelassenheit im Leiden. An die Frau B******* . . . Ein Gedicht, von Dr. Eduard Young. Aus dem Englischen iibersetzt von J. A. Ebert, Prof. Braun- schweig, im Verlag der Fiirstl. Waysenhausbuch- handlung, 1763. A prose translation, 86 pp. The second edition appeared in 1766, the third in 1776, q.v. Reviews: Gelehrte Beytrage zu den Braunschweigischen Anzeigen. Braunschweig, 1763, pp. 305-328. Favorable. Numerous passages are quoted. Altonaischer Gelehrter Mercurius. Altona, 1763, p. 253. Ausfiihrliche und kritische Nachrichten von den besten und merk- wurdigsten Schriften, etc. Lindau und Leipzig, 1764, pp. 324-332. Favorable. Numerous passages are also quoted here. Sammlung vermischter Schriften zur Beforderung der schonen Wissenschaften und der freyen Kunste. Berlin, 1763. Vol. VI, Stuck I. The preface to the translation: Versuch iiber Popens Genie und Schriften, pp. 1-7, contains Warton's tribute to Young's character and works. Brittische Bibliothek. Sechster Band. Leipzig, 1763. In a list of books sold by C. Fritsch, in Leipzig, six editions of works of Young are enumerated. 1764. Trauerspiele aus dem Englischen iibersetzt durch Johann Heinrich Schlegel, Professor bey der Universitat zu Kopenhagen und Secretar in der Koniglich-Danischen Kanzley. Kopenhagen und Leipzig, verlegts Fried- rich Christian Pelt, 1764. Pp. 211-332: Die Briider, ein Trauerspiel, des Herrn Eduard Young; pp. 333- 336: Historische Nachrichten. A good translation in the meter of the original, i.e. blank verse. The historical sketch points out the use that Young made of Roman history as found in Livy. The pertinent passages of Livy are cited. Reviews: Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1764, pp. 433-434- Favorable. Bibliothek der schonen Wissenschaften und der freyen KUnste. Vol. XII, i, pp. 76-79. Favorable. 152 Briefe, die neueste Litteratur betreffend. XVIII*" Theil. Berlin, 1764. The 283d-284th "Briefe," pp. 1 19-180, discuss the use of hexameter verse in German poetry, comparing Kayser's hexameter translation of the Night Thoughts with Ebert's prose translation as representative of Young, to show the reasons why the Night Thoughts should not be translated into hexameters, and why the German language is not adapted to that form of verse. The articles are by Resewitz, and cite many passages from both translations, also some verses from an un- published hexameter translation by his friend "D." (Mendelssohn?) 1765. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. . . . Schaffhausen, verlegts Benedict Hurter, Provisor, 1765. Vol. I, Nights I-IV, 350 pp. ; Vol. II, Nights V-VI, 260 pp. A reprint of the 1760 edition, German text only, with abridged notes. Vol. I was reprinted in Schaffhausen, in 1776; Vol. II, in 1777, q.v. Der Freymiithige, oder Der Englische Greis, von Young. Hamburg, 1 765-1 767. An adaptation of the Night Thoughts, in six parts, " ist-ajd Stiick," 402 pp. Briefe zur Bildung des Geschmacks An einen jungen Herrn von Stande. Zv^^eyter Theil. Leipzig und Breslau, 1765. XVIII Brief, pp. 337-364: Young's Nachtgedanken. This is a work of J. J. Dusch and contains ardent admiration of the Night Thoughts. He chooses Nights VI-VII as best suited to his discussion. Innumerable passages are cited as translated by Ebert and Kayser. Reviews: Konigsbergische Gelehrte und Politische Zeitungen auf das Jahr 1766. Calls them harmless contributions. Allgemeine deutsche Bibliothek, 1768. Vol. VII, ii, pp. 142-159. Objects to Dusch's characterization of the Night Thoughts, which says that the poem goes directly to the point in its arguments, without digression, episode, or exotic elaboration. Both of these reviews are by Herder. Cf. Sammtliche Werke, edited by Suphan. Vol. I, pp. 115-118; Vol. IV, pp. 290-291. Belustigungen fur das Herz und den Geschmack in 153 auserlesenen Schilderungen von Young, etc., etc. Frankfurt, 1765. Review: Konigsbergische Gelehrte und Politische Zeitungen, 1765, by Herder. This work is a prose medley and conglomeration of mediocre poetry from Gellert, Kleist, Lange, Dusch, etc., which Herder considers unworthy of print. Cf. Herders Sammtliche Werke, edited by Suphan. Vol. I, p. loi. This was not to be had. Der Gliickselige, eine moralische Wochenschrift. Halle, 1765. Sechster Theil. Das 222. Stuck, pp. 201-203. An essay: Ueber den Trieb zum Leben und zur Freyheit, p. 201, cites in free translation numerous thoughts from the Night Thoughts on the desire to live and the reluctance to meet death. Schreiben iiber die Frage : ob das Lesen der Alten an dem Mangel der Original-Scribenten Schuld sey, abgefasst von Job. Jac. Rambach, Rektor des Quedlinburgschen Gymnasii, 1765. A long discussion which takes up Young's arguments in his Con- jectures and attempts to refute them. Reprinted in 1771, q.v. Review: Konigsbergische Gelehrte und Politische Zeitungen. loth "Stuck." February, 1766. Cf. Herders Sammtliche Werke, edited by Suphan. Vol. I, pp. 121-123. Gottingische Anzeigen von Gelehrten Sachen. 49. Stiick. Den 25. April, 1765, p. 400. Altonaischer Gelehrter Mercurius auf das Jahr 1765. 22. Stiick. Den 30. May, 1765, p. 192. Notices of the death of Young. 1766. Die Gelassenheit im Leiden. An die Frau B******* Ein Gedicht, von Dr. Eduard Young. Aus dem Englischen ubersetzt von J. A. Ebert, Prof. . . . Zweyte verbesserte Auflage. Braunschweig, 1766. The first edition appeared in 1763, the third in 1776, q.v. Briefe iiber Merkwurdigkeiten der Litteratur. Erste und Zweyte Sammlung. Schleswig und Leipzig, 1766. A series of reviews by Heinrich Wilhelm von Gerstenberg. A close comparison of Young's Revenge with Shakspere's Othello, pp. 114- 125. A discussion of the Danish poet TuUin contains frequent com- 154 parisons with the Night Thoughts, pp. 171,172, 173, 175. Cf. also Dritte Sammlung, 1767, p. 277. Reprint in Deutsche Litteratur- denkmale des 18. und 19. Jahrhunderts. A. v. Weilen. Vols. XXIX-XXX, 1888-1890. 1767. Einige Werke von Dr. Eduard Young. Aus dem Eng- lischen ins Deutsche iibersetzt, und nun nach der letzten Ausgabe des sel. Verfassers verbessert von J. A. Ebert, Prof. Erster Theil, Braunschweig und Hildesheim, bey sel. Lud.* Schroders Erben, 1767. This new edition is almost identical with the 1760 annotated edition, as far as the latter had appeared, Nights I-VIII, but without notes and English original. Part I contains Nights I-IX, 383 pp. Part II contains: Der Jiingste Tag; Die Macht der Religion; Paraphrase uber einen Theil des Buchs Hiob; Der wahre Werth des menschlichen Lebens; Der nicht fabelhafte Centaur; Zwey poetische Sendschreiben an Herm Pope, 488 pp. A second, revised edition appeared in 1777, q.v. The third part appeared in 1772, q.v. Review: Allgemeine deutsche Bibliothek, 1769. Vol. IX, ii, P- 237- D. Eduard Youngs Trauerspiele, nebst der Boadicea, einem Trauerspiele des Herm R. Glovers. Aus dem Englischen iibersetzt. Neue Auflage. Leipzig, bey Adam Heinrich Hollens Witvi^e, 1767. Contains: Busiris; Die Rache; Die Briider, pp. 1-322. German prose translation. Reprint of the 1756 edition, q.v. Review: Theorie der Poesie . . . M. Ch. H. Schmid. Theil II, p. 46. Leipzig, 1768. Theorie der Poesie nach den neuesten Grundsatzen und Nachricht von den besten Dichtern nach den angenom- menen Urtheilen von M. Christian Heinrich Schmid. Leipzig, 1767. Part I contains many reviews of Young's works: Conjectures, p. 41; Notice of his death, p. 60; Night Thoughts, p. 185; Satires, p. 239; Lyrics, p. 316; Tragedies, p. 476. Review: Deutsche Bibliothek. Klotz. Halle. Zweyter Band. Achtes Stuck. Not in sympathy with Schmid's praise of Young; very harsh criticism of the damage that Young's influence was doing in Germany. * The title-page has "Ludw" by mistake: the name is Ludolph. 155 AUgemeine deutsche Bibliothek, 1767, Vol. V, i; I, pp. 2-8, A review of J. J. Dusch's Poetical Works points out the influence of Nights VI-VII on Dusch's fifth book on the immortality of the soul, p. 8. Altonaischer Gelehrter Mercurius auf das Jahr 1767. 13. Stuck, pp. 102-103. A short discussion of Young's Conjectures, and an advance notice of J. G. Meusel's De Veterum Poetaruin Interpretatione, a work said to be directed against Young's views. A short sketch of Young's life is given, 21st "Stiick," p. 168. Der Weise, eine moralische Wochenschrift. Erster Theil. Halle, 1767. The articles: Betrachtungen am Geburtstage; Die Vermischung des Vergniigens und Missvergniigens, pp. 117, 119-120, 125, 160, 168, cite passages from the Night Thoughts. Neue Bibliothek der schonen Wissenschaften und der freyen Kiinste. Berlin und Stettin, 1767. Vol. Ill, ii, pp. 330-341, contains a sketch of Young's life and works, — a glowing tribute and eulogy ; Comparison of the Revenge and Othello; Discussion of Busiris and the Brothers; Estimate of the Night Thoughts. Review of the above-cited sketch, in: Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1767, p. 278. 1768. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. Erster Band. Zweyte verbesserte Auflage. Braunschweig, bey sel. Ludolph Schroders Erben, 1768. The second, revised edition of the annotated edition of 1760, q.v. for full title, etc. 423 pp. Reviews: x^lmanach der deutschen Musen. Leipzig, 1771, p. 140. AUgemeine deutsche Bibliothek, 1771, p. 228. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. . . . Dritter Band. Schaffhausen, 1768. This volume contains Nights VII-VIII, 397 pp., and is a reprint of 156 the edition of 1763, with abridged notes, German text only. It was reprinted in 1777. Die Briider: ein Trauerspiel, aus dem Englischen iibersetzt. Frankfurt und Leipzig, 1768. This was located in Vienna, but was not obtainable at the time. It is most likely a reprint of the edition of 1756, q.v. Deutsche Bibliothek der schonen Wissenschaften heraus- gegeben vom Herrn Geheimdenrath Klotz. Erster Band. Drittes Stuck. Halle, 1768. A review of: Vergleichung des Zustandes und der Krafte des Menschen, etc., translated from the English, has an unfavorable opinion of the Night Thoughts, pp. 181-182. In Vol. II, p. 8, Klotz corroborates Gleim's opinion, that Young is not a savior of man. 1769. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. Vierter Band. Braunschweig, bey sel. Ludolph Schroders Erben, 1769. This volume contains Night IX, with appendixes, 336 pp. Of this annotated edition, with the English original on the pages opposite. Vol. I appeared in 1760; Vols. II-III, in 1763; Vol. V, in 1771, q.v. Reviews: Deutsche Bibliothek. Klotz. Halle. Vol. Ill, pp. 636-644. Very sarcastic and caustic. Calls Young the king of poetic night owls (Uhus). Almanach der deutschen Musen. Leipzig, 1770, p. 123. Allgemeine deutsche Bibliothek, 1771. Vol. XV, i, pp. 227-228. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. Zweyter Band. Zweyte verbesserte Auflage. Braunschweig, 1769. This volume contains Nights V-VII, 357 pp. Annotated, with the English original on the pages opposite. The first edition appeared in 1763, q.v. for full title, etc. Review: Allgemeine deutsche Bibliothek, 1771. Vol. XV, i, p. 228. Gottingische Anzeigen von Gelehrten Sachen. Got- tingen, 1769, p. 934. Notice of Ebert as the excellent translator of the Night Thoughts, in recommending another translation by him. 157 Persius und Demetrius oder die feindlichen Briider. Ein Trauerspiel in Versen und fiinf Aufziigen aus dem Englischen des Hrn. Doctor Young ubersetzt. Prag, 1769. An anonymous translation in Alexandrines. 107 pp. Monoto- nous. Neuer Zeitungen von Gelehrten Sachen auf das Jahr MDCCLXIX. Leipzig. A review of Le Toumeur's translation and adaptation of the Night Thoughts (1769), pp. 721-723. Ardent praise for this remodelling of Young. The work contains parts of six other works of Young. Altonaischer Gelehrter Mercurius auf das Jahr 1769. Notice of the above-cited translation by Le Tourneur, p. 408. Neue Bibliothek der schonen Wissenschaften und der freyen Kiinste. Berlin und Stettin, 1769. Also a review of the above-mentioned translation: Les Nuites de Young. The reviewer prefers Ebert's translations. Vol. IX, i, p. 177. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1769. A favorable notice of the translation of Night I, by Conte de Bissy, Paris, p. 1403. M. Ch. Hein. Schmids Zusazze zur Theorie der Poesie und Nachrichten von den besten Dichtern. Dritte Sammlung. Leipzig, 1769. In a review of: A Comparative View of the State and Faculties of Man with those of the Animal World, Schmid objects to the opinion that Young's Night Thoughts must be distasteful to a person of refined taste, pp. 4-6. 1770. Der Nordische Aufseher herausgegeben von Johann Andreas Cramer. Dritter und letzter Band. Leipzig, 1770. 159. Stiick, pp. 328-339. A review and resimie of the Conjectures on Original Composition. A close, running translation, without verbatim quotations. Unterhaltungen. Hamburg, 1770. Vol. X, p. 539. 158 Notice and review of the publication by Swan of: The Merchant a Naval Lyric : Written in Imitation of Pindar's Spirit. On the British Trade and Navigation, by E. Young, LL.D. 4°. The reviewer says that, if this is really a poem by Young, it should not have been printed. It is a mediocre attempt, and Young had no talent for the lyric, he concludes. 1 77 1. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert. Prof, am Coll. Carol, in Braunschweig. Fiinfter Band. Braunschweig, 1771. This volume contains Ebert's first translation of the Satires, anno- tated, and with the original on the pages opposite, 434 pp. The first volume of this edition appeared in 1760, Vols. II-III in 1763, Vol. IV in 1769, q.v. for full title, reprints, etc. Reviews: Almanach der deutschen Musen. Leipzig, 1772, p. 148. Says Ebert has now rescued this work from the disgrace of the previous miserable translations. Neuer Zeitungen von Gelehrten Sachen. Leipzig, 1772, pp. 226- 228. Favorable opinion of both the translation and the commentaries. Allgemeine deutsche Bibliothek, 1774. Vol. XXI, ii, pp. 543-544. Praise for the translation, but wishes the notes condensed. Ueber den Werth einiger Deutscher Dichter und iiber andere Gegenstande den Geschmack und die schone Litteratur betreffend. Ein Briefwechsel. Erstes Stuck. Frankfurt und Leipzig, 1771. (Mauvillon und Unzer.) An essay on Gellert's taste and influence, pp. 301-312, that attributes to the popularity of Gellert the widespread influence of the "whining Night Thoughts," upon which Ebert had, according to the opinion of the critics, thrown away so much talent and zeal. Almanach der deutschen Musen. Leipzig, 1771, p. 149. A review of: Theater der Britten, Part XII, Berlin, bey Himburg, gives notice of a reprint, as No. 2, of Die Rache von Young. The reviewer censures the editor, Schmid, for reprinting such miserable translations. This edition was not to be had, but is probably a reprint of the 1756, 1767, or 1758 edition, q.v. Johann Jacob Rambachs . . . vermischte Abhandlungen aus der Geschichte und Litteratur. Halle, 1771 : Untersuchung der Frage : ob das Lesen der Alten an dem Mangel der Originalscribenten sey? Pp. 56-101. 159 This article appeared as a " Schulprogramm " in 1765, q.v. Re- viewed by Herder. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1771, p. 71. Notice and review of: Veritas Philosophiques tiroes de Nuits de Young et mises en vers libres. Moissy. Paris. Harsh criticism. Gottingische Anzeigen von Gelehrten Sachen. Gottingen, 1771, pp. 742-744- Notice and review of: Oeuvres diverses de Mr. Young. Paris. 4 vols. These volumes contain: Night Thoughts, Conjectures, Tragedies, and minor works. Neue BibHothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1771. Vol. XII, i, p. 156. Notice and review of: Seconde Nuit de Young, traduite en vers frangois, par Mr. CoUardeau. Paris, 1771. This promises the first six Nights in the same style of imitation. 1772. Einige Werke von Dr. Eduard Young. Aus dem Eng- lischen ins Deutsche ubersetzt, . . . von J. A. Ebert, Prof, am Coll. Carol, in Braunschweig. Dritter Theil. Braunschweig und Hildesheim, 1772. This volume contains the Satires, without notes and without the original, 136 pp. The te.xt follows the first, annotated edition of 1771. Parts I-II appeared in 1767, revised in 1777, q.v. for full title, etc. AUgemeine deutsche Bibliothek. Berlin und Stettin, 1772. Vol. XVI, i, pp. 127-142. In a review of Creuz's odes and other works. Herder discusses the melancholy poets of the day, and places Young in the first rank. Cf. Herders Sammtliche Werke, edited by Suphan. Vol. V, pp. 290-291. Ueber den Werth einiger Deutscher Dichter . . . etc. Ein Briefwechsel. Zweytes Stiick. Frankfurt und Leipzig, 1772. (Mauvillon und Unzer.) A continuation, pp. 1-7, 152-153, of the article begun in the "Erstes Stiick," in 1771, q.v. The writer wonders that Young was so much admired in Germany, whereas, in England, the Night Thoughts had waned in popularity at once. 160 Frankfurter Gelehrte Anzeigen vom Jahr 1772. Contains many antipathetic discussions and notices of Young: Vol. VII, pp. 17-18, 52, 335; Vol. VIII, p. 519. On pp. 177-178 there is an unfavorable review of a French translation of Nights IV, XII, and XV,' by Mr. Doigni du Ponceau, in Amsterdam, 1771. Reprint in Deutsche Litteraturdenkmale des 18. und 19. Jahrhunderts, Vols. VII-VIII, 1882-1883. AUgemeine deutsche Bibliothek. Berlin und Stettin, 1772. Vol. XVII, i, p. 40. A review of: Stockhausens kritischer Entwurf einer auserlesenen Bibliothek, etc., corrects the statement that Kayser's translation is incomplete. Cf. 1760, 1761. 1773. Beylage zun Denkwiirdigkeiten des seligen Sokrates, etc. Zweite Auflage. Halle, 1773. This contains verses 781-787 of the Christian Triumph, Night IV. Cf. Hamann's Schriften, edited by Roth. Vol. IV, p. 114. Der Teutsche Merkur. Weimar, 1773. Contains, Vol. II, "Stiick" 2, pp. 87-92, a profuse letter from Ebert, begging space to publish some errors that occurred in his translation of the Satires. 1774, Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. Dritter Band. Zweyte verbesserte Auflage. Braunschweig, 1774. This volume contains Nights VII-VIII, 534 pp., annotated, with the original on the pages opposite. The first edition appeared in 1 763, q.v. Cf. Vol. I, 1760, for full title, etc. Dr. Eduard Young's Klagen, oder Nachtgedanken, etc. ... J. A. Ebert, Prof. Vierter Band. Schaff- hausen, 1774. This volume contains Night IX, German text, with abridged notes, a reprint of the 1769 annotated edition, 244 pp., and the Satires, with- out notes, 107 pp. Reprinted in Schaffhausen, in 1777. Neuer Gelehrter Mercurius. Altona, 1774. ' This translation, like nearly all the French renditions, follows Le Tourneur's division of the nine Nights into twenty-four. 161 This published, Nov. 3, as "Stiick" 44: Eine Elegie von Herm Doct. Gothe, a poem of 60 verses by an unknown author, who made free use of Nights III and IX. Reprinted in Schnorr's Archiv. Vol. XIV, pp. 185-188. Cf. injra, 1886, 1896. 1775. Epistel an die deutschen Dichter. . . . Leipzig, 1775. (Johann Karl Wetzel.) : Die unvermuthete Nach- barschaft. Ein Gesprach, pp. 25-48. An imaginary conversation between Sterne and Young, charac- terizing these writers. Litteratur der Poesie von Christian Heinrich Schmid. . . . ErsterTheil. Leipzig, 1775 : Ueber das Genie, p. 92. Characterization of the Conjectures. 1776. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. Erster Band. Schaffhausen, 1776. Reprint of the 1765 edition, q.v. Nights I-IV, 350 pp. Die Gelassenheit im Leiden. An die Frau B******* . . . Ein Gedicht, von Dr. Eduard Young. Aus dem Englischen iibersetzt von J. A. Ebert, Prof. . . . Dritte verbesserte Auflage. Braunschweig, 1776. The first edition appeared in 1763, the second in 1766, q.v. Reviews: AUgemeines Verzeichnis neuer Bucher mit kurzen Anmerkungen. Nebst einem gelehrten Anzeiger. Auf das Jahr 1776. No. 1296, p. 607. AUgemeine deutsche Bibliothek, 1777. Vol. XXXII, ii, p. 464. Favorable. Neue Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1776. A review. Vol. XIX, ii, p. 346, of: Observations on the Night Thoughts of Young ; with occasional Remarks on the Beauties of Poetical Composition. By Courtney Melmoth. The reviewer thinks Melmoth is too severe in his criticism of Young at times. 1777. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. . . . SchaflFhausen, 1777. 162 Reprintsof Vols. II-IV, which had appeared in 1765, 1768, and 1774, respectively, containing Nights V-IX and the Satires. This edition of the Satires was also published separately with a new title-page. Einige Werke von Dr. Eduard Young. ... J. A. Ebert, Prof. . . . Nach der letzten Edition sehr veranderten und verbesserten Auflage. Braunschweig und Hildesheim, 1777. Parts I-II, 364 pp., comprise the nine Nights and other works of Young. This is a revised edition of the 1767 edition, q.v. for con- tents, etc. The Complaint: or, Night Thoughts on Life, Death, and ImmortaHty. To which is added a Paraphrase on Part of the Book of Job. A new Edition. Sunt lacrymae rerum, & mentem mortalia tangunt. virg. Hamburg: Printed for C. E. Bohn. M.DCC.LXXVII. (287 pp.) Review: Allgemeines Verzeichnis neuer Biicher, etc. 1779. No. 252, p. 131. 1778. Dr. Eduard Young's Klagen, oder Nachtgedanken uber Leben, Tod, und UnsterbHchkeit. ... J. A. Ebert, Prof. Funfter Band. Schaffhausen, 1778. This volume contains the Satires and is almost identical with the edition of 1771, except that the English original is not printed on the pages opposite. It contains 472 pp., and was issued as the fifth volume of the Schaffhausen edition of 1765, 1768, and 1774, reprinted in 1 776-1 777, notwithstanding the fact that the fourth volume of this edition already included the Satires. Cf. under these dates. Basedowische Chrestomathie von Youngs Lehren der naturhchen Religion und Tugend aus Seinen Nacht- gedanken, bestimmt zur Bibliothek der Rechtschaffnen und zum Vorlesen in philanthropischen Schulen aller bcsondern Religionen. 1778. In der philanthropischen Buchhandlung bey S. L. Crusius in Leipzig, und Steinacker in Dessau. A chrestomathy of 148 pp., consisting of selections from Ebert's first translation, comprising all the passages that have an especial moral value, arranged under their respective Nights and amalgamated into a new whole. This retains about a third of the original, omitting all that owes its existence to the exigencies of Young's life and genius, 163 and special English conditions, as the preface, pp. iv-v, informs the reader. Brittisches Museum f iir die Deutschen. Zwey ten Bandes, Erstes Stiick. Leipzig, 1778. Contains, pp. 228-229, verses 470-527, in English, of: An Epistle to the Right Hon. George Lord Lansdowne, 1712. Dr. Eduard Young's Klagen, oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. ... J. A. Ebert, Prof. . . . Braunschweig und Hildesheim, 1778. This is a reprint of the three parts of the 1 767-1 772, 1 777-1 772 editions, q.v. It was not found, and the only evidence of its existence discovered is the: Review: Almanach der deutschen Musen. Leipzig, 1779, p. 160. It may be a misprint for 1777. 1779. Gottingische Anzeigen von gelehrten Sachen. Gottingen, 1779, p. 296. Gotaische gelehrte Zeitungen auf das Jahr 1779, p. 64. Brittisches Museum fur die Deutschen. 1779. Vol. IV. Notice of the sixth volume of the works of the Author of the Night Thoughts, containing short, miscellaneous verse and prose, already printed but not heretofore incorporated in his collected works. Lon- don, 1778. Betrachtungen iiber die Englischen Dichter. Berlin, 1779. This article on Young, pp. 55-64, abounds in unlimited praise of all his works. The writer admits that Young's Night Thoughts called into existence a host of weak, mediocre imitations, but, he claims, the Night Thoughts are themselves the sublimest of poetry. He passes over all the other works and cites numerous passages from the Satires in prose translation to illustrate Young's excellent qualities. 1780. Sammlung von Religions- und Sittenschriften. Erster Band. Dr. Eduard Youngs sammtliche Werke. . . . Speier, im Verlage der Gesellschaft, und zu haben bei den Eichenbergischen Erben zu Frankfurt am Mayn, 1780. Vol. I contains Nights I-VIII, 384 pp. ; Vol. II contains : Night IX, 122 pp., Der Jiingste Tag, Die Macht der Religion, Paraphrase iiber einen Theil des Buchs Hiob, Der wahre Werth des menschhchen 164 Lebens, pp. 123-412; Vol. Ill contains: Der nicht fabelhafte Centaur, Zwey Poetische Sendschreiben an Herm Pope, 362 pp. This is a reprint of : Einige Werke von Dr. Eduard Young. ... J. A. Ebert, Prof. . . . Braunschweig und Hildesheim, 1777, Parts I-II, German text only, without notes. The first edition appeared in 1767. Part III, containing the Satires, has been omitted, as being unsuitable for a collection of religious writings. Cf. preface to Vol. III. However, an edition was published later, a reprint of the three volumes men- tioned above, with the addition of a fourth volume, Frankfurt am Main, zuhaben bei den Eichenbergischen Erben, 1782. The preface claims that satire and religion are perfectly compatible, and, further, that Young's Resignation is worthy of a place alongside the Night Thoughts ; therefore this editor published the Satires and Die Gelas- senheit im Leiden, 218 pp. A reprint of the first three volumes appeared, Frankfurt und Leipzig, in 1805, q.v. Dr. Eduard Youngs samtliche Werke. Neue verbes- serte, mit dem Leben des Verfassers vermehrte Auflage. Erster Band. . . . Mannheim, 1780. This translation is the first by Professor Eckert of Mannheim. The claim that it is a new, revised edition, is somewhat peculiar, since it presumes to correct Ebert's translations, not Eckert's own. The preface adds a few irrelevant, incorrect data on Young, and declares the translator's willingness to publish with the second volume a list of his corrections, if Ebert or any one else should desire. The desire was evidently not expressed ; for the second volume appeared without the list. The revision consists in a mere substitution of unim- portant words. Vol. I contains the first seven Nights, 365 pp. Re- printed in 1784. Vol. II contains Nights VII-IX and the Satires, 398 pp. Reprinted in 1784. Vol. Ill contains: Der Jungste Tag, Die Macht der Religion, Paraphrase iiber einen Theil des Buchs Hiob, Zwey Poetische Sendschreiben an Herm Pope, Der nicht fabelhafte Centaur (the first three letters), 390 pp. Likewise reprinted in 1784. The fourth volume does not seem to have appeared until 1784, with the reprint of the three volumes discussed above. Cf. under 1784, injra. This translation is so nearly an absolute copy of Ebert's, that one edition even printed, as Vol. IV, Ebert's translation of Letters 4-6 of the Centaur, to complete the third volume above. This fourth volume also contains Ebert's translation of: Der wahre Werth des menschlichen Lebens, and Zwey Poetische Sendschreiben an Herm Pope, altho this last work had already been included in Vol. III. Briefe das Studium der Theologie betreffend von J. G. Herder. Zweyter Theil. Weimar, 1780. 165 Night II, verses 469-471, 474-479, 485-487, are used in the original. This was reprinted in the second, revised edition of 1785. To be found in Herders Sammthche Werke, edited by Suphan, Vol. X, pp. 248-249. Cf. also Neue Deutsche Monatsschrift, 1795, infra. Deutsches Museum. Leipzig, 1780: Schreiben an Herrn Professor Eschenburg, pp. 406-407. A short discussion by Ebert of the Epistle to the Right Hon. George Lord Lansdowne (1712). Klopstock. Er und iiber ihn von C. F. Cramer. Ham- burg, 1 780-1 793. Theil IV, p. 175. The commentary to the Messias, Canto VI, verses 454-469, char- acterizes correctly Young's influence upon his time. Charaktere teutscher Dichter und Prosaisten. Von Kaiser Karl dem Grossen, bis aufs Jahr 1780. Erster Band. Berlin, 1781. A character sketch of Ebert, pp. 339-342, dwelling especially upon him as the great, gifted translator of Young. 1781. D. Christian Heinrich Schmids Professors zu Giessen Anv^eisung der vomehmsten Bucher in alien Theilen der Dichtkunst. Leipzig, 1781. This contains biographical and bibliographical notices of Young, characterizations and criticisms of his works and of translations ia various languages. It contains many incorrect dates. 1782. Dr. Eduard Youngs sammtliche Werke. Vierter Band. . . . Frankfurt am Main, zu haben bei den Eichen- bergischen Erben, 1782. This is a supplementary volume to the three-volume edition of 1780, printed in Speier. It contains, in Ebert's translation, the Satires and Resignation, 218 pp. Cf. supra, 1780. 1783. Choice of the best poetical pieces of the most eminent English Poets. Published by Joseph Retzer. Vol. I. Vienna. Printed for Sonnleithner and Hoerling. MDCCLXXXIII: A Sea-Piece: containing: I. The British Sailor's Exultation. II. His Prayer before Engagement, pp. 197-207. Edward Young. 166 1784. Des Dr. Edouard Youngs Werke. Verbesserte und erste vollstandige deutsche Auflage. Erster Band. . . . Mannheim, 1784. Im Verlage der Herausgeber der Werke auslandischer schoner Geister. This is Eckert's translation. Vols. I-III appeared in 1780, q.v. Vol. Ill was also reprinted in 1792. Vol. IV, bearing upon its title- page "Erste deutsche Auflage," as does Vol. V, shows that the first edition appeared only as far as Vol. III. Vol. IV contains: The Centaur (conclusion), Der wahre Werth des menschUchen Lebens, Zwei Gedichte zum Ruhme Dr. Eduard Youngs, 359 pp. Vol. V contains: Busiris, Die Rache, Ein Seestuck, 270 + 16 pp. Cf. the discussion of the 1 780 edition, supra. The translations of the tragedies are superior to those published anonymously earlier. The Night Thoughts of this edition were published in 1802, q.v. 1785. Bibliothek der schonen Wissenschaften und der freyen Kunste. Vol. XXX, ii, p. 295. The conclusion of the translation of Warton's Essay on the Genius and Writings of Pope contains a characterization of Young as a satirist. Briefe das Studium der Theologie betreffend von J. G. Herder. Zweyter Theil. Weimar, 1785. The second edition. Contains Night II, verses 469-471, 474-479, 485-487, in the original. Cf . first edition, 1 780 ; also Neue Deutsche Monatsschrift, 1795, injra. 1787. Moralische Betrachtungen uber den Werth des Lebens. Aus dem Franzosischen iibersezt. Frankfurt und Leipzig, bey Tobias Gobhardt, 1787. The anonymous compiler says, in his preface, that he has selected passages from Le Toumeur's translation and has grouped them under new heads. Young had always seemed too sublime to him, he adds, and this is an attempt to simplify him. Chapters I-XVI are from the Night Thoughts. Chapter XVII is from the Last Day. 176 pp. Ueber den Geist der Originalwerke. Aus dem Eng- lischen von Young. Mit einem Sendschreiben des Herausgebers. Leipzig in der Beygangischen Buch- handlung, 1787. A new rendering by a person who signed himself "C," and who was 167 ignorant of the translations of 1760 and 1761. Cf. supra, p. 18. Also printed, "bey Johann Gottlob Hamann." Review: Anhang zu den 53. bis 86. Bande der Allgemeinen deutschen Bibliothek, 1791. Dritte Abtheilung, pp. 1814-1815. Harsh criticism. 1789. Young's Nachtgedanken iiber Leben, Tod, und Unsterb- lichkeit, in deutschen Versen von I. C, A. Steingriiber. Gottingen, bei Vandenhoek und Ruprecht, 1789. A hexameter translation of the Night Thoughts, German text only, with notes taken from Ebert's, 540 pp. An "Anhang" has a trans- lation of Warton's poem on the Last Day, pp. 541-542. The preface has the usual brief account of Young. Reviews: Gottingische Anzeigen von gelehrten Sachen, 1789, pp. 737-738. Favorable. Allgemeine deutsche Bibliothek. Vol. CI, ii, pp. 396-399. Very harsh. Says a hexameter translation is a preposterous idea. Kayser's fate should have been ample warning. Johann Arnold Ebert's Episteln und vermischte Gedichte. Hamburg, 1789. This contains many citations from Young, where Ebert has used thoughts of his favorite English poet, viz.: Ixvi, Ixviii, 73, 74, 75, 76, loi, 102, 107, 108, 109, no, III, 112, 113, 114, 117, 118, 125, 135, 169, 297-299, 305, 326. Cf. also Vol. II, infra, 1795. An ode to Dr. Young, written, in 1760, by J. Ebert, in a copy of his translation of the Night Thoughts, belonging to the Countess of Stolberg. XXXV, pp. 297-299. 26 verses. Allgemeines Register. Neue Bibliothek der schonen Wissenschaf ten und der f reyen Kiinste. Leipzig, 1 789 : Verzeichniss der neuesten und vorziiglichsten Ver- lagsbiicher der Dyckischen Buchhandlung, p. 288: Youngs (D. Edward) nicht fabelhafter Centaur: Aus dem Englischen. 1790. Dr. Eduard Young's Klagen oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. In neun Nachten . . . von Johann Arnold Ebert, Herzogol. Braun- schweigischem Hofrath, Prof, am Carolinum, und Canon. Sen. am Stifte St. Cyr. Verbesserte und vermehrte Auflage. Leipzig, im Schwickertschen Ver- lage, 1790. 168 This is Ebert's final edition of Vols. I-II, annotated, English and German. Vol. I contains Nights I-IV, 408 pp., which had appeared in 1760, second edition in 1768. Vol. II contains Nights V-VI, 334 pp., which had appeared in 1763, second edition in 1769, q.v. Vols. III-IV were published in 1792, Vol. V in 1794, q.v. Review: AUgemeine deutsche Bibliothek, 1791. Vol. CIII, i, p. 109. 1 791. Dr. Eduard Young's Klagen oder Nachtgedanken nebst einigen andem Seiner Werke. Aus dem Englischen ins Deutsche ubersetzt und nach der letzten von dem Verfasser selbst besorgten Ausgabe herausgegeben von Johann Arnold Ebert, Herzogol. Braunschweigischem Hofrath, Prof, am Carolinum, und Canon. Sen. am Stifte St. Cyr. ErsterTheil. Verbesserte Auflage. Leipzig, im Schwickertschen Verlage, 1791. This volume contains the nine Nights, 334 pp., German text only, without notes, the last reprint of the 1767 (second, revised edition, 1777) edition. The second and third volumes appeared after Ebert's death, 1799 and 181 1, respectively. 1792. Dr. Eduard Young's Klagen oder Nachtgedanken iiber Leben, Tod, und Unsterblichkeit. In neun Nachten . . . von Johann Arnold Ebert, Herzogl. . . . Hof- rath, Prof. . . . Leipzig, 1792. Vols. III-IV of the final, annotated edition, English and German. Vols. I-II appeared in 1790, q.v. Vol. Ill contains Nights VII-VIII, 496 pp. Vol. IV contains Night IX, 334 pp. 1793. Handbuch der Englischen Sprache oder Auswahl lehrreicher und unterhaltender Aufsatze aus den besten englischen Prosaisten und Dichtern, nebst biographi- schen und literarischen Nachrichten von den Ver- fassem und ihren Werken. Berlin, 1793. Biographical sketch of Young, pp. 401-402; verses 1-12 of the Resignation, in the original, p. 402 ; verses 28-188 of Night II, in the original, pp. 402-406. Reprinted in 1802, pp. 353-359. 1794. Dr. Eduard Young's Klagen oder Nachtgedanken, iiber Leben, Tod, und Unsterblichkeit. In neun Nachten . . . von Johann Arnold Ebert, Herzogl. . . . Hof- rath, Prof. . . . Leipzig, 1794. 169 Vol. V of the final, annotated edition, English and German, con- taining the Satires, 396 pp. The first edition appeared in 1771, q.v. A Collection out of some of the most approved English Poets, viz. . . . Young . . . translated by the Author of the Conversatioii of an old Man with a Youth. Printed for Ritscher at Hannover, 1794. Sammlung aus einigen der beriihmtesten englischen Dichter, namlich . . . Young . . . iibersetzt von dem Verfasser des Greises an den Jiingling. This was not found. It is by Georg Friedrich Niemeyer. Review: Neue allgemeine deutsche Bibliothek. Vol. XIX, i, pp. 188-192. Sammelbande deutscher Biihnenstiicke XXX. No. 165 : Die Rache. Ein Trauerspiel in vier Aufziigen nach Eduard Young. . . . Leipzig, bey Georg August Greishammer, 1794. This is a prose translation by Heinrich Bliimner, of the Revenge, 146 pp. An adapted translation, condensing Acts III and IV into the third Act. Printed in the same form in Deutsches Theater. Vol. L. Cf. supra, pp. 126-127. Neue Bibliothek der schonen Wissenschaften und der freyen Kiinste. Leipzig, 1794, Vol. LII, i, pp. 189- 192. Review of: Les Nuits d' Young traduites de I'Anglois par le Tour- neur. Paris. Englische Blatter. Herausgegeben von Ludwig Schu- bart. . . . Dritter Band. . . . Erlangen, 1794: Ueber den Hang des Menschen zur Nachahmung, pp. 95-106, 106-110. A discussion of imitation in general, followed by a criticism of the Germans for their literary imitation, drawing largely on Young's Conjectures. Der brittische Plutarch, oder Lebensbeschreibungen der grossten Manner in Grossbritannien, etc. . . . Aus dem Englischen . . . von Herrn Hofr. Meusel. Vols. VII-VIII. Also under the title : Biographieen grosser und beriihmter Manner aus der neuern brittischen 170 Geschichte. Aus dem Englischen, etc. . . . vonHofr. Meusel. Ziillichau, 1794. This was not found. Reviews: Neue allgemeine deutsche Bibliothek. Vol. XVIII, ii, pp. 444-449. Neue Bibliothek der schonen Wissenschaften und der freyen Kunste. Vol. XLIX, i, pp. 156-157. A review of the third edition of the English original. Contains a review of Young's life and works. Thanatologie oder Denkwurdigkeiten aus dem Gebiete der Graber, ein unterhaltendes Lesebuch fiir Kranke und Sterbende, von M. Joachim Leonhard Nicolaus Hacker, Prediger zu Haseloff, 1795. (302 pp.) This was not found. Review: Gottingische Anzeigen von gelehrten Sachen, 1796, pp. 1 9 1- 1 92. It contains selections from many writers, among them Young. 1795. Neue Deutsche Monatsschrift. Herausgegeben von Friedrich Gentz. Berlin, 1795. In an article by Herder: Ueber die Fahigkeit zu sprechen und zu horen, Vol. II, pp. 58-59, there is Night II, verses 465-487, with Ebert's translation; pp. 63-64 contain Night II, verses 488-497, 507-515, hkewise with Ebert's translation. To be found in Herders SammtUche Werke, edited by Suphan. Vol. XVIII, pp. 385-386, 389-390- Johann Arnold Ebert's Episteln und vermischte Gedichte. Zweiter Theil Nach des Verfassers Tode mit einem Grundriss seines Lebens und Charakters heraus- gegeben von Johann Joachim Eschenburg, Ham- burg, 1795. A sketch of Ebert's activity as translator of Young, pp. xxviii-xxxi. Correspondence of Ebert with Young, pp. 73-91. Neue Bibliothek der schonen Wissenschaften und der freyen Kunste. Leipzig, 1795. Vol. LIV, ii, pp. 212-229. A review of: Das Seifersdorfer Thai, von W. G. Becker, Dresden, 1792, describes a melancholy copse in which a grotto of unhewn stones is dedicated to Young. A dim lamp illuminates the uncanny gloom and shows an altar, with cross and skull, the figure of a praying 171 saint in mosaic, and Young's opened Night Thoughts. Another view is of a memorial to Young's children, Philander and Narcissus, in the shape of an urn with a snake twined about it. 1796. Auszug aus Youngs Nachtgedanken. Englisch und Teutsch. Halle, 1796. Selections translated by Johann Friedrich Kinderling. Friedrich von Blankenburg Litterarische Zusatze zu Johan Georg Sulzers allgemeiner Theorie der schonen Kiinste, etc. Leipzig, 1 796-1 798. This contains many notices and reviews of Young's works and German translations of the same. Neue Bibliothek der schonen Wissenschaften und der freyen Kunste. Leipzig, 1796. Vol. LVII, ii, p. 268. 1796. A review of Fr. W. Cotter's Schauspiele attributes the fad of trans- lating into prose to Ebert's translation of the Night Thoughts. 1798. Ausspruche der philosophirenden Vernunft und des reinen Herzens tiber die der Menschheit wichtigsten Gegenstande, etc., zusammengetragen aus den Schriften alterer und neuerer Denker. Jena, 1798. (By"Neu-r und Wyt-h.") This was not found, and is known only thru the: Review: Gottingische Anzeigen von Gelehrten Sachen. Got- tingen, 1798, pp. 1039-1040. 1799. Dr. Eduard Young's Klagen oder Nachtgedanken nebst einigen andem Seiner Werke . . . von Johann Arnold Ebert, Herzogl. . . . Hofrath, Prof. . . . Zweyter Theil. Verbesserte Auflage. Leipzig, 1799. This volume contains : Der Jungste Tag, Die Macht der Religion, Paraphrase iiber einen Theil des Buchs Hiob, Der wahre Werth des menschHchen Lebens, Der nicht fabelhafte Centaur, Zwey Poetische Sendschreiben an Herm Pope, 412 pp. The first volume of this edition appeared in 1791, q.v. for full title, etc. The third volume appeared in 181 1. Neue Bibliothek der schonen Wissenschaften und der freyen Kunste. Leipzig, 1799. Vol. LXII, i, p. 143. 172 Review of: Satires d' Young, traduites de I'Anglois par T. P. Pertin. Paris, 1798. A free translation, condensing all the senti- ments on men into the first chapter, those on women into the second. Everything exotic to French customs has been omitted. 1800. Dr. Eduard Young's Klagen oder Nachtgedanken iiber Leben, Tod und Unsterblichkeit mit Konstructionen und erlauternden Anmerkungen erleichtert von G. F. Herrmann M. A. Lehrer am Lyceum zu Wismar. Weissenfels und Leipzig, bey Friedrich Severin und Komp., 1800. An edition of the English text of the complete Night Thoughts, elucidated in copious notes, which make frequent use of Ebert's annotations, as the editor admits in his preface. 640 pp. Review: Allgemeine Literatur-Zeitung des Neunzehnten Jahr- hunderts. Jena und Leipzig, 1800. Vol. I, No. 5, Sp. 36-38. Allgemeiner Litterarischer Anzeiger, oder: Annalen der gesammten Litteratur fur die geschwinde Bekannt- machung verschiedener Nachrichten aus dem Gebiete der Gelehrsamkeit und Kunst. Fiinfter Band. Leip- zig, 1800. A review of: A Complete Edition of the Poets of Great Britain. London, 1 792-1 795. Vol. X. This contains a sketch of Young, pp. 1221-1222. 1802. Des Dr. Edouard Young Klagen oder Nachtgedanken. In 3 Bandchen. Aus dem Englischen. Deutschland. 1802. Zu finden in alien guten Buchhandlungen. A reprint, without preface, of the 1 780-1 784 editions of Eckert, q.v. Part I contains Nights I-V, 204 pp. Part II contains Nights VI-VII, 132 pp. Part III contains Nights VIII-IX, 212 pp. Handbuch der Englischen Sprache, etc. A reprint of the edition of 1793, q.v. Contains a sketch of Young's life and works, pp. 353-359. Night Thoughts by Edward Young, D.D. With the Life of the Author, and Notes Critical and Explanatory.* Wienn. Printed for R. Sammer, Bookseller, 1802. * This edition was also printed in Hamburg and other cities. Cooke's edition : Poetical Works, with the Life of the Author, was published by Hinrichs in Leipzig, without date. 173 Vol. I contains Nights I-VI, i8o pp., and notes to the same, pp. 181-209. Vol. II contains Nights VII-IX, 214 pp., with notes and index, pp. 215-262. 1803. Irene. Eine Monatschrift. Herausgegeben von G, A. von Halem, Munster. Vol. Ill, pp. 1-6: Youngs Klage. Metrische Uebersetzung von Horstig. This is a translation, by Karl Gottlieb Horstig, in blank verse, of the first 94 verses of Night I. Adrastea von J. G. v. Herder. Leipzig, 1803. Part VI, p. 106, contains : Young. Ueber Gedanken und Rede, a translation of Night II, verses 465-471, 474-476, 478-487. To be found in Herders Sammtliche Werke, edited by Suphan, Vol. XXVII, pp. 392-393. Cf. also supra, 1780. Herder had trans- lated in blank verse Night I, verses 1-125, in his early Weimar days. To be found, as above, pp. 393-396. Part V, pp. 293-295, contains Night V, verses 1-66, of Oeder's translation. Cf. supra, 1754. Werke, Vol. XXIV, 275-277. 1804. Irene. Eine Monatschrift. Herausgegeben von G. A. von Halem. Munster. Vol. II, pp. 39-50: Proben einer Auswahl aus E. Young's Satyren. These selections from the Satires were translated and published by C. G. Hensler, Prof., Kiel. He says, in his preface, that Ebert had translated the Satires, to be sure, but into prose; whereas they need a verse translation. Much of Young's satire has a too personal, national bearing, according to Hensler's view, and so he selected those passages that might concern the German reader. These passages are enumerated for Satires I and VII, to show the method pursued. Then follows his translation of 154 selected verses in blank verse, and of Satire I, verses 127-148 in the original. Gottingische Anzeigen von gelehrten Sachen. Gottingen, 1804. Notice, p. 1520, of F. Dmochowski's Polish translation of the Last Day and Night I. Warsaw. 1805. Klagen oder Nachtgedanken iiber Leben, Tod und Unsterblichkeit in neun Nachten. Von Dr. Eduard Young. Erster Band mit dem Bildniss des Verfassers. Neue Auflage. Frankfurt und Leipzig, 1805. This is a reprint of the three-volume Speier edition (1780) of Ebert's 174 translation of the Night Thoughts and other works of Young, q.v. for titles and contents. The two editions are identical. 1806. Der Neue Teutsche Merkur vom Jahre 1806. Her- ausgegeben von C. M. Wieland. Vol. Ill, pp. 69-79 : Uebersetzungen aus Young's Satiren. These selections are also by C. G. Hensler. The preface is like that of Halem's Irene, 1804, q.v. supra. The passages selected from Satire II for translation are given this time, followed by his translation of 181 selected verses. He says, if the translation, as planned, is ever published, Ebert's notes will be of great value. It seems never to have appeared. 1807. GottingischeAnzeigen vongelehrtenSachen. Gottingen, 1807. In a review, pp. 1313-1320, of: Essays, biographical, critical, and historical, etc., by Nathan Drake, there is mention of the fact that Drake refutes the idea that is still prevalent in many parts of Germany, viz., that the Night Thoughts are a favorite national poem of the EngUsh people. 1 810. Geschichte der Poesie und Beredsamkeit seit dem Ende des dreizehnten Jahrhunderts. Von Friedrich Bouter- wek. Gottingen, 1810. Vol. VIII, pp. 307-315. A sketch of Young's life and works. The Conjectures are not mentioned. RE\^Ew: Gottingische Anzeigen von gelehrten Sachen, p. 1536. 181 1. Dr. Eduard Young's Klagen oder Nachtgedanken nebst einigen andern Seiner Werke . . . von Johann Arnold Ebert, HerzogL . . . Hofrath, Prof. . . . Dritter und letzter Theil. Verbesserte Auflage. Leipzig, 181 1. This volume contains Young's Satires and Resignation in Ebert's translation, 134 pp. The first volume of this edition appeared in 1791, q.v. for full title, etc. The second volume appeared in 1799. 1812. Der Aufmerksame. Gratz. No. 25 : Gedanken in der Winternacht aus dem Englischen des Young gesammelt und iibersetzt. This is a prose translation of selections of the Night Thoughts, that could not be found. It is the work of Julius Franz Borgias Schneller. 175 1824. Abend-Zeitung auf das Jahr 1824 herausgegeben von Theodor Hell und Friedrich Kind. Dresden. Vol. IV, No. 245: Proben einer neuen Uebersetzung von Young's Nachtgedanken in der Versart des Originals. Aus der ersten Nacht, pp. 977-978. A translation, in blank verse, by Martin Heinrich August Schmidt, of Night I, verses 67-154. These selections were continued in 1825,' q.v., and incorporated in the translation of that year, q.v. Die Poesie und Beredsamkeit der Deutschen, von Luthers Zeit bis zur Gegenwart. Dargestellt von Franz Horn. Berlin, 1824. Vol. HI, pp. 82-90. A sketch of Young and his influence. 1825. Abend-Zeitung auf das Jahr 1825. Dresden. Vol. I, No. 19 : Proben ciner neuen Uebersetzung von Young's Nachtgedanken in der Versart des Originals. Aus der ersten Nacht, pp. 73-74. No. 41 : (same title). Aus der zweiten Nacht, p. 161. A continuation of the selections translated by M. H. A. Schmidt in the Abend-Zeitung the previous year, and incorporated in the transla- tion below, q.v. The selections published in the above-cited articles are: Night I, verses 360-370, 383-434; Night II, verses 75-1 11. Klagen oder Nachtgedanken uber Leben, Tod und UnsterbHchkeit, von Dr. Eduard Young; in der Versart des Originals ubersetzt von M. H. A. Schmidt. Erster Theil. Sunt lacrymae rerum, et menteni mor- talia tangunt. virg. Dresden, 1825, in der Amold- ischen Buchhandlung. This first volume, the only one to appear, contains a brief bio- graphical sketch of Young, and the Night Thoughts I-VI, 190 pp. An argument of each Night is given, and pp. 191-203 contain: An- merkungen fiir gebildete, doch nicht gelehrte, Leser. Selections of this translation had appeared in the Abend-Zeitung, 1824-1825, q.v. supra. Review: Braunschweig's schone Literatur in den Jahren 1745 bis 1800, etc. ... von Dr. Carl G. W. Schiller. Wolfenbuttel, 1845, q.v. Called "musterhaft." Schmidt is called the "scholar and suc- cessor of Ebert." Eduard Young's Nachtgedanken. Im Versmaas der 176 Urschrift iibersetzt von Ch. E. Gr. v. Bentzel Stemau. Frankfurt a. M., 1825. Gedruckt und verlegt bei H. L. Bronner. This edition opens with Klopstock's Ode to Young (1752). The preface contains a brief biography of Young and calls Young the "Homer fiihlender Denker." The nine Nights are pubHshed without notes or comments, 495 pp. Reprinted in Vienna in 1727, q.v. infra. 1826. Eidora. Taschenbuch auf das Jahr 1826. Vierter Jahrgang. . . . Herausgegeben von H. Gardthausen. Leipzig und Altona : Youngs Nachtgedanken, uber- setzt von A. Binzer. Erste Nacht. Ueber Leben, Tod und Unsterblichkeit, pp. 228-244. A new, poor translation of Night I, in blank verse. 1827. Eduard Young's Nachtgedanken. Im Versmass der Urschrift iibersetzt von Ch. E. Gr. v. Bentzel Stemau. Erster Theil. Wien, 1827. Gedruckt und verlegt bey Chr. Fr. Schade. A reprint of the Frankfort edition of 1825, q.v. This edition is, however, divided into two parts, the first containing Nights I-VI, 130 pp. ; the second, Nights VII-IX, 199 pp. 1832. Jahrbiicher der Literatur. Wien. Vol. LVII, Anzeige- Blatt, pp. 24-36: Geist und Leben der brittischen Dichter des neunzehnten Jahrhunderts. Von Chr. Kuflfner. A short sketch of Young's characteristics, p. 25. 1835. Der Halbmensch oder das Modeleben. Ein classisches moralisches Werk, aus dem Englischen des Dr. Eduard Young, beriihmten Verfassers der "Nacht- gedanken," von Friedrich Wilhelm Bruckbrau, Konigl. Bayer. HauptzoUamts-Verwalter zu Burghausen. Augs- burg und Leipzig, in der von Jenisch und Stage'schen Verlagshandlung, 1835. A complete translation of the Centaur, 167 pp. The second edition appeared in 1840. 1840. Der Halbmensch oder das Modeleben . . . des Dr. Eduard Young, . . . von Friedrich Wilhelm Bruckbrau. 177 The second edition of the 1835 edition, q.v. supra. 1844. Eduard Young's Nachtgedanken. In's Deutsche iiber- tragen von Elise von Hohenhausen, geb. v. Ochs. Verlag und Druck von H. Hotop in Cassel, 1844. A translation that omits everything that seemed to the translator to be antiquated and out of harmony with the time in which the transla- tion was made, as is stated in the preface. Blank verse with occasional rime is used, and everything is sacrificed to the one purpose of repro- ducing Young line for line in the same number of verses. The suicide of her son Carl led the poetess to this task of translating the Night Thoughts. The preface contains a sketch of Young's hfe, etc., and some philosophical thoughts which are taken from Hegel. The trans- lation comprises 310 pp. For the second edition, cf. 1874. 1845. Braunschweig's schone Literatur in den Jahren 1745 bis 1800, die Epoche des Morgenrothes der deutschen schonen Literatur. Zum hundertjahrigen Stif- tungsfeste des Collegii Carolini, von Dr. Carl G. W. Schiller. Wolfenbuttel, 1845. A sketch of Ebert as the excellent translator of Young, commenda- tion of his services to German literature, and a survey of Young's influence in Germany, pp. 63-74. 1854. The Standard Poets of Great Brittain from Mikon to W. Scott. Stuttgart. Metzler'sche Buchhandlung, 1854. This was not available. The collection is by Ludwig (Louis) Gantter. Nos. 2, 6, and 14 contain works of Young. 1868. Eine Abhandlung iiber den Dichter Young, von Dr. Michaelis. Programm der stadtischen Realschule zu Konigsberg in Preussen, etc., 1868. A characterization of political and literary conditions of England at the time of Young. Principal dates of Young's life, with a brief sketch of his works. Three pages are devoted to an analysis of the Night Thoughts. 14 pp. 1874. Nachtgedanken. Von Edward Young. Aus dem Eng- lischen iibertragen von Elise von Hohenhausen, geb. von Ochs. Zweite Auflage, herausgegeben und mit einem Vorworte versehen von Fr. von Hohenhausen. Leipzig. Verlag von Robert Friese. 178 This is the second edition of the 1844 Cassel edition. It appeared without date, and is given in catalogs as 1873, 1874, and 1876. As appears from the preface, the editor thinks this is the lirst German translation in verse. She dwells upon the fact, further, that in Eng- land and France the Night Thoughts are given a place alongside the Family Bible, whereas in Germany, much to her chagrin, they are scarcely read. A brief sketch of Young's life. The nine Nights comprise 404 pp. Cf. supra, p. 75. 1879. Zur Textgeschichte des Klopstockschen Messias. R. Hamel. Rostock, 1879. Hamel thinks that alliteration in the Night Thoughts influenced the verse of the Messias. Review: Euphorion, Vol. I, 1894, pp. 745-747. Archiv fiir Litteraturgeschichte. F. Schnorr von Carols- feld. Leipzig. Vol. XIV, pp. 185-188: Eine Elegie von Herrn Doct. Gothe. A reprint of the poem that appeared in theNeuer gelehrterMercurius, Altona, 1774, q.v. Edited by R. M. Werner. Cf. Goethe's poem Das Alter, mjra, 1896. Deutsche Litteraturdenkmale des 18. und 19. Jahrhun- derts. Vol. XXIX-XXX, 1888-1890. Reprint, edited by Alexander von Weilen, of: Briefe iiber Merk- wurdigkeiten der Litteratur, 1766, q.v. 1890. A Critical Analysis of Edward Young's Night Thoughts, vom ordentlichen Lehrer Richard Thiel. Programm fur das Schuljahr 1889-1890, etc. Berent, 1890. Character of the literature of the first half of the eighteenth century, pp. 3-4; Analysis, pp. 4-10; Critic, pp. 11-19. Contains inaccurate and incorrect data. J890. Friedrich Carl Casimir Freiherr von Creuz und seine Dichtungen. Carl Hartmann. Dissertation. Leip- zig, 1890. Universitats-Buchdruckereivon J. Horning. Heidelberg. On Young's influence, pp. 31-32, 56-71. 1892. Der Blankvers in Thomson's Seasons und Young's Night Thoughts. Hubert Clages. Dissertation. Halle, 1892. 179 Introduction, p. 3; B. Der Blankvers der Night Thoughts, pp. 23- 37; Silbenmessung, pp. 23-38; Wortbetonung, pp. 28-30; Vers- rythmus, pp. 30-37. Entirely statistical. 1894. Beitrage zur Kenntnis des Lebens imd der Schriften des Dichters Fr. Carl Casimir von Creuz. Udo Bion. Dissertation. Miinchen, 1894. On Young's influence, pp. 14-21. Review: Euphorion, Vol. Ill, pp. 514-518. 1895. Youngs Nachtgedanken und ihr Einfluss auf die deutsche Litteratur von Johannes Barnstorff. Mit einem Vorwort von Franz Muncker. Bamberg, 1895. Einleitung, pp. 1-9; Die Englische Litteratur zur Zeit Youngs, pp. 10-12; Youngs Nachtgedanken, pp. 13-22; Der Einfluss der Nachtgedanken, pp. 23-83; Uebersetzungen und Besprechungen, pp. 84-87. Review: Euphorion, 1896. Vol. V, pp. 137-144, Spiridion Wukadinowic, Graz. Vincenz Bernhard Tscharner (i 728-1 778) von Gustav Tobler. Bern, 1895. A sketch of Young's influence upon Tscharner, and the latter's interest in the Night Thoughts, pp. 3, 26-27, 28, 31. 1896. Zeitschrift des Vereins fiir Volkskunde. Karl Weinhold. Berlin, 1896. Vol. VI, p. 211. A comparison of a popular couplet: Der Tod, der ist ein grober Mann, as influenced by the Night Thoughts, with Goethe's poem, Das Alter. Cf. supra, 1774 and 1886, also pp. 110-1:1. 1 901. Edward Youngs Natursinn. Richard Lange. Leipzig Dissertation, 1901. (Printed in Nordhausen.) I. Einleitung, pp. 5-7. II. Die subjective Naturbetrachtung, pp. 7-18. III. Die mystische Naturbetrachtung, pp. 18-24. IV. Die religiose Naturbetrachtung, pp. 24-34. V. Die objektive Naturbetrachtung, pp. 34-59. VI. Die Wissenschaftliche Natur- betrachtung, pp. 59-68. VII. Schluss, pp. 68-72. Edward Young's Gedicht "The Night Thoughts," ein Beitrag zur Litteratur des 18. Jahrhunderts. Leipzig Dissertation. Bruno Heeg. (Printed in Ehrenfrie- dersdorf, 1901.) 180 Einleitung, pp. 5-7; Der Einfluss der zeitgenossischen Dichtung und Philosophic auf die "Night Thoughts" und Quellen derselben. A. Prosaische Schriften, pp. 8-28; B. Poetische Schriften, pp. 29-50. 1903. Jahrbuch der deutschen Shakespeare- Gesellschaft. Ber- lin, 1903. Vol. XXXIX, pp. 1-42 : Edward Young, On Original Composition. Ein Beitrag zur Geschichte der Shakespeare- Kritik im achtzehnten Jahrhundert. Von A. Brandl. An essay on Young's Conjectures and its relations to Shakspere criticism. Young's predecessors, his sources, and the influence of the Conjectures are treated, followed by a reprint of the Conjectures according to the .first edition, citing the emendations of the second edition, in the notes. INDEX PROPER NAMES, PERIODICALS, AND ANONYMOUS WORKS Ahend-Zeitung, 175. Abbt, Thomas, 96, 113} Addison, 6, 7, 8, 9, 13, 20, 42, jg, 60, 96, ^ojr, 133. Akenside, 61, 71, 89. Allgemeine deutsche Bibliothek, 18, 95> i5o> 152, 154, 155. 156, 158, 159, 160, 161, 167, t68. Allgemeine Litteratur-Zeitung, 172. Allgemeiner Litterarischer Anzeiger, 172. Allgemeines Verzeichnis neuer Biicher, 161, 162. Almanack der deutschen Musen, 126, 15s, 156, 158, 163. Altonaischer Gelehrter Mercurius, 1 50, 151. 153. 155- Annalen der gesammten Litteratur, 172. "Anthologie der Deutschen," 102, 103. Aquinas, Thomas, 109. Ariosto, 24. Aristotle, 8, 13, 35, 52. Der Aujmerksame, 174. Der A uj seller, oder Vormund, 130, 136. Ausfiihrliche und kritische Nach- richten, loj, 150, 151. " Ausspriiche der philosophirenden Vernunft," 171. Auszug merkwurdiger Sachen, 141. Auszuge und Urtheile, loj. B Bacon, 4, 5, 8, 9. 94, Bahrdt, K. F., g^. Bar, 140, 141. Basedow, 70, 162. Batteux, 14, 144. Baumgarten, A., 20, 52. Beaumont and Fletcher, 23. Behn, Mrs., 125. Belustigungen des Verstandes und des Witzes (Gottsched), 80. " Belustigungen fiir das Herz und den Geschmack," 152. Bentzel Sternau, 74, 176. Berens, J. Ch., 28. Berge, 60. Berlinische Privilegirte Zeilungen, 138. " Betrachtungen iiber die englischen Dichter," 122, 163. Beytrag zur Litteratur und zum Ver- gniigen, 16. Beytrdge zur neuesten Geschichte der Litteratur, 123, 142. Bibliothek der schonen Wissenschaj- ten, 15, 16, 22, 2j, 66, 123, 124, I2J, 140, 142, 143, 144, 145, 147, 150, 151, 166. Binzer, A., 176. Bissy, Conte de, 157. Blankenburg, F. von, 130, 133, 171. Bliimner, H., 126, 127, 169. Bodmer, H., 11, 12, 13, 14, 38, 57, 1 Figures in italics refer to footnotes. ISl 182 59, 6o, 62, 65, 75, 76, 80, 90, 105, 120, 121, 136. Bockh, 97. Borck, II, 12. Bouterwek, F., 174. " Braunschweig's schone Literatur," 175, 177- Brawe, 127-128. Brcitinger, 12. Bremer Beitrdge, x, xi, 62, 63, 80, 84, 88, 89, 90. Bremisches Magazin, 16, 149. Brcntano, C. M., 119. Brieje, die neueste Litteratur betrej- jend, X, 12, 16, 19-22, 28, 31, 44, 51, 66, 68, 86, 8g, 102, 107, 130, 143, 147, 149, 152. Brieje iiber Merkwurdigkeiten der Litteratur (Gerstenberg), x, 22-26, 97, 125, 153, 178. Brittische Bibliotltek, 124, i2j, 133, 142, 151. "Der Brittische Plutarch," 169. Brittisches Museum, 163. Bruckbrau, F. W., 176. Bucholtz, F., 31. Burger, 58. Byron, 112. C Caesar, 45. " Der Christ auf dem Sterbebette," 1 02 . Cicero, 8, 94. Clodius, 91. Collardeau, 159. Corneille, 12, 25, 124, 125, 142. Cramer, C. F., 73, 91, 165. Cramer, J. A., 17, 65, 66, 83-84, 107, 143, 157- Creuz, 65, 78-79, 159, 178, 179. Critische Nachrichten, 137. Crito (Bodmer), 76, 105, 137. Croncgk, 65, 88-89. Crugot, xi, 65, 93-94, 98- Curtius, M. K., 103. C. W. C. Fr. von C, 102. D Defoe, 60. Deutsche Bibliothek (Klotz), 69, 154, 156. "Die Deutsche Schaubiihne," 126, 147. Deutsches Museum, 133, 165. " Deutsches Theater," 169. Diogenes, 94. Dmochowski, F., 130, 173. Dodsley, R., 142. Donatus, 39. Drake, Nathan, 174. DrolHnger, 13. Dryden, i, 6, 7, 8, 60. Dusch, J. J., 67, 68, 95-96, 132, 145, 150. 152, 153, 155- E Ebert, J. A., x, 15, 46, 62, 63, 64, 66, 67, 68, 69, 70, 72, 73, 74, 76, 78, 79, 81-83, 83, 84, 85, 86, 87, 88, 89, 90, 91. 92, 93, 95. loi, 104, 106, 108, 117, 121, 122, 129, 130, 131, 132, 133, 13s. 137. 138, 139, 140, 141, 144, 145, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159. 160, 161, 162, 163, 164, 165, 167, 168, 170, 171. 172, 173. 174, 175, 177- Eckert, Professor, 72, 74, 122, 124, 126, 129, 132, 164, 166, 172. Eidora (Gardthausen), 176. Der Einsame, 103. Einsame Nachtgedanken (Miiller), 102. Englische Blatter (Schubart), 18, 169. Eschenburg, J. J., 133, 170. Euripides, 38. Ferguson, 82. Festus, 35. Fischbach, F. L., 104. Fletcher. See Beaumont. Frankfurter Gelehrte Aiizeigen, 71, /oj, 160. Freye Urtheile und Nachricliten, 140. " Der Freymijthige," 152. Freymuthige Brieje, 15, 146, 147. Gannter, L., 177. Gardthausen. See Eidora. 183 " Gedanken in der Winternacht," 174. Gelehrte Beytrdge zu den Braun- schweigischen Anzeigen, 145, 151. Gelehrte Beytrdge zu den Rigischen Anzeigen, 44. Gelehrte Nachrichten, 138, 140, 142, 143, 146, 148. Gelehrter Mercurius, 17. Gellert, 65, 71, 85-86, 100, 153, 158. Geniekult, ix, x, 21, 28, 54, 56. Gentleman's Magazine, 16, 18, 149. Gentz, F. See Neue Detdsche Mo- natsschrift. Gerstenberg, x, ij, 15, 22-26, 27, 58, 68, 96-97, 125, 126, 153. Geselhchaftliche Bemiihungen der Welt die christliche Religion an- zupreizen, 103. Gessner, 95. Geusau, H. von, 64, 138. Giseke, 84. Glatz, 105. Gleim, 62, 82, 86-87, 87, 88, 90, 97, 114, iij, lib, 121, 156. Glover, 59, 81, 82, 120, 136, 142, 154. Der Gliickselige, 153. Gockingk, 91-92, 123. Goethe, 58, 61, 68, 70, 99, 109-111, 161, 178, 179. Gotaische gelehrte Zeitungen, 163. Getter, F. W., 171. Gottsched, x, ii, 12, 14, 15, 16, 17, 59. 65, 75, 79, 80, 120, 121, 124, i3o> m, 135. 136, 144, 147. 148. Gottsched, Louise, 13, 79, 130, 136. "Gottingen League (Dichterbund)," xi, 89. Gottingisclre Anzeigen, 16, 62, 64, 77, 130. 136, 137. 138, 145. 146, 148, 149, 153, 155, 156, 157, 159, 163, 167, 170, 171, 173, 174. Gray, 61, 62, 71, 89, 118. Grillparzer, 128, I2g. Guardian, 59, 129, 136. H Hacker, M. J. L. N., 170. Hagedorn, 81, 82, 89, i2i> 140. Halem, G. A. von. See Irene. Haller, 63, 64, 77, 78, 7/7, 138, 146. Hamann, x, /j, 18, 21, 22, 23, 2b, 27, 28-40, 40, 47, 52, 57, 65, 68, 96, 160. Hamburgische Beytrdge, 139. " Hamburgische Dramaturgie," x, 26-28, 130. Hamburgisclie Nachrichten, 146, 148, 150. Hamburgische neue Zeitungen, 97, " Handbuch der Englischen Sprache," 132, 168, 172. Hardenberg, F. von, loi. Haug, 98. Hegel, 177. Heinse, 68, 70, 115. Hell, Theodore, 175. Hensler, J. G., 122, 173, 174. Herder, x, ij, 14, 17, 18, 19, 20, 21, 22, 23, 27, 2g, SI, S^' S^, 40, 40-5 7» 58, 64, 68, 71, 72, 73, 74, 107-109, i-r^, 131, 139, 152, 153. 159, 164; 165, 166, 170, 173. Hering, A. G., 103. Herrmann, G. F., 74, 172. Hervey, 71, 102, 108. Heydenreich, A. H., 104. Holderlin, loi, 112. Hohenhausen, Elise von, 75, 177. Home, 23. Homer, 5, 7, 8, 13, 24, 35, 38, 39, 50, 52, 55, 56, 57, 72, 176. Horace, 37, 45, 47, 48, ^9, 50, 51, 86, 88, 94. Horn, F., 175. Horstig, K. G., 173. Huber, J. C., 126, 127, 147. Der Hypochondrist (Gerstenberg), 23. Irene (Halem), 74, 122, 173, 174. Jacobi, J. G., 68, 70, 73, 87, 97, 115- 117. Jahrbiicher der Litcratur (Kuffner), 176. Jean Paul. See Richter. Johnson, Dr., 94. Jonson, 6, 7, 8, 13. Jung-Stilling, 99-100. 184 Kant, 37, 54-57- Kayser, Ch. B., 63, 64, 66, 67, 77, 79, 106, 138, 146, 148, 152, 160, 167. Kern, P. E., 103. Kind, J. F., 175. Kinderling, J. F., 171. " Klage bey dem Tode der Gelieb- ten," 102. Kleist, E. von, 82, 86, 153. Kleist, H. W. von, 118. Klinger, 58. Klopstock, X, xi, 38, 46, 50, 60, 62, 65, 68, 70, 73, 78, 87, 89, 90-91, 92, 95, 98, 99, 100, loi, 105, 106, 107, III, 112, 7/6, 118, 138, 146, 165, 176, 178. Klopstock, Meta, 90. Klotz, 68, 69, 116, 154, 156. Knebel, K. L., 68, 98. Konigshergische Gelehrte und Poli- tische Zeilungen, 42, 152, 153. Korner, 112. Kretsch, H. C, 102. Kritische Nachrichten, 116. Lange, 153. Lansdowne, 133, 163, 165. La Roche, Sophie von, 99. Lavater, xi, 65, 94-95. Lenz, 58, 68, 98-99, 121. Lessing, 12, 13, 14, 22, 26-28, 31, 34, 62, 64, 65, 66, 106-107, 127, 128, 130, 138, 143, 177. Lessing, K. G., 114. Le Tourneur, 157, 160, 166, 169. Lilo, 128. Livy, 124, 151. Lowen, 102. Lowth, R., j8. M Magus im Norden. See Hamann. Matthisson, 73, 117-118. Mauvillon und Unzer, 61, 71, 86, 158, 159- Meinhardt, J. N., 2j. "Mein Vergniigen in Zurich," 102. Melmoth, Courtney, 161. Mendelssohn, 19, "20, 2j, 89, g6, iij, 152. Meusel, J. G., 17, 155, 169, 170. Michael Angelo, 133. Michaehs, 70, 91, 113-114. Milton, 6, 8, 16, 57, 60, 66, 76, 84, 85, 91, 96, 98, 99, 100, loj, 107, 108, 109, 118, 177. Moissy, 97, 159. "Moralische Betrachtungen," 166. Moralische Wochenschriften, 59, 60, 105. Moritz, K. P., 104. Moser, 113. Muller, P. L. S., 102. N " Nachtgedanken bey einer gefahr- lichen Reise," 102. Natho, F. E., 102. Neue allgemeine deutsche Bibliothek, 169, 170. Neue Bibliothek der schonen Wissen- schaften, 124, 125, 155, 157, 159, 161, 167, 169, 170, 171. Neue Critische Briefe (Bodmer), 63, 76, 120, 136. Neue Deutsche Monatsschrift (Gentz), 73, 165, 166, 170. Neue Erwe iter un gen der Erkenntnis, 12, 140. "Neue Probestiicke der Englischen Schaubiihne," 143. " Neuer Biichersaal " (Gottsched), 135- Neuer Cclehrter Merciirius, 160, 178. Neuer Zeitungen von Gelehrten Sachen, 15, 62, 130, 131, 135, 136, 138, 140, 145, 146, 148, 151, 157, 158. Das Neueste aus der anmuthigen Gelehrsamkeit (Gottsched), 15, 144, 147- Der Neue Teutsche Merkur, 122, 174. Newton, 55. Nicolai, 12, 16, 19, 66, 68, 147, 149. Niemeyer, G. F., 169. 185 Der Nordische Aufseher (Cramer), 17, 66, 8s, 107, 143, 157- Novalis. See Hardenberg. O Oeder, G. W., 64, 108, 139, 173. Ogilvie, 61. Ossian, 50, 57, 71, 73, 89, 93, 97, 106, 118. "Pensees Angloises," 146, 148. Percy's "Reliques," 46, 57, 71. Pertin, T. P., 172. Pindar, 4, 8, 32, 35, 158. Plato, 8, 94, 115. Plutarch, 94, 169. Ponceau, Doigni du, 160. Pope, I, 2, 5, 6, 7, 8, 9, 13, 16, sS, 60, 67, 80, 81, 89, 94, 95, 97, 100, loj, 107, 108, 109, 120, 129, 131, i35> 141, 142, 151, 154, 164, 166, 171. Prior, 61, 89. R Racine, 95. Rambach, J. J., 17, 41, 42, 47, 153, 158- Ramler, 127, 144. Ramsay, i. Raphael, 24. Resewitz, 20, 152. Richardson, 9, 10, 6j, 65, 81, 90. Richter, Jean Paul, 70, 76, 100. "Romantic School," 119. Rousseau, 99, 118. Rowe, Elizabeth, 61, 130, 148. Ruffhead, 109. Sachs, Hans, 57. Salzmann, 109. "Sammelbande deutscher Biihnen- stiicke," 169. Sammlung vermischter Schrijten, 132, 144, 151. " Scherze der Lyrischen Muse," 102. Schiller, 70, 73, 74, 98, 104, 111-112. Schilling, 103. Schlegel, J. A., 14, 22, 23, 83, 84, 130, 144. Schlegel, J. E., 13. Schlegel, J. H., 124, 125, 151. Schlesische Berichte von gelehrlen Sachen, gj. "Schlesische Sammlung," 102. Schmid, M. Ch. H., 16, 102, 103, 122, 123, 125, 126, 130, 133, 154, 157,158, 161,165. Schmidt, M. A. H., 75, 175. Schneller, J. F. B., 74, 174. Sch5naich, 80.' Schubart, 18, 68, 97-98, 169. Schuldrama, 35. Scott, Walter, 177. Seneca, 115. Shaftesbury, 8, 16, 89. Shakspere, ix, i, 4, 6, 7, 8, 11-14, 19, 21, 22, 23, 24, 25, 26, 32, 35, SO, 52, 56, 57> 72, 73. 96, 108, 125, 126, 127, 142, 143, 153, 155, 180. Socrates, 30, 36, 160. Sophocles, 24, 25, 52, 56, jy. Spalding, 95. Spectator, 8, 9, 11, 13, 59, 60. Spenser, i, 24. "Standard Poets of Great Britain," i77-_ Staudlin, G. F., 104. Steele, 59, 129. Steingriiber, J. C. A., 73, 167. Sternau. See Bentzel Sternau. Sterne, 104, 117, i6r. Stilling. See Jung-Stilling. " Stockhausens kritischer Entwurf," 160. Stolberg, Countess of, 9.2, 167. Stolberg, F. L., 92-93. Storm and Stress, 28, 57. "Stunden der Einsamkeit," 102. Sucro, 90. Sulzer, 19, 171. Swift, 4, 5, 6, 42, 43, 60. Toiler, 59. Teubern, H. E. von, 15, lO, 18, 146, 147, 149. 186 Der Teutsche Merkur, i6o. "Theater der Britten," 158. Theremin, 105. Thomson, i, 71, 81, 85, 98, loj, 178. Thucydides, 32. Tickell, 133. Tieck, 118-119. Tiedge, 70. Triller, D. W., 80. Tscharner, 63, 64, 77, 77-78, 138, 146, 179. TuUin, 22, 97, 153. U "Universal Lexicon" (Zedler), 11. Unterhaltungen, 133, 157. Unzer. See Mauvillon. Uz, 62, 65, 86, 87, 87-88, 105, 116. V Veillodter, V. K., 105. Der Verniinjtler, 60. Virgil, 6, 8. Der Vormund. See Aufseher. W Wagner, H. L., 58, 73, 114. Waiblinger, W., 112. Warburton, 9. Warton, 2, 24, 61, 85, 151, 166, 167. Weckerlin, iii. Der Weise, 155. Weisse, ^j. Westphdlische Bemiihungen, 137. Wettengel, F. T., 104. Wetzel, J. K., 70, 104, 161. Wieland, 55, 56, 58, 61, 65, 69, 97, 98, 105-106, 112, 174. Withof, J. L., 142. Wordsworth, 71. Zachariae, 85, 87, 102. Zedler, 11. Zelter, j/o. Zimmermann, xi, 65, 94, 106. Zum Vergniigen, 144. H hOh^ 85 Vol. II No. 3. EDWARD YOUNG IN GERMANY. Historical Surveys, Influence upon German Literature, Bibliogra- phy. By John Louis Kind, Ph.D. 8vo, paper, pp. xiv + 180. Price, ;^i.oo net. Vol. Ill No. I. HEBBEL'S NIBELUNGEN. It Sources, Method, and Style. By Annina Periam, Ph.D. 8vo, paper, pp. xiv 4-219. Price, ;^i.oo net. COLUMBIA UNIVERSITY PRESS The Macmillan Company, Agents, 64-66 Fifth Avenue, New York " H ' «0 ^~ - * • a5°,<» v>i ' ,0 .-^•' "^ > - ,^^..-„^^ « ^ « ^^^J^^^ I ^ J^ Deacidified using the Bookkeeper process. *' x^ "^ "".^^ili^^** ^iV* ^ Neutralizing agent: Magnesium Oxide ^ ^ «^?liK\«'. ^^(» VO, Treatment Date: March 2009 \D, 'o. 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