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Hilliard (search for this): chapter 12
ranslation, but undertook to condense some passages and omit others. Her preface is certainly modest enough, and underrates instead of overstating the value of lier own work. She made a delightful book of it, and one which, with Sarah Austin's Characteristics of Goethe, helped to make the poet a familiar personality to English-speaking readers. For one, I can say that it brought him nearer to me than any other book, before or since, has ever done. This volume was published at Boston, by Hilliard, Gray & Co., in 1839,--her preface being dated at Jamaica Plain on May 23 of that year,--and I suspect that she never had any compensation for it beyond the good practice for herself and the gratitude of others. Her preface contains some excellent things, giving a view of Goethe more moderate than that which Carlyle had just brought into vogue, though she still was ardent and admiring enough. But she points out very well — though perhaps emphasizing them too much — some of the limitation
Frederick Henry Hedge (search for this): chapter 12
nd send me an angel out of this golden cloud that comes after the pelting showers I have borne so long. Fuller Mss. III. 303-305. The allusion is to George Sand's Sept Cordes de la Lyre. The project of fiction went no farther, unless her fragment of an Autobiographical romance, written in 1840, was the result of it; and her first two published books were, naturally enough, translations from the German. She had expected, as early as November 30, 1834, as appears by a letter to the Rev. F. H. Hedge, to print her translation of Goethe's Tasso. Published after her death, in her Art, Literature, and the Drama. This had failed to find a publisher; but several years later George Ripley and other friends of hers projected and carried out, to the extent of fifteen volumes, a series of Specimens of foreign literature, composed of translations from the German and French. As announced in the preface to the first volume, dated February 22, 1838, the series was to have included A Life
Caroline Von Gunderode (search for this): chapter 12
Goethe followed naturally, in those days, that of Bettina Brentano, whose correspondence with the poet, translated in an attractive German-English by herself, had appeared in England in 1837, and had been reprinted at Lowell, Massachusetts, in 1841. Margaret Fuller, in the Dial in January, 1842, Dial, II. 313. had called attention to another work from the same source: the letters that had passed, at an earlier period than the Goethe correspondence, between Bettina and her friend Caroline von Gunderode. These letters were published at Leipzig in 1840, after the death of Gunderode. They were apparently written in the years 1805-06, when Bettina was about sixteen; and she in her letters to Goethe's mother, published in Correspondence of a child, gives an account of this friend and her tragic death. Bettina is now little read, even by young people, apparently, but she then gave food for the most thoughtful. Emerson says: Once I took such delight in Plato that I thought I never sh
Longfellow (search for this): chapter 12
all her books. He has reprinted it, without alteration, in that volume of her writings called Art, literature, and the Drama, including the preface, which was thought to savor of vanity and became the theme of Lowell's satire; although the sentence he apparently had in view, I feel with satisfaction that I have done a good deal to extend the influence of Germany and Italy among my compatriots, was strictly true. It was in this volume that she published — being the only part of it that had not previously appeared in print — an essay on American literature, in which she expressed, more fully than before, the criticisms on Longfellow and others which were then not uncommon among the Transcendentalists, and which, as uttered by her, brought on her head some wrath. It did not diminish this antagonism that the offending essay attracted especial attention in England, and was translated and published in a Paris review; but this aspect of her career must be considered in a later chapt
James Freeman Clarke (search for this): chapter 12
nd an extract from her Dial essay. Mrs. Wesselhoeft informs me that she revised Miss Fuller's part of the translation, but found nothing to correct save two or three colloquial idioms, pretty sure to be misinterpreted by one not a native of Germany. Margaret Fuller's first original work was the fruit of the only long journey she ever took, in her own country; a summer spent in traveling in what was then called the far West (May 25 to September 19, 1843) with her life-long friends, James Freeman Clarke and his sister Sarah, under the guidance of their brother, William H. Clarke, of Chicago. The last named was one of Margaret Fuller's dearest friends; a man of rare gifts, a delightful out-door companion and thoroughly acquainted with the pioneer life to which he introduced his friends. Their mode of traveling seems of itself to mark a period a hundred years ago instead of forty; and is graphically described in a letter to Mr. Emerson, written on the return journey:-- Chicago, 4th
Kerner (search for this): chapter 12
nowledge to some purpose honorable to the land, instead of lowering themselves to the requisitions of the moment, as so many of them do. Ms. The book has, doubtless, great defects, as is apt to be the case with a first work; an author feels, at such times, that he may never have another opportunity, and so is tempted to load his book down with episodes in order to lose nothing. This was the case with Miss Fuller. To insert boldly, in the middle of her book of travels, forty pages about Kerner's Seeress of Prevorst, which she had read in Milwaukee,--this showed the waywardness of a student and talker, rather than the good judgment which she ought to have gained in editing even the most ideal of magazines. These things weighed the book down too heavily for success, and her brother, in reediting her works, has wisely printed them separately. Yet the value of Summer on the Lakes remains; and I found afterwards, in traveling westward, that it had done more than any other book to pre
Bettina Von Arnim (search for this): chapter 12
of these letters is perhaps the best piece of literary work that she ever executed; so difficult was it to catch the airy style of these fanciful German maidens; and so perfectly well did she succeed, preserving withal the separate individualities of the two correspondents. Only one thin pamphlet was published, in 1842, containing about a quarter part of the letters. It appeared without her name; and apparently there was not enough of patronage to lead her on; but, after the death of Bettina von Arnim, the translation was completed by Mrs. Minna Wesselhoeft at the suggestion of Miss Elizabeth P. Peabody, the original publisher, and was printed with Margaret Fuller's fragment, by a Boston bookseller (Burnham) in 1860. There is nothing in the reprint to indicate the double origin, but the point of transition between the two translations occurs at the end of the first letter on page 86; while this volume, as completed, retains Margaret Fuller's original preface and an extract from he
Fanny Ellsler (search for this): chapter 12
ful nature that would alarm them so in real life . . . Imagine prose eyes, with glassy curiosity looking out for Mariana Nobody dreams of its being like me; they all thought Miranda was, in the Great Lawsuit. People seem to think that not more than one phase of character can be shown in one life. Sylvain is only a suggested picture; you would not know the figure by which it is drawn, if you could see it. Have no desire, I pray thee, ever to realize these ideals. The name I took from Fanny Ellsler's partner. In the bridal dance, after movements of a bird-like joy, and overflowing sweetness, when he comes forward, she retires with a proud, timid grace, so beautiful; it said, See what a man I am happy enough to love. And then came forward this well-taught dancer, springing and pirouetting without one tint of genius, one ray of soul; it was very painful and symbolized much, far more than I have expressed with Sylvain and Mariana. Ms. (W. H. C.) Summer on the Lakes seems to ha
Swedenborg (search for this): chapter 12
hed at Leipzig in 1840, after the death of Gunderode. They were apparently written in the years 1805-06, when Bettina was about sixteen; and she in her letters to Goethe's mother, published in Correspondence of a child, gives an account of this friend and her tragic death. Bettina is now little read, even by young people, apparently, but she then gave food for the most thoughtful. Emerson says: Once I took such delight in Plato that I thought I never should need any other book; then in Swedenborg, then in Montaigne,--even in Bettina; and Mr. Alcott records in his diary (August 2, 1839), he [Emerson] seems to be as much taken with Bettina as I am. For the young, especially, she had a charm which lasts through life, insomuch that the present writer spent two happy days on the Rhine, so lately as 1878, in following out the traces of two impetuous and dreamy young women whom it would have seemed natural to meet on any hillside path, although more than half a century had passed since t
J. W. Von Goethe (search for this): chapter 12
o the Rev. F. H. Hedge, to print her translation of Goethe's Tasso. Published after her death, in her Art, 22, 1838, the series was to have included A Life of Goethe, in preparation for this work, from original documed one which, with Sarah Austin's Characteristics of Goethe, helped to make the poet a familiar personality to ce contains some excellent things, giving a view of Goethe more moderate than that which Carlyle had just brouhasizing them too much — some of the limitations of Goethe's nature. She does not even admit him to be in thea distinction admirably put. From the subject of Goethe followed naturally, in those days, that of Bettina ettina was about sixteen; and she in her letters to Goethe's mother, published in Correspondence of a child, gunderode (which I prefer to the correspondence with Goethe. The two girls are equal natures, and both in earnest. Goethe made a puppet-show for his private entertainment of Bettina's life, and we wonder she did not fee
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