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1843 AD (search for this): chapter 12
y materials are so rich; owre rich, perhaps, for my mind does not act on them enough to fuse them. The work itself is of value as illustrating a truth often noticed, that the ideal books of travel last longer than the merely statistical; since the details, especially of our newer communities, are superseded in a year, while it may be decades before another traveler comes along who can look beneath them and really picture the new scenes for the mind's eye. A book of facts about Illinois in 1843 would now be of little value, but the things that Margaret Fuller noted are still interesting. Like Mrs. Jameson, who wrote her Winter studies and summer rambles about the same time, she saw the receding Indian tribes from a woman's point of view; she sat in the wigwams, played with the children, pounded maize with the squaws. The white settlers, also, she studied, and recorded their characteristics; the Illinois farmers, the large, first product of the soil ; and the varied nationalities r
1846 AD (search for this): chapter 12
l the pleasure — rarer in those days than now — of receiving an English reprint, published in Clarke's Cabinet Library.2 She was then visiting Mrs. Child; and she records, also, her hope of a second American edition, but I am not aware that it ever arrived until the book was reprinted, after her death, by her brother Arthur. She also published, during her connection with the Tribune, two thin volumes of her miscellaneous writings, called Papers on literature and Art. This work appeared in 1846, just before her departure for Europe, and was, in the judgment of her brother Arthur, the most popular of 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 compa
December 1st (search for this): chapter 12
veral days ago, and I do not know how it will look on revision, for I must leave several days more between me and it before I undertake that, but think it will be much better than if it had been finished at Cambridge, for here has been no headache, and leisure to choose my hours. It will make a pamphlet rather larger than a number of the Dial, and would take a fortnight or more to print. Therefore I am anxious to get the matter en train before I come to New York, that I may begin the 1st December, for I want to have it out by Christmas. Will you, then, see Mr. Greeley about it the latter part of this week or the beginning of next? He is absent now, but will be back by that time, and I will write to him about it. Perhaps he will like to undertake it him. self. The estimate you sent me last summer was made expecting an edition of fifteen hundred, but I think a thousand will be enough. The writing, though I have tried to make my meaning full and clear, requires, shall I say, t
1837 AD (search for this): chapter 12
hough perhaps emphasizing them too much — some of the limitations of Goethe's nature. She does not even admit him to be in the highest sense an artist, but says, I think he had the artist's eye and the artist's hand, but not the artist's love of structure, --a distinction admirably put. From the subject of 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 h
January, 1842 AD (search for this): chapter 12
en admit him to be in the highest sense an artist, but says, I think he had the artist's eye and the artist's hand, but not the artist's love of structure, --a distinction admirably put. From the subject of 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 frien
May 23rd (search for this): chapter 12
reface 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 limitations of Goethe's nature. She does not even admit him to be in the highest sen
1840 AD (search for this): chapter 12
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 TI. 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 de
September (search for this): chapter 12
ife, I think I will try whether I have the hand to paint, as well as the eye to see. But I cannot but feel that I have seen, from the mouth of my damp cave, stars as fair, almost as many, as this person from the Fleche of the Cathedral, where she has ascended at such peril. But I dare boast no more; only, please fate, be just and 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 sev
1839 AD (search for this): chapter 12
ok 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 limitations of Goethe's nature.
1842 AD (search for this): chapter 12
ewhere. Philip Sidney found it; others had it found for them by fate. Ms. (W. H. C.) Apart from all other aspects of interest, Margaret Fuller's translation of the first part 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 transiti
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