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"Young Germany" was making itself felt in all coördinate directions: forming new schools of plastic Art in Munich and Dresden, a sharp and spirited Bohemian literature at Frankfort, under the lead of Heine and Boerne; and now, music being the last to yield in Germany, because most revered, as it is with religion in other countries, a new vitality brought together in Kühne's cellar in Leipsic the revolutionists, "who talked of Callot, Hoffmann, and Jean Paul, of Beethoven and Franz Schubert, and of the three foreign Romanticists beyond the Rhine, the friends of the new phenomenon in French poetry, Victor Hugo."
The witty aristocratic medisance and grim spirit of rebellion emulating each other in France, were, in Germany, represented by Prince Piichler, the most spirituel drawing-room satirist, and by the Jew, Boerne, the most spirited Jacobin of the day.
A school of writers known as Young Germany was deeply influenced by Heine. Their object was to revolutionize the political, social, and religious institutions of the country. Boerne was the nightmare of the German princes, at whom he darted, from his place of exile in Paris, the arrows of his bitter satire. Some of his writings are among the most eloquent of modern German compositions.
Christophe found that feeling everywhere in Germany, from the highest to the lowest from the William Tell of Schiller, that limited little bourgeois with muscles like a porter, who, as the free Jew Boerne says, "to reconcile honor and fear passes before the pillar of dear Herr Gessler, with his eyes down so as to be able to say that he did not see the hat; did not disobey," to the aged and respectable Professor Weisse, a man of seventy, and one of the most honored mea of learning in the town, who, when he saw a Herr Lieutenant coming, would make haste to give him the path and would step down into the road.
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