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The first years we saw most frequently the song-writer Silcher, from Tubingen, Justus von Liebig, the Munich zoologist von Siebold, the Belgian artist Louis Gallait, the author Moritz Hartmann, Gervinus, and, lastly, the wife of the Stuttgart publisher Eduard Hallberger, and the never-to-be-forgotten Frau Puricelli and her daughter Jenny.
And why can they not manage to forget a few of them, more particularly when they are of that unaesthetic, earthly, and ephemeral order to which the scholarly thoughts of Gervinus belong, and when they so obviously bear the stamp of puerility?
The men of the middle part of the century judged him generally from the partisan standpoint of their own political, philosophical and religious prejudices. This is true not only of the forgotten criticasters, but of the most famous, the most widely read and the most authoritative literary historians of the time, such as Gervinus and Vilmar.
In the University I heard Gervinus, who was formerly professor in Göttingen, but was obliged to leave on account of his liberal principles. He is much liked by the students and his lectures are very well attended. They had this winter a torchlight procession in honor of him. He is a stout, round-faced man, speaks very fast, and makes them laugh continually with his witty remarks.
The Commentary on Shakespeare of Gervinus, a really superior man, reminds one of the Roman Campagna, penetrated underground in all directions by strange winding caverns, the work of human borers in search of we know not what.
A great German historian, Gervinus, has said: "He was the greatest benefactor of Germany who removed the gloriole from the heads crowned by the grace of God." He accomplished great things because he had great power, he committed great faults because he was so powerful. Without his unrestricted power he could not have accomplished one nor committed the other. History is logic.
Verse was always more or less mechanical with him, and his epigrams are almost all stiff, as if they were bad translations from the Latin. Many of them are shockingly coarse, and in liveliness are on a level with those of our Elizabethan period. Herr Stahr, of course, cannot bear to give them up, even though Gervinus be willing.
It may be, however, that some other nations fail fully to understand and appreciate the mirth and the character of the man. A Dr. G. G. Gervinus, of Heidelberg, has written, in the German language, a heavy work on Shakespeare, in which he attacks Falstaff in a very solemn and determined manner, and particularly charges him with selfishness and want of conscience.
The editor introduces these by an essay upon the "Epochs of German Literature." Then follow, with due regard to chronological order, extracts from the works of Vilmar, Gervinus, Wackernagel, Schlosser, Julian Schmidt, and others. These extracts are of such length as to give a fair idea of the writers, and so arranged as to form a connected history.
Like the western diver, they go down deeper and stay down longer than other critics, but like him too they come up muddier. Above all of them, avoid Ulrici and Gervinus. The first is a mad mystic, the second a very literary Dogberry, endeavoring to comprehend all vagrom men, and bestowing his tediousness upon the world with a generosity that surpasses that of his prototype.
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