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The Romantic School: the Schlegels, Novalis; Tieck, Koerner, Arndt, Uhland, Heine, and others. 6. The Drama: Goethe and Schiller; the Power Men; Muellner, Werner, Howald, and Grillparzer. 7. Philosophy: Kant, Fichte, Schelling, Hegel, Schopenhauer, and Hartmann; Science: Liebig, Du Bois-Raymond, Virchow, Helmholst, Haeckel. 8. Miscellaneous Writings.
In his Merlin he treated a conflict which was fundamentally similar to that of Grillparzer's Libussa. Yet Grillparzer, much more one-sided than he, possessed the true Romantic-mystic quality, whereas Immermann had to elaborate his symbolism with the patchwork of careful, allegoric analysis.
"Man seems to me a foolish being; he drives along over the waves of time, endlessly thrown up and down, and descrying a little verdant spot, formed of mud and stagnant moor and of putrid green mouldiness, he cries out, Land! He rows thither, ascends and sinks and sinks and is no more to be seen." The Golden Fleece of GRILLPARZER.
Unfortunately I know him only very superficially, and have not yet succeeded in making him part of myself. Grillparzer used to tell me wonderful things about him, and if you remain much longer in this element I shall have to read some of his things after you. Let me know on occasion which are the pieces I ought to begin with.
By way of contrast I received a very nice impression of Herr Grillparzer, the poet, whose name was like a fable to me, associated as it was, from my earliest days, with his Ahnfrau. I approached him also with respect to the matter of my theatre reform.
At her performance of Beethoven's F Minor Sonata, Grillparzer was inspired to write the following verses: "A weird magician, weary of the world, In sullen humor locked his charms all up Within a diamond casket, firmly clasped, And threw the key into the sea, and died.
In Weimar she played for Goethe, the great poet himself getting a cushion for her and placing it on the piano stool in order that she might sit high enough; and not only praising her playing, but also presenting her with his likeness in a medallion. The poet Grillparzer, after hearing her play in Vienna Beethoven's F-minor Sonata, wrote a delightful poem.
The dramas given included fifteen by Schiller, ten by Shakespeare, three by Goethe, three by Lessing, five by Molière, four by Hans Sachs, four by Sheridan, eleven by Grillparzer, two each by Kleist and Hebbel, and several by Ibsen, while the operas included three by Beethoven, three by Cherubini, six by Mozart, three by Weber, and several by Wagner.
But it almost seems as though the modest greatness of a Strauss and the vain insignificance of a Gervinus were only too well able to harmonise: then long live all those Blessed Ones! may we, the rejected, also live long, if this unchallenged judge of art continues any longer to teach his borrowed enthusiasm, and the gallop of that hired steed of which the honest Grillparzer speaks with such delightful clearness, until the whole of heaven rings beneath the hoof of that galumphing enthusiasm.
What was strong enough to swim in the tide was invigorated and strengthened; Goethe, Schiller, Kleist, Grillparzer, Weber, Mozart, Beethoven, and their compeers are both better performed and better understood now than they were before Wagner's appearance, but all the second-rate has perished.
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