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He was the first person to call the attention of the world to the importance of Hertz's experiment. Perhaps his most important work, interrupted by his labors in connection with education and terminated by his early death, was that in connection with the nature of the ether.
Then, just as he was about to leave, impatient at the delay, the crowd had cried, with a queer, dramatic, exultant note in its voice, "Here they come! Here come the boys!" Just at that moment two little, futile, frenzied fists began to beat a mad tattoo on Jo Hertz's broad back. Jo tried to turn in the crowd, all indignant resentment. "Say, looka here!"
Hertz would have pleased Kenelm Digby, and if that romantic being had read Danish, the poet of chivalry must have had a niche in The Broad Stone of Honour. Hertz's style is delicate to the verge of sweetness; his choice of words is fantastically exquisite, yet so apposite as to give an impression of the inevitable.
Some great players, from their point of view of touch, have been downright opposed to repetition actions. I will name Kalkbrenner, Chopin, and, in our own day, Dr. Hans von Buelow. Yet the Erard's repetition, in the form of Hertz's reduction, is at present in greater favor in America and Germany, and is more extensively used, than at any previous period.
These two plays are in ballad-rhyme and prose, like Hertz's romantic dramas; there is the same determination to achieve the chivalric ideal; but the work is that of a disciple, not of a master.
When, in an evening, I drove across Paris in the expectation of seeing her, I sometimes murmured to myself Henrik Hertz's verse: "My beloved is like the dazzling day, Brazilia's Summer!" My feelings, however, were much more admiration than love or desire. I did not really want to possess her. I never felt myself quite on a level with her even when she made decided advances to me.
Then, just as he was about to leave, impatient at the delay, the crowd had cried, with a queer dramatic, exultant note in its voice, "Here they come! Here come the boys!" Just at that moment two little, futile, frenzied fists began to beat a mad tattoo on Jo Hertz's broad back. Jo tried to turn in the crowd, all indignant resentment. "Say, looka here!"
He practised as a solicitor in Edin. 1840-45, after which he went to London and became head of the firm of Martin and Leslie, parliamentary agents. His translations include Dante's Vila Nuova, Oehlenschläger's Correggio and Aladdin, Heine's Poems and Ballads, Schiller's Song of the Bell, and Hertz's King René's Daughter.
As a proof that the similarity between The Feast at Solhoug and Svend Dyring's House is accidental, it has been pointed out that Ibsen produced his own play on the Bergen stage in January, 1856, and revived Hertz's a month later. It might, surely, be more sensibly urged that this fact shows how much he was captivated by the charm of the Danish dramatist.
Then, just as he was about to leave, impatient at the delay, the crowd had cried, with a queer dramatic, exultant note in its voice, "Here they come! here come the boys!" Just at that moment two little, futile, frenzied fists began to beat a mad tattoo on Jo Hertz's broad back. Jo tried to turn in the crowd, all indignant resentment. "Say, looka here!"
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