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Herder, curiously enough, did not read the Sentimental Journey until the autumn of 1768, as is disclosed in a letter to Hamann written in November, which also shows his appreciation of Sterne. “An Sterne’s Laune,” he says, “kann ich mich nicht satt lesen.
But sixty years had passed since the young Cornelius had left the shores of the River Laune and come to dwell by the Kowahshiscook.
The tradition lingered on throughout the eighteenth and into the nineteenth century. Goethe in his youth, while under the French influence, composed the Laune des Verliebten, and in his later days at Weimar the Fischerin, a piscatorial adapted for representation on an open-air stage, in which the interest was purely spectacular.
She often teased him with her inconstant ways, and to this experience is due his first drama, "Die Laune des Verliebten," "Lovers' Quarrels," as it may be styled. He had an opportunity of establishing his principles of taste during a short visit at Dresden, in which he devoted himself to the pictures and the antiques. The end of Goethe's stay at Leipsic was saddened by illness.
[Footnote 87: “Der Reisegefährte,” Berlin, 1785-86. “Komus oder der Freund des Scherzes und der Laune,” Berlin, 1806. “Museum des Witzes der Laune und der Satyre,” Berlin, 1810. For reviews of Coriat in German periodicals see Gothaische Gelehrte Zeitungen, 1774, p.
England’s leadership in narrative fiction, the superiority of the English novel, especially the humorous novel, which was tacitly acknowledged by these successive periods of imitation, when not actually declared by the acclaim of the critic and the preference of the reading public, has been attributed quite generally to the freedom of life in England and the comparative thraldom in Germany. Gervinus enlarges upon this point, the possibility in Britain of individual development in character and in action as compared with the constraint obtaining in Germany, where originality, banished from life, was permissible only in opinion. His ideas are substantially identical with those expressed many years before in an article in the Neue Bibliothek der schönen Wissenschaften entitled “Ueber die Laune.” Lichtenberg in his brief essay, “Ueber den deutschen Roman,” is undoubtedly more than half serious in his arraignment of the German novel and his acknowledgment of the English novelist’s advantage: the trend of this satirical skit coincides with the opinion above outlined, the points he makes being characteristic of his own humorous bent. That the English sleep in separate apartments, with big chimneys in their bedchambers, that they have comfortable post-chaises with seats facing one another, where all sorts of things may happen, and merry inns for the accommodation of the traveler, these features of British life are represented as affording a grateful material to the novelist, compared with which German life offers no corresponding opportunity. Humor, as a characteristic element of the English novel, has been felt to be peculiarly dependent upon the fashion of life in Britain. Blankenburg, another eighteenth-century student of German literary conditions, in his treatise on the novel , has similar theories concerning the sterility of German life as compared with English, especially in the production of humorous characters . He asserts theoretically that humor (Laune) should never be employed in a novel of German life, because “Germany’s political institutions and laws, and our nice Frenchified customs would not permit this humor.” “On the one side,” he goes on to say, “is Gothic formality; on the other, frivolity.” Later in the volume (p.
I chose Goethe's Laune der Verliebten as a model for the form and plot of my work. I scarcely even drafted out the libretto, however, but worked it out at the same time as the music and orchestration, so that, while I was writing out one page of the score, I had not even thought out the words for the next page.
Two or three weeks ago I wanted to take my sister to see a relative of ours, who lives seven or eight miles from here, and my mother would not consent to my driving her, unless I hired the deacon's horse and chaise the horse, she said, could not run if he wanted to. So I got him, and Harriet asked Kate Laune to go too, as the chaise was large enough for all three; and we had a good time.
He had heard Beethoven's Pastoral Symphony, so, taking Goethe's Laune des Verliebten, he started a kind of fantasia, concocting words and music together.
The first two parts were reviewed in the Allgemeine deutsche Bibliothek. The length of the review is testimony to the interest in the book, and the tone of the article, though frankly unfavorable, is not so emphatically censorious as the one first noted. It is observed that Schummel has attempted the impossible, the adoption of another’s “Laune,” and hence his failure.
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