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If I concurred in this strange fanaticism, I should naturally have had scruples in approaching the Grand Duchess at Weimar with perfect openness.
The remaining adaptations made by Schiller were from the French, a language which he knew better than any other except his own. The Duke of Weimar, and with him a considerable portion of the Weimar public, had retained from early education a strong predilection for the French drama, both in comedy and in the haute tragedie.
Gruner of Jena speaks of a man by the name of Goldschmidt, in the environs of Weimar, who developed a depraved appetite for human flesh. He was married at twenty-seven, and for twenty-eight years exercised his calling as a cow-herd. Nothing extraordinary was noticed in him, except his rudeness of manner and his choleric and gross disposition.
I always think of Beethoven as the man who, walking with Goethe at Weimar and meeting the Ducal Court party, turned up his coat collar and elbowed his way through the courtiers, who were all attention to him, while Goethe, scarcely noticed, stood aside bowing, doubtless with an ironic smile at his heart. The Fifth Symphony is a musical rendering of that episode.
If everything has not already been tried, I should make the following suggestion: The Weimar court invites me to visit Weimar for a few weeks, and sends me a passport for four weeks; it then inquires, through its minister at Dresden, whether they object, and would be likely to demand my extradition to Saxony. See what can be done in this.
While the young Weimar hero forced his way Into Franconia, to the Danube, like Some delving winter-stream, which, where it rushes, Makes its own channel; with such sudden speed He marched, and now at once 'fore Regensburg Stood to the affright of all good Catholic Christians.
It is hardly necessary to point out that it was this fatal number which fixed the date in Franchomme's memory. But supposing Chopin and George Sand to have really met at the Marquis de Custine's, was this their first meeting? I put the question to Liszt in the course of a conversation I had with him some years ago in Weimar.
The Schillerized 'Macbeth' may be regarded as a sort of necessary transition-stage between the gross travesties of an earlier time and the more faithful presentations that were to come. With respect to 'Turandot' a few words must suffice. This again grew out of the laudable desire of the duumvirs to acclimate in Weimar dramatic productions that had pleased the public in other climes.
Both his parents, but especially his mother, cultivated at this time the society of literary people, and entertained at their house Klopstock and other notable persons. In the summer following his return home from Havre he accompanied his parents on a continental tour, stopping amongst other places at Weimar, where he saw Schiller.
I cannot tell you how comic it appears to me that I have to transact Weimar business with F. D. I have a good mind to tell HIM that he had better leave my opera alone. Weimar has lost all its charm for me since I have to meet so formal a person before I can get at you and the Grand Duke. You are a very tedious set of people.
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