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Updated: June 20, 2025


The French at Locre and the British at Voormezeele repulsed every attack, thrusting the enemy back whenever he gained a footing in advanced positions, and firmly holding every point around Ypres at the end of the day. General von Arnim's losses were particularly staggering at Locre, where he used battalion after battalion in a vain attempt to hold the village, a key to Mount Rouge.

"In proportion to our appreciation of music is also our appreciation of what is not music," Sarona says; and so faithfully does this writer prove it, by her attention to minute and usual circumstances, that one might certainly allow her some exaltation when touching on one theme, yet how this exaltation can be called in question by any who espouse Bettine von Arnim's sublime ravings the morning after entering Vienna is mysterious.

Born in Berlin of a noble family, he inherited a peculiar patriotism and his love of culture, and developed these without the eccentricities which characterized his brother-in-law. The main influences of his early years were Goethe and Jena, but, as a direct inspiration, Tieck must also be mentioned. Arnim's early works lie largely in the field of natural science, especially in physics.

Its Faust is a figure of aggressive naturalism, a charlatan and quack who practises blood-transfusion on the hero and who lies drunk in a pig-sty a scene which shows Arnim's power of drastic contrast at its best.

The fifth act is taken up with a pilgrimage to Jerusalem where the romantic fates of the characters are decided. The play abounds in contemporary satire and, as in all of Arnim's work, there is distinct emphasis on action, the goal of human endeavor. Arnim's prose is better than his verse. This novel is one of the best products of German Romanticism.

In Arnim's own words: "The richness of this our national song cannot fail to attract universal attention; it will surprise many; it will supplement many an effort of our own times, or will render such effort needless.

When, later in life, Görres remarked of these journals that their collaborators felt as if they were accompanying the Holy Roman Empire to its grave, he was thinking of the year in which the most important of them flourished, 1808. In this, Germany's darkest period, Kleist's Phoebus, so cordially hated by many, and Arnim's Journal for Hermits had their brief but influential career.

The echoes from Gotz von Berlichingen are at once apparent to the reader. But Arnim's city of the sixteenth century does not look backward only; the conflicts in it point forward also. Its abbess is not the traditional pious, fat old lady, but a tall, thin, practical and active woman.

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