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We can hardly compare their stories with those of the Parson of Kalenberg and Till Eulenspiegel, since the latter arose in a different and half-mythical manner, as fruits of the imagination of a whole people, and touch rather on what is general and intelligible to all, while Arlotto and Gonnella were historical beings, colored and shaped by local influences.
We have seen that these poems try to express in turn, or even simultaneously, literary texts, pictures, anecdotes, philosophical ideas, and the personal sentiments of the composer. What unity is there in the adventures of Don Quixote or Till Eulenspiegel? And yet unity is there, not in the subjects, but in the mind that deals with them.
As I looked on the tranquil whitewash of this secluded caserma, dotted with views of our complicated and populous London, with its theatres and motor buses and the feverish rush of its tumult, I found myself wondering what it would be like to listen to the Pastoral Symphony in the Messiah, performed with occasional interpolations from Till Eulenspiegel.
Whatever fate is reserved for Death and Transfiguration, Till Eulenspiegel, Also Sprach Zarathustra, Hero's Life, and Don Quixote, there is no denying their significance during the last decade of the nineteenth century. For me it seemed a decided step backward when Strauss entered the operatic field.
When Eulenspiegel was asked by a man how long he would have to walk before reaching the next place, and gave the apparently absurd answer Walk, his intention was to judge from the man's walking how far he would go in a given time. And so it is when I have read a few pages of an author, I know about how far he can help me.
Trust her not, She is fooling thee! "She gives thee a garland woven fair, Take care! It is a fool's cap for thee to wear, Beware! Beware! Trust her not, She is fooling thee!" The last stanza he sung in a laughing, triumphant tone, which resounded above the loud clang of his guitar, like the jeering laugh of Till Eulenspiegel.
Thrown on my own resources I tried, amongst other things, to read Till Eulenspiegel, and this popular book first gave me the idea of a real German comic opera. Long afterwards, when I was composing the words for my Junger Siegfried, I remember having many vivid recollections of this melancholy sojourn in Travemunde and my reading of Till Eulenspiegel.
Screams of agony were heard all over the Continent as far north as Berlin, as far south as Vienna. A music-critic dearly hates to pay for a ticket. Hence the Till Eulenspiegel humour of R. Strauss. Hence the numerous "roasts" all his new works receive. He is the most unpopular composer alive with the critical confraternity. No wonder. I simply glory in him. Talk about blood from a stone!
Thus, too, Scogin and his "chamber-fellow" successively declared to a rustic that the sheep he was driving were pigs. In Fortini's novels, in like manner, a simpleton is persuaded that the kid he offered for sale was a capon; and in the Spanish El Conde Lucanor, and the German Tyl Eulenspiegel, a countryman is cheated out of a piece of cloth.
The Mephistophelian and mocking character of Lox is strongly shown when he says, "Nothing but a cat-tail or bulrush can kill me," this being evidently an allusion to Glooskap. This is to an Indian much like blasphemy. Lox, or Raccoon, or Badger, for they are all the same, in his journeyings after mere mischief reminds us of an Indian Tyl Eulenspiegel.
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