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Passages like the following show the young Schiller at his best as a poet: Liebe wird Dein Auge nie vergolden, Nie umhalsen Deine Braut wirst Du, Nie, wenn unsere Thraenen stromweis rollten, Ewig, ewig, ewig sinkt Dein Auge zu.
Do was er widrumb in den berg und het sein lieb erkoren, des muoss der vierde babst Urban auch ewig sein verloren. A ballad which was sung in one Swiss district as late as the third decade of the nineteenth century gives the story of the knight and his temptress in fuller detail, though it knows as little of the episode of Elizabeth's love as it does of the tournament of song.
But, look, the morn, in russet mantle clad, Walks o'er the dew of yon high eastern hill! April 11th. I have not done much to-day. I spent the morning brooding over the opening speech. It is somber and terrible, but I have not gotten it right. It must have a tread a tread like an orchestra! Ah, how I wish I had an orchestra! I would soon do it then "So bist nun ewig du verdammt!"
He recited a few lines of the famous passage in Schiller: "... Das ewig Gestrige, Das immer war imd immer wiederkehrt...." "Himself, first of all!" He stopped in the middle of his recitation. "Who?" asked Christophe. "The pump-maker who wrote that!" Christophe did not understand.
Lest these assertions should appear too dogmatic, I will indicate the series of works in which I recognise Michelangelo's sympathy with genuine female quality. All the domestic groups, composed of women and children, which fill the lunettes and groinings between the windows in the Sistine Chapel, have a charming twilight sentiment of family life or maternal affection. They are among the loveliest and most tranquil of his conceptions. The Madonna above the tomb of Julius II. cannot be accused of masculinity, nor the ecstatic figure of the Rachel beneath it. Both of these statues represent what Goethe called "das ewig Weibliche" under a truly felt and natural aspect. The Delphian and Erythrean Sibyls are superb in their majesty. Again, in those numerous designs for Crucifixions, Depositions from the Cross, and Piet
He saw in him too, the intimate friend and ally for the brooding quarrels of the state council were not yet patent to the world of the still more deeply detested Granvelle; the crafty priest whose substitution of "einig" for "ewig" had inveigled him into that terrible captivity. These considerations alone would have made him unfriendly to the Prince, even had he not been a Catholic.
"We have not forgotten the words I 'ewig' and 'einig' in the treaty with Landgrave Philip," he wrote; "at the same time we beg to assure his Imperial Majesty that we desire nothing more than a good peace, tending to the glory of God, the service of the King of Spain, and the prosperity of his subjects." This was his language to his brother, in a letter which was meant to be shown to the Emperor.
The same idea has long been helpful to me in a third form in the following lines of Platen "Was stets und aller Orten Sich ewig jung erweist Ist, in gebundenen Worten Ein ungebundener Geist."
Nowhere, and on no occasion, does Shakspere in his dramas, in spite of phrases which to-day we qualify as obscene ones, lower the ideal of the womanly character of the ewig Weibliche. But let us read Montaigne's view:
He saw in him too, the intimate friend and ally for the brooding quarrels of the state council were not yet patent to the world of the still more deeply detested Granvelle; the crafty priest whose substitution of "einig" for "ewig" had inveigled him into that terrible captivity. These considerations alone would have made him unfriendly to the Prince, even had he not been a Catholic.
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