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Updated: May 7, 2025
Of the more modern German authors, Taine knew only Heine, of whom he was a passionate admirer and whom, by reason of his intensity of feeling, he compared with Dante. A poem like the Pilgrimage to Kevlaar roused his enthusiasm. Goethe's shorter poems, on the other hand, he could not appreciate, chiefly no doubt because he did not know German sufficiently well.
The sound-image of a sacred name at which 'every knee shall bow, or even of one which may be formed in the mind but may not be uttered by the lips, has more power at the moment of intensest feeling than the realisation of its meaning. Things of the senses the sacred food which one can taste, the Virgin of Kevlaar whom one can see and touch, are apt to be more real than their heavenly anti-types.
This danger seems to threaten Goldmark's career, judging from his cantata for chorus and orchestra, the "Pilgrimage to Kevlaar," which, while highly interesting in places, and distinctly resourceful, is too abstruse and gloomy to stand much chance of public understanding.
In Heine's poem, "The Pilgrimage to Kevlaar," the love-lorn youth seeks the cure of his heart's ill by placing a waxen heart on the shrine. This is unquestionably the most exquisite use in literature of the heart as a charm. Two or three of the stories that I have noted down on the gruesome subject of heart-eating have been given above.
The mother begs him to rise and come with her, and they will join the band of pilgrims going to Kevlaar, to be healed there of their wounds by the Mother of God. Then you find them at Kevlaar, and all the maimed and the lame people have come to the shrine; and whichever limb is diseased, they make a waxen image of that and lay it on the altar, and then they are healed.
"But is there any of them is there anything in the world more pitiable than that pilgrimage to Kevlaar?" he said. "You know it, of course. No? Oh, you must, surely.
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