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I feel as if I could load a pistol with myself, and with a loud report shoot over to dear Weimar. Wolf, do talk, I beg you, I am tired out; answer me." "I reply, I shoot, my dear Carl," cried Goethe, laughing. "I was out of breath myself from that long speech. Was it original with my dear prince, or did he memorize it from Klinger's great 'Sturm-und-Drang' tragedy? It reminded me of it."

Her father was a feller by the name Polanya, and to-day yet he runs a big flour mill in Koroleshtchevitzi." "So I understand," Morris said; "but what's that you got there under your coat?" He referred to a huge bulge on the right side of Sol Klinger's Prince Albert coat, which Sol was supporting with both hands.

"Well, if Sol Klinger could do it, why couldn't we?" Morris asked. "What are you talking about Sol Klinger?" Abe demanded. Thereupon Morris related to Abe the circumstances surrounding Sol Klinger's purchase of the coffee percolator, and when he concluded Abe nodded slowly. "So that highwayman is butting in too," he commented. "How much did you say he is paying for that samovar, Mawruss?"

Sol Klinger's face spread into an amiable grin. "You could put me down ten dollars on that savings bank account, too, boys," he said as he reached for his hat. "I've got to be going now." "Don't forget you should tell Klein it's a boy," Morris called to him. "I wouldn't forget," Sol replied. "Klein'll be glad to hear it. You know, Mawruss, Klein ain't such a grouch as most people think he is.

His father was a man of artistic predilections, and in easy circumstances, so that the choice of a bread-winning profession for the son was not of first importance. As Klinger's talent showed itself at a very early age, it was promptly decided that he should be an artist.

In Klinger's play, as we have seen, everything is made to turn upon Guido's cankering doubt of his brother's seniority. One gets the impression that if the doubt could be settled by indisputable evidence in favor of Ferdinando, there would be no casus belli; the younger son would bow to the law of primogeniture and that would end the matter.

The oil-painting Abend, of 1882, also bears eloquent testimony to Klinger's power to evoke purely pictorial images of great loveliness.