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Updated: June 13, 2025
"Ev'n the Styx, which ninefold her infoldeth Hems not Ceres' daughter in its flow; But she grasps the apple ever holdeth Her, sad Orcus, down below." SCHILLER, Das Ideal und das Leben. Ever as I sang, the veil was uplifted; ever as I sang, the signs of life grew; till, when the eyes dawned upon me, it was with that sunrise of splendour which my feeble song attempted to re-imbody.
The first lines are the source of the famous lines in Goethe's Faust: 'Ach Gott! die Kunst ist lang Und kurz ist unser Leben, Mir wird bei meinem kritischen Bestreben Doch oft um Kopf und Busen bang.
"Sarkophagen und Urnen bekränzte der Heide mit Leben," said Goethe; but it was the life which was everlasting because it was typical: the life not which had been relinquished by the one buried there, but the life which the world danced on, forgetful, round his ashes.
Indeed, it seems that Trendelenburg's influence was great on the life of every young man who was fortunate enough to come into contact with him. The late Professor Paulsen, in his beautiful autobiography, Aus meinem Leben , presents us with a vivid picture of Trendelenburg and his work.
We quickly impute to them more virtue than their ways betoken; and when in their lusty final song they break out in a strain of lofty idealism: Und setzet ihr nicht das Leben ein, Nie wird euch das Leben gewonnen sein, one is hardly conscious of the incongruity. The dramatic fable devised by Schiller for the tragedy proper carries us back to the winter of 1634.
Their absence would not be very seriously felt in the drama, save that one would not like to miss Attinghausen as a picturesque representative of the old patriarchal nobility. The two scenes in which he appears are in themselves admirable. The End. Unfinished Plays, Translations and Adaptations Es stuerzt ihn mitten in der Bahn, Es reiszt ihn fort vom vollen Leben. 'William Tell'.
But on the understanding that the tonality-feeling acts subconsciously, that our satisfaction with the progression of notes is unexplained by the laws of acoustics and association, we are enabled to bring within the circle of those who have the musical experience even those nine tenths whose intellects are not actively participant. <1> Lazarus, Das Leben der Seele, ii, p. 323.
In reading the work carefully, two points strike us in relation to his printed authorities: first, that the list of those quoted by Lenz in his "Catalogue" and "Leben des Meisters" comprises nearly all those cited by Marx; the principal additions being the works of Lenz, Oulibichef, and A. B. Marx, the latter of which he exhibits great skill in finding and making opportunities to advertise; and secondly, that, where the Russian writer, through haste, carelessness, or the want of means to verify facts and correct errors, falls into mistakes, the Berlin Professor generally agrees with him.
But it would have outlived the attack and conferred a very great benefit. It conferred a great benefit as it was, although not the benefit which Strauss supposed. The benefit which it really conferred was in its critical method, and not at all in its results. Of the mass of polemic and apologetic literature which Strauss' Leben Jesu called forth, little is at this distance worth the mentioning.
See the passages in Jeremias' Die Babylonisch-Assyrischen Vorstellungen vom Leben nach dem Tode, p. 62. Sargon Annals, I. 156. Kosmologie, pp. 222-224. Gunkel's Schöpfung und Chaos, p. 154, note 5. In the later portions of the Old Testament, the use of Sheol is also avoided. See the passages in Schwally, Das Leben nach dem Tode nach den Vorstellungen des Alten Israels, pp. 59, 60.
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