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And it flagellates again and again such bizarre literary and intellectual phenomena of the time as Raupach's Hohenstaufen dramas, Görres' mysticism, Menzel's calumniations, Eduard Gans' liberalism, Bettina's pretensions, Young Germany's reaction, even the Indian studies of the Schlegels and Alexander von Humboldt's substantial scholarship, so that, for the general reader, the larger part of the work is a sealed book.
Menzel's student connection with the Jena Burschenschaft, his early published protest against the emptiness of recent German literature, and his polemic, entitled German Literature, and aimed at the imitators of Goethe and at Goethe's own lack of interest in German unification, attracted young Gutzkow, who had also been a member of the Burschenschaft, and prompted him to write and publish in his student paper a defense of Menzel against his critics.
That is, we admired one of Menzel's least characteristic efforts but his most brilliant of canvases, the stage of the Théâtre Gymnase, Paris. Never before nor since that pictorial performance did the wonderful Kobold of German art attain such mellowness.
"So did the artists, who made the bronzelamps of Pompeii. Would you hang one of those in your hall? To say that a man is an artist and copies nature is not enough. There are two great schools of art; the imitative and the imaginative. The latter is the most noble, and most enduring; and Goethe belonged rather to the former. Have you read Menzel's attack upon him?" "It is truly ferocious.
One who would like to get a vivid impression of the state of German criticism at this time, and of the extent to which partisanship could obfuscate the vision of an intelligent and well-meaning man, should read the third volume of Wolfgang Menzel's 'German Literature', published in 1828.
The conversation, according to the lady writer, continued thus: "'Maybe he was frightened at the prospect of furnishing a couple of dozen wax candles, sneered the Duke of Schleswig. "'More likely he knew nothing of Menzel's growing reputation, suggested Begas, the sculptor. "The Emperor overheard the last words.
Menzel's literary bent is not shared by them, his predilection for a story to illustrate almost never appears among the younger Berlin painters, and he cannot in any real sense be considered their prototype. When we turn to the older members of the modern Munich school we find the influence of Boecklin dominant.
By this Weingarten, from some date not long after Menzel's first mysterious Dresden Excerpts, the necessary Austrian glosses, so far as possible to Weingarten on the indications given him, have been regularly had, for the two or three years past. Weingarten Junior, on the first suspicion, had vanished with due promptitude, was not to be unearthed again.
This is Menzel's account; in other words, the Saxon Envoy at Vienna's, stolen by Menzel. July 26th, it appears, Klinggraf having applied to Kaunitz the day before, who noticed a certain flurry in him, and had answered carelessly, "Audience?
The emperor himself remained standing beside the little painter's chair throughout the entire concert, the empress alone and some of her ladies being seated, while the remainder of the fair guests, as well as all the men, stood about the apartment endeavoring as far as possible to group themselves in the same way as the personages figuring in Menzel's painting.
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