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Updated: May 3, 2025
A curse, thoughtless man, which even murderers never utter in vain, and which like a ghost would pursue us fugitives mercilessly from sea to sea. In the sentimental novel 'Siegwart', the heroine, Therese, loves a young squire, not for his blue blood, but for the nobility of his heart. Like Louise she renounces her love for this life, and bids him farewell.
The clever daughter of the gentleman who entertains Pank at his home reads a satirical poem on the then popular literature, but expressly disclaims any attack on Yorick or “Siegwart,” and asserts that her bitterness is intended for their imitators. Lotte, Pank’s sensible and unsentimental, long-suffering fiancée, makes further comment on the “apes” of Yorick, “Werther,” and “Siegwart.”
From Ossian to Siegwart he reviled a susceptibility toward the moon although the poets express it, and he almost had declared in plain words that if there were a hell, it certainly would be located in the moon.
Siegwart and his school friend are playing one evening an adagio of Schwindl on the violin: "And now they played so meltingly, so whimperingly and so lamentingly, that their souls became soft as wax. They laid down their violins, looked at one another with tears in their eyes, said nothing but 'excellent' and went to bed."
How much of this literature fell into the hands of Schiller at the academy can not be told with perfect certainty, but it would seem that very little of it escaped him. He read and was deeply touched by Gerstenberg's 'Ugolino', with its horrific picture of the agonies of starvation. He read the early writings of Goethe, of Leisewitz and of Klinger, and was touched by the woes of Miller's Siegwart.
The sister, in a ladylike style, with short sentences and nothing but stops, much as "Siegwart" was afterwards written, answers now him, now the other brothers, partly about domestic matters, and partly about affairs of the heart. One brother studies theology, and writes a very formal Latin, to which he often adds a Greek postscript.
These obtrude upon the original aim of the book and absorb the action of the story in such a measure that Timme often for whole chapters and sections seems to forget entirely the convention of his outsetting. His attack is threefold, the centers of his opposition being “Werther,” “Siegwart” and Sterne, as represented by their followers and imitators.
In writing to him she describes a scene between her father and his: Your father came dashing into our yard with two huntsmen. 'Are you the ? he called up to me. 'Is that Siegwart? He's a scoundrel, if he knows it. He wants to seduce my son.
If before Calvisius C-major was the erotic key, in the seventeenth century G-major was considered so; in the eighteenth, on the contrary, when love poetry jumps from the merry and playful over to the sentimental, the musical ear likewise altered accordingly, and even before the time of Werther and Siegwart the languishing, gently melancholy G-minor was the fashionable tone, for the erotic Matheson, indeed, even goes so far as to declare that it is the "most beautiful of tones" an opinion which is certainly characteristic of the state of nerves of the world of culture at that day.
The most constantly recurring form of satire is that of contradiction between the sentimental expression of elevated, universal sympathy and broader humanity and the failure to seize an immediately presented opportunity to embody desire in deed. Thus Frau Kurt, buried in “Siegwart,” refuses persistently to be disturbed by those in immediate need of a succoring hand. Pankraz and his mother while on a drive discover an old man weeping inconsolably over the death of his dog. The scene of the dead ass at Nampont occurs at once to Madame Kurt and she compares the sentimental content of these two experiences in deprivation, finding the palm of sympathy due to the melancholy dog-bewailer before her, thereby exalting the sentimental privilege of her own experience as a witness. Quoting Yorick, she cries: “Shame on the world! If men only loved one another as this man loves his dog!” At this very moment the reality of her sympathy is put to the test by the approach of a wretched woman bearing a wretched child, begging for assistance, but Frau Kurt, steeped in the delight of her sympathetic emotion, repulses her rudely. Pankraz, on going home, takes his Yorick and reads again the chapter containing the dead-ass episode; he spends much time in determining which event was the more affecting, and tears flow at the thought of both animals. In the midst of his vehement curses on “unempfindsame Menschen,” “a
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