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"That's always the way; I'm never where I ought to be, and never think of anything till it's too late; but it's all Goethe's fault. What does he write books full of smart 'Phillinas' and interesting 'Meisters' for?

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.

In our references to Lenz, we shall consider his "Catalogue" and his "Leben des Meisters" as complements to each other, and forming a single work. It contains, indeed, a sketch of the master's life; it is but a sketch, so highly colored, such a mere painting of Beethoven as lie existed in the author's fancy, not in real life, as to convey a most false idea of him and of his fortunes.

This is the end of his Mignons and Harpers, of his Tassos and Meisters. Poetry, as he views it, exists not in time or place, but in the spirit of man; and Art, with Nature, is now to perform for the poet, what Nature alone performed of old.

The first volume of "Beethoven, eine Kunststudie" is a "Leben des Meisters," a mere sketch, made up from the same works as the "Catalogue," with a very few additions from other sources. As a biographer, Lenz fails as signally as in his capacity of critic.

"That's always the way; I'm never where I ought to be, and never think of anything till it's too late; but it's all Goethe's fault. What does he write books full of smart 'Phillinas' and interesting 'Meisters' for?