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The same enthusiasm inspired the liberal-spirited poets, Tieck, Arnim, and Brentano; Fouque charmed the rising generation and the multitude with his extravagant descriptions of the age of chivalry; the learned researches of Grimm, Hagen, Busching, Graeter, etc., into German antiquity, at that time, excited general interest, but the glowing colors in which Joseph Gorres, himself a former Jacobin, and amid the half Gallicized inhabitants of Coblentz, revived, as if by magic, the Middle Age on the ruin-strewed banks of the Rhine caused the deepest delight.
In 1797 he moved to Berlin, where he gathered a group about him, including Tieck, and in this way established the external and visible body of the Romantic School, which the brilliant intellectual atmosphere of the Berlin salons, with their wealth of gifted and cultured women, did much to promote. In 1799 both he and Tieck joined the Romantic circle at Jena.
By LUDWIG TIECK "Where is our little Mary?" asked the father. "She is playing out upon the green there, with our neighbor's boy," replied the mother. "I wish they may not run away and lose themselves," said he; "they are so heedless." The mother looked for the little ones, and brought them their evening luncheon. "It is warm," said the boy; and Mary eagerly reached out for the red cherries.
The testimony of his friend Tieck, who in company with Friedrich Schlegel edited his works in a spirit of almost religious piety, runs: "The common life environed him like some tale of fiction, and that realm which most men conceive as something far and incomprehensible was the very Home of his Soul."
In his essay on Tieck Carlyle remarks again upon this characteristic of the mind of the typical poet: "He is no mere observer and compiler; rendering back to us, with additions or subtractions, the Beauty which existing things have of themselves presented to him; but a true Maker, to whom the actual and external is but the excitement for ideal creations representing and ennobling its effects."
All these come within the scope of imaginative truth. To illustrate my third head by an example. Tieck criticises John Kemble's dressing for Macbeth in a modern Highland costume, as being ungraceful without any countervailing merit of historical exactness.
Let no one think he has seen Italy, let no one think he has learnt the lofty secrets of art, until he has seen thee and thy Cathedral at Parma, O Correggio! Ludwig Tieck There is no moment that comes to mortals so charged with peace and precious joy as the moment of reconciliation. If the angels ever attend us, they are surely present then.
At Hanover, five years later, was born his brother Frederick, that is to say, in May 1772, and our Coleridge in the same year and to carry on the parallel for another year, Ludwig Tieck, Henry Steffens, and Novalis, were all born in 1773.
It is somewhat more interesting to learn that he made the acquaintance of many literary and artistic notabilities at that time congregated there, including Tieck, the German poet and novelist, and the American painter Alston, to whose skill we owe what is reputed to be the best of his many not easily reconcilable portraits.
He afterwards invited me to hear him read his libretto, which was a combination of the styles of Hebbel and Tieck.
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