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But neither Germany, with its Goethe and Tieck, nor England, with its Byron and Scott, is nearly so representative of the romantic temper as France, with Murger, and Gautier, and Victor Hugo. It is in French literature that its most characteristic expression is to be found; and that, as most closely derivative, historically, from such peculiar conditions, as ever reinforce it to the utmost.
Ticknor notes: "His conversation was very various, sometimes quite remarkable, but never rich or copious like Wordsworth's, and never humorous or witty. It was rather abundant in matters of fact, and often in that way quite striking and effective." The first winter he spent in Dresden, meeting Tieck frequently, and enjoying the agreeable and highly-cultivated society of the court.
Thence, it came back among the Anglo-Saxons, and was communicated to the German artists, who so richly supplied it with romantic ornaments and excrescences, after their fashion, that it became a fantasy worthy of Tieck or Hoffmann. For nobody has any conscience about adding to the improbabilities of a marvellous tale.
Even in Spanish or Italian literature it would not be easy to find an exact parallel; for the novelas and novelle are in general only circumstantial anecdotes. The name however adopted from them by Tieck has been retained, though as applied to a work of less than three volumes it has now become obsolete.
It is held that through Sterne’s inspiration Wieland and Goethe were rendered zealous to combat false ideals and life-lies in greater things. It is maintained that Tieck also was schooled in Sterne, and, by means of powers of observation sharpened in this way, was enabled to portray the conscious or unconscious life-lie.
But nowhere is the beauty of the German song so marked as in those Lieder treating of love, deeds of arms, and the old mystic legends so dear to the German heart. Tieck writes of the "Minnesinger period:" "Believers sang of faith, lovers of love; knights described knightly actions and battles, and loving, believing knights were their chief audiences.
Born in Berlin of a noble family, he inherited a peculiar patriotism and his love of culture, and developed these without the eccentricities which characterized his brother-in-law. The main influences of his early years were Goethe and Jena, but, as a direct inspiration, Tieck must also be mentioned. Arnim's early works lie largely in the field of natural science, especially in physics.
Moritz stopped a moment, looking up to Goethe with a face beaming with joy. "I cannot better express my happiness. Language is too feeble too poor!" Teichman believes it was the poet Burman. But I remember distinctly that Ludwig Tieck told me that it was the eccentric savant, Philip Moritz, with whom Goethe made the acquaintance in this original manner.
The old man Sleep, as Tieck has described him, with the box out of which he brings his dream-puppets, now commenced his nightly dramatic adventures, which lasted until the sun shone in through the window. "He draws nearer and nearer to her. 'O, give my hope an answer by this pink-flower. She sighs: 'O, I will no I will not." The Dancer, by PALUDAN-MÜLLER "I shall get to know!" thought Otto.
The tragical story of Vittoria Corrombona, eminently tragical in that age of dramatic lives and deaths, has furnished not only the subject of this fine play of Ford's, but that of a magnificent historical novel, by the great German writer, Tieck, in which it is difficult to say which predominates, the intense interest of the heroine's individual career, or that created by the splendid delineation of the whole state of Italy at that period the days of the grand old Sixtus the Fifth in Rome, and of the contemporary Medici in Florence; it is altogether a masterpiece by a great master.
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