The Uncollected Writings of Thomas de Quincey, Vol. 2

The world, with all its forms of being, hung in a mist before his eyes; he determined to look upon the destitute as his brethren, and to depart far away from the communion of the happy. They had already been waiting for him a long time in the hall, to perform the ceremony; the bride had become uneasy; her parents had gone in search of him through the garden and park; at length he returned, lighter for having wept away his cares, and the solemn knot was tied.

The company then walked from the lower hall toward the open gallery, to seat themselves at table. The bride and bridegroom led the way, and the rest followed in their train. Roderick offered his arm to a young girl who was gay and talkative. 'Why does a bride always cry, and look so sad and serious during the ceremony,' said she, as they mounted the steps.

'Because it is the first moment in which she feels intensely all the weight and meaning and mystery of life,' answered Roderick.

'But our bride,' continued the girl, 'far surpasses in gravity all I have ever yet seen. Indeed, she almost always looks melancholy, and one can never catch her in a downright hearty laugh.'

'This does more honour to her heart,' answered Roderick, himself, contrary to custom, feeling somewhat seriously disposed. 'You know not, perhaps, that the bride a few years ago took a lovely little orphan girl into the house, to educate her. All her time was devoted to the child, and the love of this gentle being was her sweetest reward. The girl was become seven years old, when she was lost during a walk through the town, and in spite of all the means that have been employed, nobody could ever find out what became of her. Our noble-minded hostess has taken this misfortune so much to heart that she has been preyed upon ever since by a silent melancholy, nor can anything win her away from her longing after her little play-fellow.'

'A most interesting adventure, indeed,' said the lady. 'One might see a whole romance in three volumes grow out of this seed. It will be a strange sight, and it will not be for nothing, when this lost star reappears. What a pretty poem it would make! Don't you think so, sir?'

The party arranged themselves at table. The bride and bridegroom sat in the centre, and looked out upon the gay landscape. They talked and drank healths, and the most cheerful humour reigned; the bride's parents were quite happy; the bridegroom alone was reserved and thoughtful, eat but little, and took no part in the conversation. He started when some musical sounds rolled down from above, but grew calm again on finding it was nothing but the soft notes of a bugle, which wandered along with a pleasant murmur over the shrubs and through the park, till they died away on the distant hills. Roderick had stationed the musicians in the gallery overhead, and Emilius was satisfied with this arrangement. Toward the end of the dinner he called his butler, and turning to his bride, said, 'My love, let poverty also have a share of our superfluities.' He then ordered him to send several bottles of wine, some pastry, and other dishes in abundant portions, to the poor couple, so that with them also this day might be a day of rejoicing, unto which in after-times they might look back with delight. 'See, my friend,' cried Roderick, 'how beautifully all things in this world hang together. My idle trick of busying myself about other people's concerns, and my chattering, though you are for ever finding fault with them, have after all been the occasion of this good deed.' Several persons began making pretty speeches to their host on his compassion and kind heart, and the young lady next to Roderick lisped about romantic feelings and sentimental magnanimity. 'O, hold your tongues,' cried Emilius indignantly. 'This is no good action; it is no action at all; it is nothing. When swallows and linnets feed themselves with the crumbs that are thrown away from the waste of this meal, and carry them to their young ones in their nests, shall not I remember a poor brother who needs my help? If I durst follow my heart, ye would laugh and jeer at me, just as ye have laughed and jeered at many others who have gone forth into the wilderness, that they might hear no more of this world and its generosity.'

Everybody was silent, and Roderick, perceiving the most vehement displeasure in his friend's glowing eyes, feared he might forget himself still more in his present ungracious mood, and tried to give the conversation a sudden turn upon other subjects. But Emilius was becoming restless and absent; his eyes were continually wandering toward the upper gallery, where the servants who lived in the top story had many things to do.

'Who is that ugly old woman,' he at length asked, 'that is so busy there, going backwards and forwards, in her gray cloak?' 'She is one of my attendants,' said his bride; 'she is to overlook and manage my waiting-maids and the other girls.' 'How can you bear to have anything so hideous always at your elbow?' replied Emilius. 'Let her alone,' answered the young lady; 'God meant the ugly to live as well as the handsome: and she is such a good, honest creature, she may be of great use to us.'

On rising from table, everybody pressed round the new husband, again wished him joy, and urgently begged that he would consent to their having a ball. The bride too said, breathing a gentle kiss on his forehead: 'You will not deny your wife's first request, my beloved; we have all been looking forward with delight to this moment. It is so long since I danced last, and you have never yet seen me dance. Have you no curiosity how I shall acquit myself in this new character? My mother tells me I look better than at any other time.'

'I never saw you thus cheerful,' said Emilius; 'I will be no disturber of your joys: do just what you please; only let me bargain for nobody asking me to make myself ridiculous by any clumsy capers.'

'Oh, if you are a bad dancer,' she answered, laughing, 'you may feel quite safe; everybody will readily consent to your sitting still.' The bride then retired to put on her ball-dress.

'She does not know,' said Emilius to Roderick, with whom he withdrew, 'that I can pass from the next room into hers through a secret door; I will surprise her while she is dressing.'

When Emilius had left them, and many of the ladies were also gone to make such changes in their attire as were necessary for the ball, Roderick took the young men aside, and led the way to his own room. 'It is wearing toward evening,' said he, 'and will soon be dark; so make haste, every one of you, and mask yourselves, that we may render this night glorious in the annals of merriment and madness. Give your fancies free range in choosing your characters: the wilder and uglier the better. Try every combination of shaggy mane, and squinting eye, and mouth like a gaping volcano; build mountains upon your shoulders, or fatten yourselves into Falstaffs; and as a whet to your inventions, I hereby promise a kiss from the bride to the figure that would be the likeliest to make her miscarry. A wedding is such a strange event in one's life; the bride and bridegroom are so suddenly plunged, as it were by magic, head over heels into a new, unaccustomed element, that it is impossible to infuse too much of madness and folly into this feast, in order to keep pace with the whirlpool that is bearing a brace of human beings from the state in which they were two, into the state in which they become one, and to let all things round about them be fit accompaniments for the dizzy dream on the wings of which they are floating toward a new life. So let us rave away the night, making all sail before the breeze; and a fig for such as look twice on the grave sour faces that would have you behave rationally.'

'Don't be afraid,' said the young officer; 'we have brought from town with us a large chest full of masks and mad carnival dresses, such as would make even you stare.'

'But see here,' returned Roderick, 'what a gem I have got from my tailor, who was just going to cut up this peerless robe into strips. He bought it of an old crone, who must doubtless have worn it on gala days when she went to Lucifer's drawing-room on the Blocksberg. Look at this scarlet bodice, with its gold tassels and fringe, at this cap besmeared with the last fee the hag got from Beelzebub or his imps: it will give me a right worshipful air. To match such jewels, there is this green velvet petticoat with its saffron-coloured trimming, and this mask would melt even Medusa to a grin. Thus accoutred I mean to lead the chorus of Graces, myself their mother-queen, toward the bed-chamber. Make all the haste you can; and we will then go in procession to fetch the bride.'

The bugles were still playing; the company were walking about the garden, or sitting before the house. The sun had gone down behind thick, murky clouds, and the country was lying in the gray dusk, when a parting gleam suddenly burst forth athwart the cloudy veil, and flooded every spot around, but especially the building, and its galleries, and pillars, and wreaths of flowers, as it were with red blood. At this moment the parents of the bride and the other spectators beheld a train of the wildest appearances move toward the upper corridor. Roderick led the way as the scarlet old woman, and was followed by hump-backs, mountain-paunches, massy wigs, clowns, punches, skeleton-like pantaloons, female figures embanked by enormous hoops and over-canopied with three feet of horsehair, powder and pomatum, and by every disgusting shape that can be conceived, as though a nightmare were unrolling her stores. They jumped, and twirled, and tottered, and stumbled, and straddled, and strutted, and swaggered along the gallery, and then vanished behind one of the doors. But few of the beholders had been able to laugh: so utterly were they amazed by the strange sight. Suddenly a piercing shriek burst from one of the rooms, and there rushed forth into the blood-red glow of the sunset the pale bride, in a short white frock, round which wreaths of flowers were waving, with her lovely bosom all uncovered, and her rich locks streaming through the air. As though mad, with rolling eyes and distorted face, she darted along the gallery, and, blinded by terror, could find neither door nor staircase; and immediately after rushed Emilius in chase of her, with the sparkling Turkish dagger in his high, upraised hand. Now she was at the end of the passage; she could go no further; he reached her. His masked friends and the gray old woman were running after him. But he had already furiously pierced her bosom, and cut through her white neck; her blood spouted forth into the radiance of the setting sun. The old woman had clasped round him to tear him back; he struggled with her, and hurled himself together with her over the railing, and they both fell, almost lifeless, down at the feet of the relations who had been staring in dumb horror at the bloody scene. Above and below, or hastening down the stairs and along the galleries, were seen the hideous masks, standing or running about in various clusters, like fiends of hell.

Roderick took his dying friend in his arms. He had found him in his wife's room playing with the dagger. She was almost dressed when he entered. At the sight of the hated red bodice his memory had rekindled; the horrible vision of the night had risen upon his mind; and gnashing his teeth he had sprung after his trembling flying bride, to avenge that murder and all those devilish doings. The old woman, ere she expired, confessed the crime that had been wrought; and the gladness and mirth of the whole house were suddenly changed into sorrow and lamentation and dismay.

LUDWIG TIECK

The author of the foregoing tale, Ludwig Tieck, has lately been introduced to the English reader by an admirable translation of his two exquisite little novels, The Pictures and The Betrothing. He is one among the great German writers who made their appearance during the last ten years of the eighteenth century; a period—whether from any extraordinary productiveness in the power that regulates the seed-time and the harvests of the human race, or from the mighty excitements and stimulants wherewith the world was then teeming—among the richest in the blossoming of genius. For not to mention the great military talents first developed in those days, among the holders of which were he who conquered all the continent of Europe, and he before whom that conqueror fell; turning away from the many rank but luxuriant weeds that sprang up in France, after all its plains had been manured with blood; and fixing the eye solely upon literary excellence, we find in our own country, that the chief part of those men by whom we may hope that the memory of our days will be transmitted to posterity as a thing precious and to be held in honour, that Wordsworth, and Coleridge, and Southey, and Lamb, and Landor, and Scott, put forth during those ten years the first-fruits of their minds; while in Germany, the same period was rendered illustrious by Fichte and John Paul Richter at its commencement, and subsequently by Schelling, and Hegel, and Steffens, Schleiermacher, and the Schlegels, and Novalis, and Tieck. Of this noble brotherhood, who all, I believe, studied at the same university, that of Jena, and who were all bound together by friendship, by affinity of genius, and by unity of aim, the two latter, Novalis and Tieck, were the poets: for though there are several things of great poetical beauty in the works of the Schlegels, their fame, upon the whole, rests on a different basis. The lovely dreamy mind of Novalis was cut off in the full promise of its spring; it only just awoke from the blissful visions of its childhood, to breathe forth a few lyrical murmurs about the mysteries it had been brooding over, and then fell asleep again. Upon Tieck, therefore, the character of German poetry in the age following those of Goethe and Schiller will mainly depend: and never did Norwegian or Icelandic spring burst forth more suddenly than the youth of Ludwig Tieck. I know not in the whole history of literature, any poet who can count up so many and so great exploits achieved on his first descent into the arena: in number and variety even Goethe must yield the precedence, though his youthful triumphs were Goetz of Berlichingen and Werther. There was in Tieck's early works the promise, and far more than the promise, of the greatest dramatic poet whom Europe had seen since the days of Calderon; there was a rich, elastic, buoyant, comic spirit, not like the analytical reflection, keen biting wit of Molière and Congreve, and other comic writers of the satirical school, but like the living merriment, the uncontrollable, exuberant joyousness, the humour arising from good humour, not, as it often does, from ill humour, the incarnation, so to say, of the principle of mirth, in Shakespeare, and Cervantes, and Aristophanes; and as a wreath of flowers to crown the whole, there was the heavenly purity and starlike loveliness of his Genoveva. Had the rest of Tieck's life kept pace with the fertility of the six years from 1798 to 1804, he must have been beyond all rivalry the second of German poets; and as Eschylus in the Frogs shares his supremacy with Sophocles, so would Goethe have invited Tieck to sit beside him on his throne. Unfortunately for those who would have feasted upon his fruits, the poet, during the last twenty years, has been so weighed down by almost unintermitting ill health, that he has published but little. There was a short interval indeed that seemed to bid fairer, about the year 1812, when he began to collect his tales and lesser dramas, on a plan something like that of the Decameron, in the Phantasm, but it has not yet been carried beyond the second reign, out of seven through which it was designed to extend. Of that collection the chief part had been known to the world ten or twelve years before: some things, however, appeared then for the first time, and among them, I believe, was the tale of The Love-Charm. Latterly, Tieck's genius has taken a new spring, in a somewhat different direction from that of his youth. He has written half a dozen novels, in the manner of the couple recently translated; nor are the others of less excellence than those two; a beautiful tale of magic has also been just published; and the speedy appearance of several other things that have employed him during the long period of seeming inactivity, is promised; wherein he has been engaged more or less for above a quarter of a century, and to gather materials for which he some years since visited England. Of this work the highest expectations may justly be formed: not many people, even, in this country, possess a more extensive and accurate acquaintance with our ancient drama than Tieck; no one has entered more fully into the spirit of its great poets, than Tieck has shown himself to have done in the prefaces to his Old English Theatre and his Shakespeare's Vorschule; few have ever bestowed such attention on the history of the stage in all countries, or have so studied the principles of dramatic composition and the nature of dramatic effect; hardly any one, I may say no one, ever learnt so much from Shakespeare: no one, therefore, can have more to teach us about him; and to judge from the remarks on some of the plays which have already been printed in the Abendzeitung, no one was ever so able to trace out the most secret workings of the great master's mind, or to retain his full, calm self-possession when following him on his highest flights; no one ever united in such perfection the great critic with the great poet. One may look forward, therefore, with confidence to the greatest work in æsthetical criticism that even Germany will ever have produced.

Of the foregoing tale itself little need be said. If the translator has failed so grievously that an English reader cannot see its merits, he would hardly help himself out of the scrape by talking about the effect he ought to have produced. And grievously he must have failed, if any reader with a feeling for poetry does not perceive and enjoy the beauty of the descriptions, especially of the two eventful scenes, the power and passion of the wild dithyramb, the admirable delineation of the characters in proportion to their relative importance, and the poetical harmony and perfect keeping of the whole. Nothing can be more delicate than the way of softening the horror that might be felt for the bride: she has not even a name, that there may be no distinct object for our disgust to fasten on; she is only spoken of under titles of a pleasurable meaning; her beauty, like Helen's on the walls of Troy, is manifested by its effect: the young men are astonished at it; her air of deep melancholy impresses even the gayest and most thoughtless, and is thus more powerful than if pages had been employed in giving utterance to her remorse; besides which, had the latter course been adopted, the main object would have been the wicked heart, not the wicked deed, the sin, not the crime; and sin is always loathsome, whereas a crime may often be looked upon with pity. The poet has therefore wisely kept all his power of characteristic delineation for the two chief persons in the tale; and rarely have any characters been brought out so distinctly within a work of such dimensions; the contrast between them runs through every feature, yet each is the necessary complement to the other; the abuse which they vent in the ball-room each against his dearest friend, and in the ears of almost a stranger, is in the true style of our frail affections, veering before the slightest puff of self-will; nor is there a circumstance mentioned about either, which tends not to complete the picture, and is not all but indispensable. On some occasions a whole life and character are revealed by a single touch; as for instance when Emilius exclaims, No bread! Can such things be? No other man could have been so ignorant of what goes on in the world, as to marvel at such a common occurrence; yet Emilius, it is quite certain, would be surprised, when awaked from his dreams, to behold the face of real life; so that this exclamation is, as it were, a great toe from which to construct one who is anything rather than a Hercules. Indeed the whole scene of the peasant's marriage, which at first sight may appear like a somewhat idle digression, brought in for no better reason than amusement, is absolutely necessary to the tale as a work of art: it not only shows the character of Emilius in a fresh and important point of view, not only supplies him with fuel, so that he is ready to burn at the approach of the first spark, as for the former scene he had been prepared by the arousal of his feelings in the ball-room; which, besides, cast a mysterious haze over the scene, and leave it half doubtful how much of the crime was actually perpetrated: the peasant's wedding is necessary as a contrast, as a complement, and as a relief to the other marriage; nor can that calm and masterly irony, which is among the first elements in the mind of a great poet, be more clearly manifested, than it is here, where the pomp and rejoicing of the great and wealthy are suddenly turned 'into sorrow and lamentation and dismay;' while the poor and the abashed and the despised are enabled to pass their days in what to them is comfort, and to obtain the enjoyment of a day 'unto which in after-times they may look back with delight.'

Everything about the one marriage seems happy; everything about the other seems wretched; but neither is what it seems: they who seem happy are a prey to extravagant and sinful desires; those who seem wretched have moderate wishes, and, though they have offended, have not done it wantonly or in malice; they are making what seems to them the only atonement in their power, and 'the fellow bears the creature the same good-will, though she is such a sorry bit of clay'; therefore the end of each marriage is according, not unto the outward show and promise, but unto that which lies within the heart. It is thus that poetical justice endeavours, so far as it may, to anticipate the sentence of Omniscient justice.

LAST WILL AND TESTAMENT.—THE HOUSE OF WEEPING

From Jean Paul Frederick Richter

Since the day when the town of Haslau first became the seat of a Court, no man could remember that any one event in its annals (always excepting the birth of the hereditary prince) had been looked for with so anxious a curiosity as the opening of the last will and testament left by Van der Kabel. This Van der Kabel may be styled the Haslau Crœsus; and his whole life might be termed, according to the pleasure of the wits, one long festival of god-sends, or a daily washing of golden sands nightly impregnated by golden showers of Danæ. Seven distant surviving relatives of seven distant relatives deceased of the said Van der Kabel, entertained some little hopes of a place amongst his legatees, grounded upon an assurance which he had made, 'that upon his oath he would not fail to remember them in his will.' These hopes, however, were but faint and weakly; for they could not repose any extraordinary confidence in his good faith—not only because in all cases he conducted his affairs in a disinterested spirit, and with a perverse obstinacy of moral principle, whereas his seven relatives were mere novices, and young beginners in the trade of morality,—but also because, in all these moral extravagances of his (so distressing to the feelings of the sincere rascal), he thought proper to be very satirical, and had his heart so full of odd caprices, tricks, and snares for unsuspicious scoundrels, that (as they all said) no man who was but raw in the art of virtue could deal with him, or place any reliance upon his intentions. Indeed the covert laughter which played about his temples, and the falsetto tones of his sneering voice, somewhat weakened the advantageous impression which was made by the noble composition of his face, and by a pair of large hands, from which were daily dropping favours little and great—benefit nights, Christmas-boxes and New-Year's gifts; for this reason it was that, by the whole flock of birds who sought shelter in his boughs, and who fed and built their nests on him, as on any wild service-tree, he was, notwithstanding, reputed a secret magazine of springes; and they were scarce able to find eyes for the visible berries which fed them, in their scrutiny after the supposed gossamer snares.

In the interval between two apoplectic fits he had drawn up his will, and had deposited it with the magistrate. When he was just at the point of death he transferred to the seven presumptive heirs the certificate of this deposit; and even then said, in his old tone—how far it was from his expectation, that by any such anticipation of his approaching decease, he could at all depress the spirits of men so steady and sedate, whom, for his own part, he would much rather regard in the light of laughing than of weeping heirs; to which remark one only of the whole number, namely, Mr. Harprecht, inspector of police, replied as a cool ironist to a bitter one—'that the total amount of concern and of interest, which might severally belong to them in such a loss, was not (they were sincerely sorry it was not) in their power to determine.'