Litteratur_, VII, p. 399; _Almanach der deutschen Musen_, 1775,
p. 75; _Magazin der deutschen Critik_, III, 1, p. 174;
_Frankfurter Gel. Anz._, _July_ 1, 1774; _Allg. deutsche Bibl._,
XXVI, 2, 487; _Teut. Merkur_, VI, p. 353; _Gothaische Gelehrte
Zeitungen_, 1774, I, p. 17.]
[Footnote 70: Leipzig, 1773-76, 4 vols. "Tobias Knaut" was at
first ascribed to Wieland.]
[Footnote 71: Gervinus, V, pp. 225 ff.; Ebeling, III, p. 568;
Hillebrand, II, p. 537; Kurz, III, p. 504; Koberstein, IV, pp.
168 f. and V, pp. 94 f.]
[Footnote 72: The "_Magazin der deutschen Critik_" denied the
imitation altogether.]
[Footnote 73: I, p. 178.]
[Footnote 74: I, p. 117.]
[Footnote 75: I, pp. 148 ff.]
[Footnote 76: I, p. 17.]
[Footnote 77: III, pp. 99-104.]
[Footnote 78: II, p. 44.]
[Footnote 79: For reviews of "Tobias Knaut" see _Gothaische
Gelehrte Zeitung_, April 13, 1774, pp. 193-5; _Magazin der
deutschen Critik_, III, 1, p. 185 (1774); _Frankfurter Gel. Anz._,
April 5, 1774, pp. 228-30; _Almanach der deutschen Musen_, 1775,
p. 75; _Leipziger Musen-Almanach_, 1776, pp. 68-69; _Allg.
deutsche Bibl._, XXX, 2, pp. 524 ff., by Biester; _Teut. Merkur_,
V, pp. 344-5; VII, p. 361-2, 1776, pp. 272-3, by Merck.]
[Footnote 80: Berlin, nine parts, 1775-1785. Vol I, pp. 128
(1775); Vol. II, pp. 122; Vol. III, pp. 141; Vol. IV, pp. 198
(1779); Vols. V and VI, 1780; Vols. I and II were published in a
new edition in 1778, and Vol. III in 1780 (a third edition).]
[Footnote 81: XXIX, 1, p. 186; XXXVI, 2, p. 601; XLIII, 1, p. 301;
XLVI, 2, p. 602; LXII, 1, p. 307.]
[Footnote 82: See p. 8.]
[Footnote 83: 1777, II, p. 278, review of Vols. II and III. Vol.
I is reviewed in _Frankfurter Gel. Anz._, 1775, p. 719-20 (October
31), and IX in _Allg. Litt.-Zeitung_, Jena, 1785, V,
Supplement-Band, p. 80.]
[Footnote 84: See p. 89.]
[Footnote 85: Briefe deutscher Gelehrten aus Gleims Nachlass.
(Zürich, 1806.)]
[Footnote 86: Emil Kuh's life of Hebbel, Wien, 1877, I,
p. 117-118.]
[Footnote 87: The "Empfindsame Reise der Prinzessin Ananas nach
Gros-glogau" (Riez, 1798, pp. 68, by Gräfin Lichterau?) in its
revolting loathesomeness and satirical meanness is an example of
the vulgarity which could parade under the name. In 1801 we find
"Prisen aus der hörneren Dose des gesunden Menschenverstandes,"
a series of letters of advice from father to son. A play of
Stephanie the younger, "Der Eigensinnige," produced January 29,
1774, is said to have connection with Tristram Shandy; if so, it
would seem to be the sole example of direct adaptation from Sterne
to the German stage. "Neue Schauspiele." Pressburg and Leipzig,
1771-75, Vol. X.]
[Footnote 88: P. 185, edition of 1805.]
[Footnote 89: See below p. 166-7.]
[Footnote 90: Hannover, 1792, pp. 80, 263.]
[Footnote 91: LXVI, p. 79, 1801.]
[Footnote 92: Sometime after the completion of this present essay
there was published in Berlin, a study of "Sterne, Hippel and Jean
Paul," by J. Czerny (1904). I have not yet had an opportunity to
examine it.]
CHAPTER VII
OPPOSITION TO STERNE AND HIS TYPE OF SENTIMENTALISM
Sterne's influence in Germany lived its own life, and gradually and
imperceptibly died out of letters, as an actuating principle. Yet its
dominion was not achieved without some measure of opposition. The
sweeping condemnation which the soberer critics heaped upon the
incapacities of his imitators has been exemplified in the accounts
already given of Schummel, Bock and others. It would be interesting to
follow a little more closely this current of antagonism. The tone of
protest was largely directed, the edge of satire was chiefly whetted,
against the misunderstanding adaptation of Yorick's ways of thinking and
writing, and only here and there were voices raised to detract in any
way from the genius of Sterne. He never suffered in Germany such an
eclipse of fame as was his fate in England. He was to the end of the
chapter a recognized prophet, an uplifter and leader. The far-seeing,
clear-minded critics, as Lessing, Goethe and Herder, expressed
themselves quite unequivocally in this regard, and there was later no
withdrawal of former appreciation. Indeed, Goethe's significant words
already quoted came from the last years of his life, when the new
century had learned to smile almost incredulously at the relation of a
bygone folly.
In the very heyday of Sterne's popularity, 1772, a critic of Wieland's
"Diogenes" in the _Auserlesene Bibliothek der neuesten deutschen
Litteratur_[1] bewails Wieland's imitation of Yorick, whom the critic
deems a far inferior writer, "Sterne, whose works will disappear, while
Wieland's masterpieces are still the pleasure of latest posterity." This
review of "Diogenes" is, perhaps, rather more an exaggerated compliment
to Wieland than a studied blow at Sterne, and this thought is recognized
by the reviewer in the _Frankfurter Gelehrte Anzeigen_,[2] who
designates the compliment as "dubious" and "insulting," especially in
view of Wieland's own personal esteem for Sterne. Yet these words, even
as a relative depreciation of Sterne during the period of his most
universal popularity, are not insignificant. Heinrich Leopold Wagner,
a tutor at Saarbrücken, in 1770, records that one member of a reading
club which he had founded "regarded his taste as insulted because I sent
him "Yorick's Empfindsame Reise."[3] But Wagner regarded this instance
as a proof of Saarbrücken ignorance, stupidity and lack of taste; hence
the incident is but a wavering testimony when one seeks to determine the
amount and nature of opposition to Yorick.
We find another derogatory fling at Sterne himself and a regret at the
extent of his influence in an anonymous book entitled "Betrachtungen
über die englischen Dichter,"[4] published at the end of the great
Yorick decade. The author compares Sterne most unfavorably with Addison:
"If the humor of the _Spectator_ and _Tatler_ be set off against the
digressive whimsicality of Sterne," he says, "it is, as if one of the
Graces stood beside a Bacchante. And yet the pampered taste of the
present day takes more pleasure in a Yorick than in an Addison." But a
reviewer in the _Allgemeine deutsche Bibliothek_[5] discounts this
author's criticisms of men of established fame, such as Shakespeare,
Swift, Yorick, and suggests youth, or brief acquaintance with English
literature, as occasion for his inadequate judgments. Indeed, Yorick
disciples were quick to resent any shadow cast upon his name. Thus the
remark in a letter printed in the _Deutsches Museum_ that Asmus was the
German Yorick "only a better moral character," called forth a long
article in the same periodical for September, 1779, by L. H. N.,[6]
vigorously defending Sterne as a man and a writer. The greatness of his
human heart and the breadth and depth of his sympathies are given as the
unanswerable proofs of his moral worth. This defense is vehemently
seconded in the same magazine by Joseph von Retzer.
The one great opponent of the whole sentimental tendency, whose censure
of Sterne's disciples involved also a denunciation of the master
himself, was the Göttingen professor, Georg Christopher Lichtenberg.[7]
In his inner nature Lichtenberg had much in common with Sterne and
Sterne's imitators in Germany, with the whole ecstatic, eccentric
movement of the time. Julian Schmidt[8] says: "So much is sure, at any
rate, that the greatest adversary of the new literature was of one flesh
and blood with it."[9] But his period of residence in England shortly
after Sterne's death and his association then and afterwards with
Englishmen of eminence render his attitude toward Sterne in large
measure an English one, and make an idealization either of the man or of
his work impossible for him.
The contradiction between the greatness of heart evinced in Sterne's
novels and the narrow selfishness of the author himself is repeatedly
noted by Lichtenberg. His knowledge of Sterne's character was derived
from acquaintance with many of Yorick's intimate friends in London. In
"Beobachtungen über den Menschen," he says: "I can't help smiling when
the good souls who read Sterne with tears of rapture in their eyes fancy
that he is mirroring himself in his book. Sterne's simplicity, his warm
heart, over-flowing with feeling, his soul, sympathizing with everything
good and noble, and all the other expressions, whatever they may be; and
the sigh 'Alas, poor Yorick,' which expresses everything at once--have
become proverbial among us Germans. . . . Yorick was a crawling
parasite, a flatterer of the great, an unendurable burr on the clothing
of those upon whom he had determined to sponge!"[10]
In "Timorus" he calls Sterne "ein scandalum Ecclesiae";[11] he doubts
the reality of Sterne's nobler emotions and condemns him as a clever
juggler with words, who by artful manipulation of certain devices
aroused in us sympathy, and he snatches away the mask of loving, hearty
sympathy and discloses the grinning mountebank. With keen insight into
Sterne's mind and method, he lays down a law by which, he says, it is
always possible to discover whether the author of a touching passage has
really been moved himself, or has merely with astute knowledge of the
human heart drawn our tears by a sly choice of touching features.[12]
Akin to this is the following passage in which the author is
unquestionably thinking of Sterne, although he does not mention him:
"A heart ever full of kindly feeling is the greatest gift which Heaven
can bestow; on the other hand, the itching to keep scribbling about it,
and to fancy oneself great in this scribbling is one of the greatest
punishments which can be inflicted upon one who writes."[13] He exposes
the heartlessness of Sterne's pretended sympathy: "A three groschen
piece is ever better than a tear,"[14] and "sympathy is a poor kind of
alms-giving,"[15] are obviously thoughts suggested by Yorick's
sentimentalism.[16]
The folly of the "Lorenzodosen" is several times mentioned with open or
covert ridicule[17] and the imitators of Sterne are repeatedly told the
fruitlessness of their endeavor and the absurdity of their
accomplishment.[18] His "Vorschlag zu einem Orbis Pictus für deutsche
dramatische Schriftsteller, Romanendichter und Schauspieler"[19] is a
satire on the lack of originality among those who boasted of it, and
sought to win attention through pure eccentricities.
The Fragments[20] are concerned, as the editors say, with an evil of the
literature in those days, the period of the Sentimentalists and the
"Kraftgenies." Among the seven fragments may be noted: "Lorenzo
Eschenheimers empfindsame Reise nach Laputa," a clever satirical sketch
in the manner of Swift, bitterly castigating that of which the English
people claim to be the discoverers (sentimental journeying) and the
Germans think themselves the improvers. In "Bittschrift der
Wahnsinnigen" and "Parakletor" the unwholesome literary tendencies of
the age are further satirized. His brief essay, "Ueber die
Vornamen,"[21] is confessedly suggested by Sterne and the sketch "Dass
du auf dem Blockberg wärst,"[22] with its mention of the green book
entitled "Echte deutsche Flüche und Verwünschungen für alle Stände," is
manifestly to be connected in its genesis with Sterne's famous
collection of oaths.[23] Lichtenberg's comparison of Sterne and Fielding
is familiar and significant.[24] "Aus Lichtenbergs Nachlass: Aufsätze,
Gedichte, Tagebuchblätter, Briefe," edited by Albert Leitzmann,[25]
contains additional mention of Sterne.
The name of Helfreich Peter Sturz may well be coupled with that of
Lichtenberg, as an opponent of the Sterne cult and its German
distortions, for his information and point of view were likewise drawn
direct from English sources. Sturz accompanied King Christian VII of
Denmark on his journey to France and England, which lasted from May 6,
1768, to January 14, 1769[26]; hence his stay in England falls in a time
but a few months after Sterne's death (March 18, 1768), when the
ungrateful metropolis was yet redolent of the late lion's wit and humor.
Sturz was an accomplished linguist and a complete master of English,
hence found it easy to associate with Englishmen of distinction whom he
was privileged to meet through the favor of his royal patron. He became
acquainted with Garrick, who was one of Sterne's intimate friends, and
from him Sturz learned much of Yorick, especially that more wholesome
revulsion of feeling against Sterne's obscenities and looseness of
speech, which set in on English soil as soon as the potent personality
of the author himself had ceased to compel silence and blind opinion.
England began to wonder at its own infatuation, and, gaining
perspective, to view the writings of Sterne in a more rational light.
Into the first spread of this reaction Sturz was introduced, and the
estimate of Sterne which he carried away with him was undoubtedly
colored by it. In his second letter written to the _Deutsches Museum_
and dated August 24, 1768, but strangely not printed till April,
1777,[27] he quotes Garrick with reference to Sterne, a notable word of
personal censure, coming in the Germany of that decade, when Yorick's
admirers were most vehement in their claims. Garrick called him "a lewd
companion, who was more loose in his intercourse than in his writings
and generally drove all ladies away by his obscenities."[28] Sturz adds
that all his acquaintances asserted that Sterne's moral character went
through a process of disintegration in London.
In the _Deutsches Museum_ for July, 1776, Sturz printed a poem entitled
"Die Mode," in which he treats of the slavery of fashion and in several
stanzas deprecates the influence of Yorick.[29]
"Und so schwingt sich, zum Genie erklärt,
Strephon kühn auf Yorick's Steckenpferd.
Trabt mäandrisch über Berg und Auen,
Reist empfindsam durch sein Dorfgebiet,
Oder singt die Jugend zu erbauen
Ganz Gefühl dem Gartengott ein Lied.
Gott der Gärten, stöhnt die Bürgerin,
Lächle gütig, Rasen und Schasmin
Haucht Gerüche! Fliehet Handlungssorgen,
Dass mein Liebster heute noch in Ruh
Sein Mark-Einsaz-Lomber spiele--Morgen,
Schliessen wir die Unglücksbude zu!"
A passage at the end of the appendix to the twelfth Reisebrief is
further indication of his opposition to and his contempt for the frenzy
of German sentimentalism.
The poems of Goeckingk contain allusions[30] to Sterne, to be sure
partly indistinctive and insignificant, which, however, tend in the main
to a ridicule of the Yorick cult and place their author ultimately among
the satirical opponents of sentimentalism. In the "Epistel an Goldhagen
in Petershage," 1771, he writes:
"Doch geb ich wohl zu überlegen,
Was für den Weisen besser sey:
Die Welt wie Yorick mit zu nehmen?
Nach Königen, wie Diogen,
Sich keinen Fuss breit zu bequemen,"--
a query which suggests the hesitant point of view relative to the
advantage of Yorick's excess of universal sympathy. In "Will auch 'n
Genie werden" the poet steps out more unmistakably as an adversary of
the movement and as a skeptical observer of the exercise of Yorick-like
sympathy.
"Doch, ich Patronus, merkt das wohl,
Geh, im zerrissnen Kittel,
Hab' aber alle Taschen voll
Yorickischer Capittel.
Doch lass' ich, wenn mir's Kurzweil schafft,
Die Hülfe fleh'nden Armen
Durch meinen Schweitzer, Peter Kraft,
Zerprügeln ohn' Erbarmen."
Goeckingk openly satirizes the sentimental cult in the poem "Der
Empfindsame"
"Herr Mops, der um das dritte Wort
Empfindsamkeit im Munde führet,
Und wenn ein Grashalm ihm verdorrt,
Gleich einen Thränenstrom verlieret--
. . . . . . . .
Mit meinem Weibchen thut er schier
Gleich so bekannt wie ein Franzose;
All' Augenblicke bot er ihr
Toback aus eines Bettlers Dose
Mit dem, am Zaun in tiefem Schlaf
Er einen Tausch wie Yorik traf.
Der Unempfindsamkeit zum Hohn
Hielt er auf eine Mück' im Glase
Beweglich einen Leichsermon,
Purrt' eine Flieg' ihm an der Nase,
Macht' er das Fenster auf, und sprach:
Zieh Oheim Toby's Fliege nach!
Durch Mops ist warlich meine Magd
Nicht mehr bey Trost, nicht mehr bey Sinnen
So sehr hat ihr sein Lob behagt,
Dass sie empfindsam allen Spinnen
Zu meinem Hause, frank und frey
Verstattet ihre Weberey.
Er trat mein Hündchen auf das Bein,
Hilf Himmel! Welch' ein Lamentiren!
Es hätte mögen einen Stein
Der Strasse zum Erbarmen rühren,
Auch wedelt' ihm in einem Nu
Das Hündgen schon Vergebung zu.
Ach! Hündchen, du beschämst mich sehr,
Denn dass mir Mops von meinem Leben
Drey Stunden stahl, wie schwer, wie schwer,
Wird's halten, das ihm zu vergeben?
Denn Spinnen werden oben ein
Wohl gar noch meine Mörder seyn."
This poem is a rather successful bit of ridicule cast on the
over-sentimental who sought to follow Yorick's foot-prints.
The other allusions to Sterne[31] are concerned with his hobby-horse
idea, for this seems to gain the poet's approbation and to have no share
in his censure.
The dangers of overwrought sentimentality, of heedless surrender to the
emotions and reveling in their exercise,--perils to whose magnitude
Sterne so largely contributed--were grasped by saner minds, and
energetic protest was entered against such degradation of mind and
futile expenditure of feeling.
Joachim Heinrich Campe, the pedagogical theorist, published in 1779[32]
a brochure, "Ueber Empfindsamkeit und Empfindelei in pädagogischer
Hinsicht," in which he deprecates the tendency of "Empfindsamkeit" to
degenerate into "Empfindelei," and explains at some length the
deleterious effects of an unbridled "Empfindsamkeit" and an unrestrained
outpouring of sympathetic emotions which finds no actual expression, no
relief in deeds. The substance of this warning essay is repeated, often
word for word, but considerably amplified with new material, and
rendered more convincing by increased breadth of outlook and
positiveness of assertion, the fruit of six years of observation and
reflection, as part of a treatise, entitled, "Von der nöthigen Sorge für
die Erhaltung des Gleichgewichts unter den menschlichen Kräften:
Besondere Warnung vor dem Modefehler die Empfindsamkeit zu überspannen."
It is in the third volume of the "Allgemeine Revision des gesammten
Schul- und Erziehungswesens."[33] The differentiation between
"Empfindsamkeit" and "Empfindelei" is again and more accessibly repeated
in Campe's later work, "Ueber die Reinigung und Bereicherung der
deutschen Sprache."[34] In the second form of this essay (1785) Campe
speaks of the sentimental fever as an epidemic by no means entirely
cured.
His analysis of "Empfindsamkeit" is briefly as follows: "Empfindsamkeit
ist die Empfänglichkeit zu Empfindnissen, in denen etwas Sittliches d.i.
Freude oder Schmerz über etwas sittlich Gutes oder sittlich Böses, ist;"
yet in common use the term is applied only to a certain high degree of
such susceptibility. This sensitiveness is either in harmony or discord
with the other powers of the body, especially with the reason: if
equilibrium is maintained, this sensitiveness is a fair, worthy,
beneficent capacity (Fähigkeit); if exalted over other forces, it
becomes to the individual and to society the most destructive and
baneful gift which refinement and culture may bestow. Campe proposes to
limit the use of the word "Empfindsamkeit" to the justly proportioned
manifestation of this susceptibility; the irrational, exaggerated
development he would designate "überspannte Empfindsamkeit."
"Empfindelei," he says, "ist Empfindsamkeit, die sich auf eine
kleinliche alberne, vernunftlose und lächerliche Weise, also da äussert,
wo sie nicht hingehörte." Campe goes yet further in his distinctions and
invents the monstrous word, "Empfindsamlichkeit" for the sentimentality
which is superficial, affected, sham (geheuchelte). Campe's newly coined
word was never accepted, and in spite of his own efforts and those of
others to honor the word "Empfindsamkeit" and restrict it to the
commendable exercise of human sympathy, the opposite process was
victorious and "Empfindsamkeit," maligned and scorned, came to mean
almost exclusively, unless distinctly modified, both what Campe
designates as "überspannte Empfindsamkeit" and "Empfindelei," and also
the absurd hypocrisy of the emotions which he seeks to cover with his
new word. Campe's farther consideration contains a synopsis of method
for distinguishing "Empfindsamkeit" from "Empfindelei:" in the first
place through the manner of their incitement,--the former is natural,
the latter is fantastic, working without sense of the natural properties
of things. In this connection he instances as examples, Yorick's feeling
of shame after his heartless and wilful treatment of Father Lorenzo,
and, in contrast with this, the shallowness of Sterne's imitators who
whimpered over the death of a violet, and stretched out their arms and
threw kisses to the moon and stars. In the second place they are
distinguished in the manner of their expression: "Empfindsamkeit" is
"secret, unpretentious, laconic and serious;" the latter attracts
attention, is theatrical, voluble, whining, vain. Thirdly, they are
known by their fruits, in the one case by deeds, in the other by shallow
pretension. In the latter part of his volume, Campe treats the problem
of preventing the perverted form of sensibility by educative endeavor.
The word "Empfindsamkeit" was afterwards used sometimes simply as an
equivalent of "Empfindung," or sensation, without implication of the
manner of sensing: for example one finds in the _Morgenblatt_[35] a poem
named "Empfindsamkeiten am Rheinfalle vom Felsen der Galerie
abgeschrieben." In the poem various travelers are made to express their
thoughts in view of the waterfall. A poet cries, "Ye gods, what a hell
of waters;" a tradesman, "away with the rock;" a Briton complains of the
"confounded noise," and so on. It is plain that the word suffered a
generalization of meaning.
A poetical expression of Campe's main message is found in a book called
"Winterzeitvertreib eines königlichen preussischen Offiziers."[36]
A poem entitled "Das empfindsame Herz" (p. 210) has the following lines:
"Freund, ein empfindsames Herz ist nicht für diese Welt,
Von Schelmen wird's verlacht, von Thoren wirds geprellt,
Doch üb' im Stillen das, was seine Stimme spricht.
Dein Lohn ist dir gewiss, nur hier auf Erden nicht."
In a similar vein of protest is the letter of G. Hartmann[37] to Denis,
dated Tübingen, February 10, 1773, in which the writer condemns the
affected sentimentalism of Jacobi and others as damaging to morals.
"O best teacher," he pleads with Denis, "continue to represent these
performances as unworthy."
Möser in his "Patriotische Phantasien"[38] represents himself as
replying to a maid-in-waiting who writes in distress about her young
mistress, because the latter is suffering from "epidemic"
sentimentalism, and is absurdly unreasonable in her practical incapacity
and her surrender to her feelings. Möser's sound advice is the
substitution of genuine emotion. The whole section is entitled "Für die
Empfindsamen."
Knigge, in his "Umgang mit Menschen," plainly has those Germans in mind
who saw in Uncle Toby's treatment of the fly an incentive to
unreasonable emphasis upon the relations between man and the animal
world, when, in the chapter on the treatment of animals, he protests
against the silly, childish enthusiasm of those who cannot see a hen
killed, but partake of fowl greedily on the table, or who passionately
open the window for a fly.[39] A work was also translated from the
French of Mistelet, which dealt with the problem of "Empfindsamkeit:"
it was entitled "Ueber die Empfindsamkeit in Rücksicht auf das Drama,
die Romane und die Erziehung."[40] An article condemning exaggerated
sentimentality was published in the _Deutsches Museum_ for February,
1783, under the title "Etwas über deutsche Empfindsamkeit."
Goethe's "Der Triumph der Empfindsamkeit" is a merry satire on the
sentimental movement, but is not to be connected directly with Sterne,
since Goethe is more particularly concerned with the petty imitators of
his own "Werther." Baumgartner in his Life of Goethe asserts that
Sterne's Sentimental Journey was one of the books found inside the
ridiculous doll which the love-sick Prince Oronaro took about with him.
This is not a necessary interpretation, for Andrason, when he took up
the first book, exclaimed merely "Empfindsamkeiten," and, as Strehlke
observes,[41] it is not necessary here to think of a single work,
because the term was probably used in a general way, referring possibly
to a number of then popular imitations.
The satires on "Empfindsamkeit" began to grow numerous at the end of the
seventies and the beginning of the eighties, so that the _Allgemeine
Litteratur-Zeitung_, in October, 1785, feels justified in remarking that
such attempts are gradually growing as numerous as the "Empfindsame
Romane" themselves, and wishes, "so may they rot together in a
grave of oblivion."[42] Anton Reiser, the hero of Karl Philipp
Moritz'sautobiographical novel (Berlin, 1785-90), begins a satire on
affected sentimentalism, which was to bring shafts of ridicule to bear
on the popular sham, and to throw appreciative light on the real
manifestation of genuine feeling.[43] A kindred satire was "Die
Geschichte eines Genies," Leipzig, 1780, two volumes, in which the
prevailing fashion of digression is incidentally satirized.[44]
The most extensive satire on the sentimental movement, and most vehement
protest against its excesses is the four volume novel, "Der
Empfindsame,"[45] published anonymously in Erfurt, 1781-3, but
acknowledged in the introduction to the fourth volume by its author,
Christian Friedrich Timme. He had already published one novel in which
he exemplified in some measure characteristics of the novelists whom he
later sought to condemn and satirize, that is, this first novel,
"Faramond's Familiengeschichte,"[46] is digressive and episodical. "Der
Empfindsame" is much too bulky to be really effective as a satire; the
reiteration of satirical jibes, the repetition of satirical motifs
slightly varied, or thinly veiled, recoil upon the force of the work
itself and injure the effect. The maintenance of a single satire through
the thirteen to fourteen hundred pages which four such volumes contain
is a Herculean task which we can associate only with a genius like
Cervantes. Then, too, Timme is an excellent narrator, and his original
purpose is constantly obscured by his own interest and the reader's
interest in Timme's own story, in his original creations, in the variety
of his characters. 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.
But the campaign is so simple, and the satirist has been to such trouble
to label with care the direction of his own blows, that it is not
difficult to separate the thrusts intended for each of his foes.
Timme's initial purpose is easily illustrated by reference to his first
chapter, where his point of view is compactly put and the soundness of
his critical judgment and the forcefulness of his satirical bent are
unequivocally demonstrated: This chapter, which, as he says, "may serve
instead of preface and introduction," is really both, for the narrative
really begins only in the second chapter. "Every nation, every age,"
he says, "has its own doll as a plaything for its children, and
sentimentality (Empfindsamkeit) is ours." Then with lightness and grace,
coupled with unquestionable critical acumen, he traces briefly the
growth of "Empfindsamkeit" in Germany. "Kaum war der liebenswürdige
Sterne auf sein Steckenpferd gestiegen, und hatte es uns vorgeritten;
so versammelten sich wie gewöhnlich in Teutschland alle Jungen an ihn
herum, hingen sich an ihn, oder schnizten sich sein Steckenpferd in der
Geschwindigkeit nach, oder brachen Stecken vom nächsten Zaun oder rissen
aus einem Reissigbündel den ersten besten Prügel, setzten sich darauf
und ritten mit einer solchen Wut hinter ihm drein, dass sie einen
Luftwirbel veranlassten, der alles, was ihm zu nahe kam, wie ein
reissender Strom mit sich fortris, wär es nur unter den Jungen
geblieben, so hätte es noch sein mögen; aber unglücklicherweise fanden
auch Männer Geschmack an dem artigen Spielchen, sprangen vom ihrem Weg
ab und ritten mit Stok und Degen und Amtsperüken unter den Knaben
einher. Freilich erreichte keiner seinen Meister, den sie sehr bald aus
dem Gesicht verloren, und nun die possirlichsten Sprünge von der Welt
machen und doch bildet sich jeder der Affen ein, er reite so schön wie
der Yorick."[47]
This lively description of Sterne's part in this uprising is, perhaps,
the best brief characterization of the phenomenon and is all the more
significant as coming from the pen of a contemporary, and written only
about a decade after the inception of the sentimental movement as
influenced and furthered by the translation of the Sentimental Journey.
It represents a remarkable critical insight into contemporaneous
literary movements, the rarest of all critical gifts, but it has been
overlooked by investigators who have sought and borrowed brief words to
characterize the epoch.[48]
The contribution of "Werther" and "Siegwart" to the sentimental frenzy
are even as succinctly and graphically designated; the latter book,
published in 1776, is held responsible for a recrudescence of the
phenomenon, because it gave a new direction, a new tone to the faltering
outbursts of Sterne's followers and indicated a more comprehensible and
hence more efficient, outlet for their sentimentalism. Now again, "every
nook resounded with the whining sentimentality, with sighs, kisses,
forget-me-nots, moonshine, tears and ecstasies;" those hearts excited by
Yorick's gospel, gropingly endeavoring to find an outlet for their own
emotions which, in their opinion were characteristic of their arouser
and stimulator, found through "Siegwart" a solution of their problem,
a relief for their emotional excess.
Timme insists that his attack is only on Yorick's mistaken followers and
not on Sterne himself. He contrasts the man and his imitators at the
outset sharply by comments on a quotation from the novel, "Fragmente zur
Geschichte der Zärtlichkeit"[49] as typifying the outcry of these petty
imitators against the heartlessness of their misunderstanding
critics,--"Sanfter, dultender Yorick," he cries, "das war nicht deine
Sprache! Du priesest dich nicht mit einer pharisäischen
Selbstgenügsamkeit und schimpftest nicht auf die, die dir nicht ähnlich
waren, 'Doch! sprachst Du am Grabe Lorenzos, doch ich bin so weichherzig
wie ein Weib, aber ich bitte die Welt nicht zu lachen, sondern mich zu
bedauern!' Ruhe deinem Staube, sanfter, liebevoller Dulter! und nur
einen Funken deines Geistes deinen Affen."[50] He writes not for the
"gentle, tender souls on whom the spirit of Yorick rests,"[51] for those
whose feelings are easily aroused and who make quick emotional return,
who love and do the good, the beautiful, the noble; but for those who
"bei dem wonnigen Wehen und Anhauchen der Gottheithaltenden Natur, in
huldigem Liebessinn und himmelsüssem Frohsein dahin schmelzt . . die ihr
vom Sang der Liebe, von Mondschein und Tränen euch nährt," etc.,
etc.[52] In these few words he discriminates between the man and his
influence, and outlines his intentions to satirize and chastise the
insidious disease which had fastened itself upon the literature of the
time. This passage, with its implied sincerity of appreciation for the
real Yorick, is typical of Timme's attitude throughout the book, and his
concern lest he should appear at any time to draw the English novelist
into his condemnation leads him to reiterate this statement of purpose
and to insist upon the contrast.
Brükmann, a young theological student, for a time an intimate of the
Kurt home, is evidently intended to represent the soberer, well-balanced
thought of the time in opposition to the feverish sentimental frenzy of
the Kurt household. He makes an exception of Yorick in his condemnation
of the literary favorites, the popular novelists of that day, but he
deplores the effects of misunderstood imitation of Yorick's work, and
argues his case with vehemence against this sentimental group.[53]
Brükmann differentiates too the different kinds of sentimentalism and
their effects in much the same fashion as Campe in his treatise
published two years before.[54] In all this Brükmann may be regarded as
the mouth-piece of the author. 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."
The unfolding of the story is at the beginning closely suggestive of
Tristram Shandy and is evidently intended to follow the Sterne novel in
a measure as a model. As has already been suggested, Timme's own
narrative powers balk the continuity of the satire, but aid the interest
and the movement of the story. The movement later is, in large measure,
simple and direct. The hero is first introduced at his christening, and
the discussion of fitting names in the imposing family council is taken
from Walter Shandy's hobby. The narrative here, in Sterne fashion, is
interrupted by a Shandean digression[55] concerning the influence of
clergymen's collars and neck-bands upon the thoughts and minds of their
audiences. Such questions of chance influence of trifles upon the
greater events of life is a constant theme of speculation among the
pragmatics; no petty detail is overlooked in the possibility of its
portentous consequences. Walter Shandy's hyperbolic philosophy turned
about such a focus, the exaltation of insignificant trifles into
mainsprings of action. Shandy bristles with such discussions.
In Shandy fashion the story doubles on itself after the introduction and
gives minute details of young Kurt's family and the circumstances prior
to his birth. The later discussion[56] in the family council concerning
the necessary qualities in the tutor to be hired for the young Kurt is
distinctly a borrowing from Shandy.[57] Timme imitates Sterne's method
of ridiculing pedantry; the requirements listed by the Diaconus and the
professor are touches of Walter Shandy's misapplied, warped, and
undigested wisdom. In the nineteenth chapter of the third volume[58] we
find a Sterne passage associating itself with Shandy rather more than
the Sentimental Journey. It is a playful thrust at a score of places in
Shandy in which the author converses with the reader about the progress
of the book, and allows the mechanism of book-printing and the vagaries
of publishers to obtrude themselves upon the relation between writer and
reader. As a reminiscence of similar promises frequent in Shandy, the
author promises in the first chapter of the fourth volume to write a
book with an eccentric title dealing with a list of absurdities.[59]
But by far the greater proportion of the allusions to Sterne associate
themselves with the Sentimental Journey. A former acquaintance of Frau
Kurt, whose favorite reading was Shandy, Wieland's "Sympatien" and the
Sentimental Journey, serves to satirize the influence of Yorick's ass
episode; this gentleman wept at the sight of an ox at work, and never
ate meat lest he might incur the guilt of the murder of these sighing
creatures.[60]
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,[61] 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.[62]
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!"[63]
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 curse upon you, you hard-hearted
monsters, who treat God's creatures unkindly," etc., he rebukes the
gentle advances of his pet cat Riepel, rebuffs her for disturbing his
"Wonnegefühl," in such a heartless and cruel way that, through an
accident in his rapt delight at human sympathy, the ultimate result is
the poor creature's death by his own fault.
In the second volume[64] Timme repeats this method of satire, varying
conditions only, yet forcing the matter forward, ultimately, into the
grotesque comic, but again taking his cue from Yorick's narrative about
the ass at Nampont, acknowledging specifically his linking of the
adventure of Madame Kurt to the episode in the Sentimental Journey. Frau
Kurt's ardent sympathy is aroused for a goat drawing a wagon, and driven
by a peasant. She endeavors to interpret the sighs of the beast and
finally insists upon the release of the animal, which she asserts is
calling to her for aid. The poor goat's parting bleat after its
departing owner is construed as a curse on the latter's hardheartedness.
Frau Kurt embraces and kisses the animal. During the whole scene the
neighboring village is in flames, houses are consumed and poor people
rendered homeless, but Frau Kurt expresses no concern, even regarding
the catastrophe as a merited affliction, because of the villagers' lack
of sympathy with their domestic animals. The same means of satire is
again employed in the twelfth chapter of the same volume.[65] Pankraz,
overcome with pain because Lotte, his betrothed, fails to unite in his
sentimental enthusiasm and persists in common-sense, tries to bury his
grief in a wild ride through night and storm. His horse tramples
ruthlessly on a poor old man in the road; the latter cries for help, but
Pank, buried in contemplation of Lotte's lack of sensibility, turns a
deaf ear to the appeal.
In the seventeenth chapter of the third volume, a sentimental journey is
proposed, and most of the fourth volume is an account of this
undertaking and the events arising from its complications. Pankraz's
adventures are largely repetitions of former motifs, and illustrate the
fate indissolubly linked with an imitation of Sterne's related converse
with the fair sex.[66]
The journey runs, after a few adventures, over into an elaborate
practical joke in which Pankraz himself is burlesqued by his
contemporaries. Timme carries his poignancy and keenness of satire over
into bluntness of burlesque blows in a large part of these closing
scenes. Pankraz loses the sympathy of the reader, involuntarily and
irresistibly conceded him, and becomes an inhuman freak of absurdity,
beyond our interest.[67]
Pankraz is brought into disaster by his slavish following of suggestions
aroused through fancied parallels between his own circumstances and
those related of Yorick. He finds a sorrowing woman[68] sitting, like
Maria of Moulines, beneath a poplar tree. Pankraz insists upon carrying
out this striking analogy farther, which the woman, though she betrays
no knowledge of the Sentimental Journey, is not loath to accede to, as
it coincides with her own nefarious purposes. Timme in the following
scene strikes a blow at the abjectly sensual involved in much of the
then sentimental, unrecognized and unrealized.
Pankraz meets a man carrying a cage of monkeys.[69] He buys the poor
creatures from their master, even as Frau Kurt had purchased the goat.
The similarity to the Starling narrative in Sterne's volume fills
Pankraz's heart with glee. The Starling wanted to get out and so do his
monkeys, and Pankraz's only questions are: "What did Yorick do?" "What
would he do?" He resolves to do more than is recorded of Yorick, release
the prisoners at all costs. Yorick's monolog occurs to him and he
parodies it. The animals greet their release in the thankless way
natural to them,--a point already enforced in the conduct of Frau Kurt's
goat.
In the last chapter of the third volume Sterne's relationship to "Eliza"
is brought into the narrative. Pankraz writes a letter wherein he
declares amid exaggerated expressions of bliss that he has found
"Elisa," his "Elisa." This is significant as showing that the name Eliza
needed no further explanation, but, from the popularity of the
Yorick-Eliza letters and the wide-spread admiration of the relation, the
name Eliza was accepted as a type of that peculiar feminine relation
which existed between Sterne and Mrs. Draper, and which appealed to
Sterne's admirers.
Pankraz's new Order of the Garter, born of his wild frenzy[70] of
devotion over this article of Elisa's wearing apparel, is an open satire
on Leuchsenring's and Jacobi's silly efforts noted elsewhere. The garter
was to bear Elisa's silhouette and the device "Orden vom Strumpfband der
empfindsamen Liebe."
The elaborate division of moral preachers[71] into classes may be
further mentioned as an adaptation from Sterne, cast in Yorick's
mock-scientific manner.
A consideration of these instances of allusion and adaptation with a
view to classification, reveals a single line of demarkation obvious and
unaltered. And this line divides the references to Sterne's sentimental
influence from those to his whimsicality of narration, his vagaries of
thought; that is, it follows inevitably, and represents precisely the
two aspects of Sterne as an individual, and as an innovator in the world
of letters. But that a line of cleavage is further equally discernible
in the treatment of these two aspects is not to be overlooked. On the
one hand is the exaggerated, satirical, burlesque; on the other the
modified, lightened, softened. And these two lines of division coincide
precisely.
The slight touches of whimsicality, suggesting Sterne, are a part of
Timme's own narrative, evidently adapted with approval and appreciation;
they are never carried to excess, satirized or burlesqued, but may be
regarded as purposely adopted, as a result of admiration and presumably
as a suggestion to the possible workings of sprightliness and grace on
the heaviness of narrative prose at that time. Timme, as a clear-sighted
contemporary, certainly confined the danger of Sterne's literary
influence entirely to the sentimental side, and saw no occasion to
censure an importation of Sterne's whimsies. Pank's ode on the death of
Riepel, written partly in dashes and partly in exclamation points, is
not a disproof of this assertion. Timme is not satirizing Sterne's
whimsical use of typographical signs, but rather the Germans who
misunderstood Sterne and tried to read a very peculiar and precious
meaning into these vagaries. The sentimental is, however, always
burlesqued and ridiculed; hence the satire is directed largely against
the Sentimental Journey, and Shandy is followed mainly in those
sections, which, we are compelled to believe, he wrote for his own
pleasure, and in which he was led on by his own interest.
The satire on sentimentalism is purposeful, the imitation and adaptation
of the whimsical and original is half-unconscious, and bespeaks
admiration and commendation.
Timme's book was sufficiently popular to demand a second edition, but it
never received the critical examination its merits deserved. Wieland's
_Teutscher Merkur_ and the _Bibliothek der schönen Wissenschaften_
ignore it completely. The _Gothaische Gelehrte Zeitungen_ announces the
book in its issue of August 2, 1780, but the book itself is not reviewed
in its columns. The _Jenaische Zeitungen von gelehrten Sachen_ accords
it a colorless and unappreciative review in which Timme is reproached
for lack of order in his work (a censure more applicable to the first
volume), and further for his treatment of German authors then
popular.[72] The latter statement stamps the review as unsympathetic
with Timme's satirical purpose. In the _Erfurtische gelehrte
Zeitung_,[73] in the very house of its own publication, the novel is
treated in a long review which hesitates between an acknowledged lack of
comprehension and indignant denunciation. The reviewer fears that the
author is a "Pasquillant oder gar ein Indifferentist" and hopes the
public will find no pleasure (Geschmack) in such bitter jesting
(Schnaken). He is incensed at Timme's contention that the Germans were
then degenerate as compared with their Teutonic forefathers, and Timme's
attack on the popular writers is emphatically resented. "Aber nun kömmt
das Schlimme erst," he says, "da führt er aus Schriften unserer grössten
Schenies, aus den Lieblings-büchern der Nazion, aus Werther's Leiden,
dem Siegwart, den Fragmenten zur Geschichte der Zärtlichkeit, Müller's
Freuden und Leiden, Klinger's Schriften u.s.w. zur Bestätigung seiner
Behauptung, solche Stellen mit solcher Bosheit an, dass man in der That
ganz verzweifelt wird, ob sie von einem Schenie oder von einem Affen
geschrieben sind."
In the number for July 6, 1782, the second and third volumes are
reviewed. Pity is expressed for the poor author, "denn ich fürchte es
wird sich ein solches Geschrey wider ihn erheben, wovon ihm die Ohren
gällen werden." Timme wrote reviews for this periodical, and the general
tone of this notice renders it not improbable that he roguishly wrote
the review himself or inspired it, as a kind of advertisement for the
novel itself. It is certainly a challenge to the opposing party.
The _Allgemeine deutsche Bibliothek_[74] alone seems to grasp the full
significance of the satire. "We acknowledge gladly," says the reviewer,
"that the author has with accuracy noted and defined the rise,
development, ever-increasing contagion and plague-like prevalence of
this moral pestilence; . . . that the author has penetrated deep into
the knowledge of this disease and its causes." He wishes for an
engraving of the Sterne hobby-horse cavalcade described in the first
chapter, and begs for a second and third volume, "aus deutscher
Vaterlandsliebe." Timme is called "Our German Cervantes."
The second and third volumes are reviewed[75] with a brief word of
continued approbation.
A novel not dissimilar in general purpose, but less successful in
accomplishment, is Wezel's "Wilhelmine Arend, oder die Gefahren der
Empfindsamkeit," Dessau and Leipzig, 1782, two volumes. The book is more
earnest in its conception. Its author says in the preface that his
desire was to attack "Empfindsamkeit" on its dangerous and not on its
comic side, hence the book avoids in the main the lighthearted and
telling burlesque, the Hudibrastic satire of Timme's novel. He works
along lines which lead through increasing trouble to a tragic
_dénouement_.
The preface contains a rather elaborate classification of kinds of
"Empfindsamkeit," which reminds one of Sterne's mock-scientific
discrimination. This classification is according to temperament,
education, example, custom, reading, strength or weakness of the
imagination; there is a happy, a sad, a gentle, a vehement, a dallying,
a serious, a melancholy, sentimentality, the last being the most poetic,
the most perilous.
The leading character, Wilhelmine, is, like most characters which are
chosen and built up to exemplify a preconceived theory, quite
unconvincing. In his foreword Wezel analyzes his heroine's character and
details at some length the motives underlying the choice of attributes
and the building up of her personality. This insight into the author's
scaffolding, this explanation of the mechanism of his puppet-show, does
not enhance the aesthetic, or the satirical force of the figure. She is
not conceived in flesh and blood, but is made to order.
The story begins in letters,--a method of story-telling which was the
legacy of Richardson's popularity--and this device is again employed in
the second volume (Part VII). Wilhelmine Arend is one of those whom
sentimentalism seized like a maddening pestiferous disease. We read of
her that she melted into tears when her canary bird lost a feather, that
she turned white and trembled when Dr. Braun hacked worms to pieces in
conducting a biological experiment. On one occasion she refused to drive
home, as this would take the horses out in the noonday sun and disturb
their noonday meal,--an exorbitant sympathy with brute creation which
owes its popularity to Yorick's ass. It is not necessary here to relate
the whole story. Wilhelmine's excessive sentimentality estranges her
from her husband, a weak brutish man, who has no comprehension of her
feelings. He finds a refuge in the debasing affections of a French
opera-singer, Pouilly, and gradually sinks to the very lowest level of
degradation. This all is accomplished by the interposition and active
concern of friends, by efforts at reunion managed by benevolent
intriguers and kindly advisers.
The advice of Drs. Braun and Irwin is especially significant in its sane
characterization of Wilhelmine's mental disorders, and the observations
upon "Empfindsamkeit" which are scattered through the book are
trenchant, and often markedly clever. Wilhelmine holds sentimental
converse with three kindred spirits in succession, Webson, Dittmar, and
Geissing. The first reads touching tales aloud to her and they two unite
their tears, a sentimental idea dating from the Maria of Moulines
episode. The part which the physical body, with its demands and desires
unacknowledged and despised, played as the unseen moving power in these
three friendships is clearly and forcefully brought out. Allusion to
Timme's elucidation of this principle, which, though concealed, underlay
much of the sentimentalism of this epoch, has already been made. Finally
Wilhelmine is persuaded by her friends to leave her husband, and the
scene is shifted to a little Harz village, where she is married to
Webson; but the unreasonableness of her nature develops inordinately,
and she is unable ever to submit to any reasonable human relations, and
the rest of the tale is occupied with her increasing mental aberration,
her retirement to a hermit-like seclusion, and her death.
The book, as has been seen, presents a rather pitiful satire on the
whole sentimental epoch, not treating any special manifestation, but
applicable in large measure equally to those who joined in expressing
the emotional ferment to which Sterne, "Werther" and "Siegwart" gave
impulse, and for which they secured literary recognition. Wezel fails as
a satirist, partly because his leading character is not convincing, but
largely because his satirical exaggeration, and distortion of
characteristics, which by a process of selection renders satire
efficient, fails to make the exponent of sentimentalism ludicrous, but
renders her pitiful. At the same time this satirical warping impairs the
value of the book as a serious presentation of a prevailing malady. The
book falls between two stools.
A precursor of "Wilhelmine Arend" from Wezel's own hand was "Die
unglückliche Schwäche," which was published in the second volume of his
"Satirische Erzählungen."[76] In this book we have a character with a
heart like the sieve of the Danaids, and to Frau Laclerc is attributed
"an exaggerated softness of heart which was unable to resist a single
impression, and was carried away at any time, wherever the present
impulse bore it." The plot of the story, with the intrigues of Graf. Z.,
the Pouilly of the piece, the separation of husband and wife, their
reunion, the disasters following directly in the train of weakness of
heart in opposing sentimental attacks, are undoubtedly children of the
same purpose as that which brought forth "Wilhelmine Arend."
Another satirical protest was, as one reads from a contemporary review,
"Die Tausend und eine Masche, oder Yoricks wahres Shicksall, ein blaues
Mährchen von Herrn Stanhope" (1777, 8vo). The book purports to be the
posthumous work of a young Englishman, who, disgusted with Yorick's
German imitators, grew finally indignant with Yorick himself. The
_Almanach der deutschen Musen_ (1778, pp. 99-100) finds that the author
misjudges Yorick. The book is written in part if not entirely in verse.
In 1774 a correspondent of Wieland's _Merkur_ writes, begging this
authoritative periodical to condemn a weekly paper just started in
Prague, entitled "Wochentlich Etwas," which is said to be written in the
style of Tristram Shandy and the Sentimental Journey, M . . . R . . .
and "die Beyträge zur Geheimen Geschichte des menschlichen Herzens und
Verstandes," and thereby is a shame to "our dear Bohemia."
In this way it is seen how from various sources and in various ways
protest was made against the real or distorted message of Laurence
Sterne.
[Footnote 1: I, p. 103, Lemgo.]
[Footnote 2: 1772, July 7.]
[Footnote 3: See Erich Schmidt's "Heinrich Leopold Wagner,
Goethe's Jugendgenosse," 2d edition, Jena, 1879, p. 82.]
[Footnote 4: Berlin, 1779, pp. 86.]
[Footnote 5: XLIV, 1, p. 105.]
[Footnote 6: Probably Ludwig Heinrich von Nicolay, the poet and
fable-writer (1727-1820). The references to the _Deutsches Museum_
are respectively VI, p. 384; VIII, pp. 220-235; X, pp. 464 ff.]
[Footnote 7: "Georg Christoph Lichtenberg's Vermischte Schriften,"
edited by Ludwig Christian Lichtenberg and Friedrich Kries, new
edition, Göttingen, 1844-46, 8 vols.]
[Footnote 8: "Geschichte des geistigen Lebens in Deutschland,"
Leipzig, 1862, II, p. 585.]
[Footnote 9: See also Gervinus, "Geschichte der deutschen
Dichtung," 5th edition, 1874, V. p. 194. "Ein Original selbst und
mehr als irgend einer befähigt die humoristischen Romane auf
deutschen Boden zu verpflanzen." Gervinus says also (V, p. 221)
that the underlying thought of Musäus in his "Physiognomische
Reisen" would, if handled by Lichtenberg, have made the most
fruitful stuff for a humorous novel in Sterne's style.]
[Footnote 10: I, p. 184 f.]
[Footnote 11: III, p. 112.]
[Footnote 12: II, 11-12: "Im ersten Fall wird er nie, nach dem die
Stelle vorüber ist, seinen Sieg plötzlich aufgeben. So wie bei ihm
sich die Leidenschaft kühlt, kühlt sie sich auch bei uns und er
bringt uns ab, ohne dass wir es wissen. Hingegen im letztern Fall
nimmt er sich selten die Mühe, sich seines Sieges zu bedienen,
sondern wirft den Leser oft mehr zur Bewunderung seiner Kunst, als
seines Herzens in eine andere Art von Verfassung hinein, die ihn
selbst nichts kostet als Witz, den Leser fast um alles bringt, was
er vorher gewonnen hatte."]
[Footnote 13: V, 95.]
[Footnote 14: I, p. 136.]
[Footnote 15: I, p. 151.]
[Footnote 16: See also I, p. 139.]
[Footnote 17: II, p. 209; III, p. 11; VII, p. 133.]
[Footnote 18: I, p. 136; II, pp. 13, 39, 209; 165, "Die Nachahmer
Sterne's sind gleichsam die Pajazzi desselben."]
[Footnote 19: In _Göttingisches Magazin_, 1780, Schriften IV, pp.
186-227: "Thöricht affectirte Sonderbarkeit in dieser Methode wird
das Kriterium von Originalität und das sicherste Zeichen, dass man
einen Kopf habe, dieses wenn man sich des Tages ein Paar Mal
darauf stellt. Wenn dieses auch eine Sternisch Kunst wäre, so ist
wohl so viel gewiss, es ist keine der schwersten."]
[Footnote 20: II, pp. 199-244.]
[Footnote 21: V, p. 250.]
[Footnote 22: VI, p. 195.]
[Footnote 23: Tristram Shandy, I, pp. 172-180.]
[Footnote 24: II, p. 12.]
[Footnote 25: Weimar, 1899.]
[Footnote 26: These dates are of the departure from and return to
Copenhagen; the actual time of residence in foreign lands would
fall somewhat short of this period.]
[Footnote 27: _Deutsches Museum_, 1777, p. 449, or Schriften, I,
pp. 12-13; "Bibliothek der deutschen Klassiker," Vol. VI, p. 652.]
[Footnote 28: English writers who have endeavored to make an
estimate of Sterne's character have ignored this part of Garrick's
opinion, though his statement with reference to the degeneration
of Sterne's moral nature is frequently quoted.]
[Footnote 29: _Deutsches Museum_, II, pp. 601-604; Schriften, II,
pp. 288-291.]
[Footnote 30: Gedichte von L. F. G. Goeckingk, 3 Bde., 1780, 1781,
1782, Leipzig.]
[Footnote 31: I, pp. 94, 116, 160.]
[Footnote 32: Hamburg, pp. 44.]
[Footnote 33: Hamburg, Bohn, 1785.]
[Footnote 34: Published in improved and amplified form,
Braunschweig, 1794.]
[Footnote 35: II, Nr. 204, August 25, 1808, Tübingen.]
[Footnote 36: Breslau, 1779, 2d edition, 1780, by A. W. L. von
Rahmel.]
[Footnote 37: See M. Denis, "Literarischer Nachlass," edited by
Retzer, Wien, 1801, II, p. 196.]
[Footnote 38: "Sämmtliche Werke," edited by B. R. Abeken, Berlin,
1858, III, pp. 61-64.]
[Footnote 39: First American edition as "Practical Philosophy,"
Lansingburgh, 1805, p. 331. Sterne is cited on p. 85.]
[Footnote 40: Altenburg, 1778, p. 90. Reviewed in _Gothaische
Gelehrte Zeitungen_, 1779, p. 169, March 17, and in _Allg.
deutsche Bibl._, XXXVII, 2, p. 476.]
[Footnote 41: Hempel, VIII, p. 354.]
[Footnote 42: In a review of "Mamsell Fieckchen und ihr
Vielgetreuer, ein Erbauungsbüchlein für gefühlvolle Mädchen,"
which is intended to be a warning to tender-hearted maidens
against the sentimental mask of young officers. Another protest
against excess of sentimentalism was "Philotas, ein Versuch zur
Beruhigung und Belehrung für Leidende und Freunde der Leidenden,"
Leipzig, 1779. See _Allg. deutsche. Bibl._, XLIV. 1, pp. 128-9.]
[Footnote 43: See Erich Schmidt's "Richardson, Rousseau und
Goethe," Jena, 1875, p. 297.]
[Footnote 44: See _Jenaische Zeitungen von Gel. Sachen_, 1780,
pp. 627, 761.]
[Footnote 45: The full title is "Der Empfindsame Maurus Pankrazius
Ziprianus Kurt auch Selmar genannt, ein Moderoman," published by
Keyser at Erfurt, 1781-83, with a second edition, 1785-87.]
[Footnote 46: "Faramonds Familiengeschichte, in Briefen," Erfurt,
Keyser, 1779-81. _Allg. deutsche Bibl._, XLIV, 1, p. 120;
_Jenaische Zeitungen von Gel. Sachen_, 1780, pp. 273, 332; 1781,
pp. 113, 314.]
[Footnote 47: Pp. 8-9.]
[Footnote 48: Goethe's review of Schummel's "Empfindsame Reise"
in _Frankfurter Gel. Anz._ represents the high-water mark of
understanding criticism relative to individual work, but
represents necessarily no grasp of the whole movement.]
[Footnote 49: Frankfurt, 1778, _Allg. deutsche Bibl._, XL, 1, 119.
This is by Baker incorrectly ascribed J. F. Abel, the author of
"Beiträge zur Geschichte der Liebe," 1778.]
[Footnote 50: P. 15.]
[Footnote 51: P. 17.]
[Footnote 52: P. 18.]
[Footnote 53: I, pp. 313 ff.]
[Footnote 54: This distinction between Empfindsamkeit and
Empfindelei is further given II, p. 180.]
[Footnote 55: Pp. 33-39.]
[Footnote 56: I, pp. 88 ff.]
[Footnote 57: See discussion concerning Tristram's tutor, Tristram
Shandy, II, p. 217.]
[Footnote 58: III, pp. 318 ff.]
[Footnote 59: Vol. IV, p. 12. "Zoologica humana," and treating of
Affen, Gekken, Narren, Schelmen, Schurken, Heuchlern, Schlangen,
Schafen, Schweinen, Ochsen und Eseln.]
[Footnote 60: I, p. 72.]
[Footnote 61: I, pp. 225 ff.]
[Footnote 62: I, pp. 245 ff.]
[Footnote 63: A substitution merely of another animal for the
passage in "Empfindsame Reise," Bode's translation, edition of
1769 (2d ed.), I, p. 109.]
[Footnote 64: pp. 241 ff.]
[Footnote 65: Vol. II, pp. 333 ff.]
[Footnote 66: See the record of Pankraz's sentimental interview
with the pastor's wife.]
[Footnote 67: For example, see Pankraz's prayer to Riepel, the
dead cat, when he learns that another has done more than he in
raising a lordlier monument to the feline's virtues: "Wenn du itz
in der Gesellschaft reiner, verklärter Kazengeister, Himnen
miaust, O so sieh einen Augenblick auf diese Welt herab! Sieh
meinen Schmerz, meine Reue!" His sorrow for Riepel is likened to
the Nampont pilgrim's grief for his dead ass.]
[Footnote 68: IV, pp. 222-235.]
[Footnote 69: IV, pp. 253 ff.]
[Footnote 70: IV, pp. 113 ff.: "Wenn ich so denke, wie es Elisen
berührt, so wird mir schwindlich . . . . Ich möchte es umschlingen
wie es Elisen's Bein umschlungen hat, mögt mich ganz verweben mit
ihm," etc.]
[Footnote 71: IV, pp. 214 ff.]
[Footnote 72: 1781, p. 573: "Dass er einzelne Stellen aus unsern
angesehensten Schriftstellern heraus rupfet und in eine
lächerliche Verbindung bringt."]
[Footnote 73: 1781, pp. 265-7.]
[Footnote 74: LI, I, p. 234.]
[Footnote 75: LII, 1, p. 149.]
[Footnote 76: Reviewed in _Almanach der deutscher Musen_, 1779,
p. 41. The work was published in Leipzig, I, 1777; II, 1778.]
A BRIEF BIBLIOGRAPHY OF LAURENCE STERNE
The Case of Elijah and the Widow of Zerephath considered: A charity
sermon preach'd on Good Friday, April 17, 1747. York, 1747.
The Abuses of Conscience set forth in a sermon preached in the Cathedral
Church of St. Peter's, York, July 29, 1750. York, 1750.
The Life and Opinions of Tristram Shandy, vols. I, II, York, 1759. 2d.
ed. London, 1760. Vols. III, IV, London, 1761. Vols. V, VI, London,
1762. Vols. VII, VIII, London, 1765. Vol. IX, London, 1767.
Sermons of Mr. Yorick. Vols. I, II, London, 1760. Vols. III, IV, London,
1766. Vols. V, VI, VII, London, 1769.
A Sentimental Journey through France and Italy, 2 vols. London, 1768.
A Political Romance addressed to ----, esq., of York, 1769. The first
edition of the Watchcoat story.
Letters from Yorick to Eliza. London, 1775.
Twelve Letters to his Friends on Various Occasions, to which is added
his history of a Watchcoat, with explanatory notes. London, 1775.
Letters of the Late Reverend Laurence Sterne to his most intimate
Friends with a Fragment in the Manner of Rabelais to which are prefixed
Memoirs of his life and family written by himself, published by his
daughter, Lydia Sterne de Medalle. London, 1775.
Seven Letters written by Sterne and his Friends, edited by W. Durrant
Cooper. 1844.
Unpublished Letters of Laurence Sterne. In Philobiblon Society
Miscellanies. 1855, Vol. II. The Kitty Correspondence.
Works of Laurence Sterne. 10 vols. London, Dodsley, etc., 1793.
Works. Edited by G. E. B. Saintsbury, 6 vols. London, 1894.
These two editions have been chiefly used in the preparation of this
work. Because of its general accessibility references to Tristram
Shandy and the Sentimental Journey are made to the latter.
Illustrations of Sterne, by Dr. John Ferriar. Manchester, 1798. 2d
edition: London, 1812.
Life of Laurence Sterne, by Percy Fitzgerald. 1864. Revised edition,
London, 1896. 2 vols.
Sterne, in English Men of Letters Series, by H. D. Traill. 1883.
Sir Walter Scott. Lives of the Novelists, Vol. I, p. 156-186.
Paul Stapfer. Laurence Sterne, sa personne et ses ouvrages étude
précédée d'un fragment inédit de Sterne. Paris, 1882.
William M. Thackeray. Sterne and Goldsmith, in English Humorists, 1858,
pp. 286-341.
J. B. Montégut, Essais sur la Littérature anglaise. 1883, pp. 279-364.
Walter Bagehot, Sterne and Thackeray, in Literary Studies. 1902, Vol.
II, pp. 282-325.
E. Scherer. Laurence Sterne or the Humorist, in Essays on English
Literature. 1891, pp. 150-173.
Sir Leslie Stephen. Hours in a Library. 1852. Vol. III, pp. 139-174.
Herbert Paul. Men and Letters. 1901. Pp. 67-89.
Whitwell Elwin. Some XVIII Century Men of Letters. 1902. Vol. II,
pp. 1-81.
Sidney Lee. Article on Sterne in the National Dictionary of Biography.
A BIBLIOGRAPHY OF STERNE IN GERMANY
It cannot be assumed that the following list of reprints and
translations is complete. The conditions of the book trade then
existing were such that unauthorized editions of popular books
were very common.
I. GERMAN EDITIONS OF STERNE'S WORKS INCLUDING SPURIOUS OR DOUBTFUL
WORKS PUBLISHED UNDER HIS NAME.
_a. Tristram Shandy_
The Life and Opinions of Tristram Shandy, Gentleman, 6 vols. Altenburg,
1772. (Richter.)
The same. Altenburg, 1776.
The Life and Opinions of Tristram Shandy, Gentleman. A new edition.
Basil, 1792. (Legrand).
The Life and Opinions of Tristram Shandy, 2 vols gr. 8vo. Gotha, 1792.
(Ettinger). Identical with the preceding.
Life and Opinions of Tristram Shandy, 4 vols. (with 4 engravings). Wien,
1798. (Sammer.)
The Life and Opinions of Tristram Shandy, 4 vols. Gotha, 1805-6.
(Stendel and Keil.)
The Life and Opinions of Tristram Shandy, Schneeburg, 1833. Pocket
edition of the most eminent English authors of the preceding century,
of which it is vols. XI-XIII.
The Life and Opinions of Tristram Shandy, 2 vols., gr. 8vo. Basel.
(Thurneisen), without date.
_b. The Sentimental Journey_
A Sentimental Journey through France and Italy, 2 vols. 8vo. Altenburg,
1771. (Richter.)
The same with cuts, 2 vols, 8vo. Altenburg, 1772. (Richter.)
The same. Altenburg, 1776. (Richter.)
The same. Göttingen, 1779. (Diederich). Pp. 199. No introduction or
notes.
A Sentimental Journey through France and Italy in two books. Göttingen,
1787. (Dietrich.)
A Sentimental Journey with a continuation by Eugenius and an account of
the life and writings of L. Sterne, gr. 8vo. Basel, 1792. (Legrand,
Ettinger in Gotha.)
Sentimental Journey through France and Italy mit Anmerkungen und
Wortregister, 8vo. Halle, 1794. (Renger).
A sentimental Journey through France and Italy. 4 parts complete in 2
vols. 2d edition to which are now added several other pieces by the same
author. (With four engravings) 12mo. Wien, 1798. (Sammer.)
A Sentimental Journey through France and Italy and the continuation by
Eugenius, 2 parts, 8vo. Halle, 1806. (Hendel).
A Sentimental Journey through France and Italy by Mr. Yorick. In Two
Books. Göttingen, 1806. (Dietrich). Pp. 271.
A Sentimental Journey. New edition, 12mo. Altenburg, 1815. (Brockhaus in
Leipzig.)
A Sentimental Journey through France and Italy, gr. 12mo. Jena, 1826.
(Schmid.)
A Sentimental Journey through France and Italy, 16mo. Nürnberg, 1828.
(Campe.)
A Sentimental Journey through France and Italy. Schneeberg, 1830. Pocket
edition of the most eminent English authors of the preceding century, of
which it is Vol. IV.
A Sentimental Journey through France and Italy. Basil (Thurneisen),
without date.
A Sentimental Journey through France and Italy. London. Cooke. Campe in
Hamburg, without date.
Tauchnitz has published editions of both Shandy and the Journey.
_c. Letters, Sermons and Miscellaneous_
Yorick's letters to Eliza, Eliza's letters to Yorick. Sterne's letters
to his Friends. Altenburg, 1776. (Richter.)
Letters to his most intimate Friends, with a fragment in the manner of
Rabelais published by his Daughter, Mme. Medalle. 3 vols., 8vo.
Altenburg, 1776. (Richter.)
Letters written between Yorick and Eliza with letters to his Friends.
Nürnberg, 8vo, 1788. (Schneider.)
Letters written between Yorick and Eliza. 12mo. Vienna, 1795.
Letters between Yorick and Eliza, 12mo. Wien, 1797. (Sammer.)
Letters of the late Rev. Mr. Laurence Sterne, to his most intimate
friends, on various occasions, as published by his daughter, Mrs.
Medalle, and others, including the letters between Yorick and Eliza.
To which are added: An appendix of XXXII Letters never printed before;
A fragment in the manner of Rabelais, and the History of a Watchcoat.
With explanatory notes. 2 vols. Vienna, 1797. (Sammer.)
Letters written between Yorick and Eliza, mit einem erklärenden
Wortregister zum Selbstunterricht von J. H. Emmert. Giessen, 1802.
Sermons by Laurence Sterne. 7 vols. Altenburg, 1777. (Richter) 8vo.
The Koran, or Essays, Sentiments and Callimachies, etc. 1 vol. Wien,
1795. (Sammer.)
The Koran, etc. Wien, 1798. (Sammer). 12mo, pp. 275.
Gleanings from the works of Laurence Sterne. Campe's edition. Nürnberg
and New York. Without date.
II. GERMAN TRANSLATIONS OF STERNE.
_a. Tristram Shandy_
Das Leben und die Meynungen des Herrn Tristram Shandy. Berlin und
Stralsund, 1763. Parts I-VI. Translation by Johann Friedrich Zückert.
The same. Parts VII-VIII. 1763.
The same. Part IX (spurious). 1767.
Das Leben und die Meynungen des Herrn Tristram Shandy. Nach einer neuen
Uebersetzung. Berlin und Stralsund, 1769-1772. (Lange.) A revised
edition of the previous translation.
Das Leben und die Meinungen des Herrn Tristram Shandy aus dem Englischen
übersetzt, nach einer neuen Uebersetzung auf Anrathen des Hrn. Hofrath
Wielands verfasst. Neun Theile. Berlin, 1774.
Another edition of the same translation.
Tristram Schandi's Leben und Meynungen. Hamburg, 1774. Bey Bode.
Translation by J. J. C. Bode. Nine parts. I, pp. 185; II, pp. 191; III,
pp. 210; IV, pp. 226; V, pp. 166; VI, pp. 164; VII, pp. 148; VIII, pp.
144; IX, pp. 128.
The same. Zweite verbesserte Auflage. Hamburg, 1776.
The same, 1777.
The same, 1778.
The same. Nachdruck, Hanau und Höchst. 1776-7.
The same. Nachdruck. Berlin, 1778.
Tristram Shandy's Leben und Meinungen, von neuem verdeutscht. 3 vols.
Leipzig, 1801. (Linke.) A revision of Bode's translation by J. L.
Benzler.
The same. Hannover. 1810. (Hahn.)
Leben und Meinungen des Tristram Shandy von Sterne--neu übertragen von
W. H., Magdeburg, 1831. Sammlung der ausgezeichnetsten humoristischen
und komischen Romane des Auslands in neuen zeitgemässen Bearbeitungen.
Bd. X, I, pp. 188; II, pp. 192; III, pp. 151; IV, pp. 168; V, pp. 256;
V, pp. 257-264, Ueber Laurence Sterne und dessen Werke. Another revision
of Bode's work.
Tristram Shandy's Leben und Meinungen, von Lorenz Sterne, aus dem
Englischen von Dr. G. R. Bärmann. Berlin, 1856.
Tristram Shandy's Leben und Meinungen, aus dem Englischen übersetzt von
F. A. Gelbcke. Nos. 96-99 of "Bibliothek ausländischer Klassiker."
Leipzig, 1879. (Bibliographisches Institut.)
Leben und Meinungen des Herrn Tristram Shandy. Deutsch von A. Seubert.
Leipzig, 1881. (Reclam.)
_b. The Sentimental Journey_
Yorick's emfindsame Reise durch Frankreich und Italien. Hamburg und
Bremen, 1768. Translated by J. J. C. Bode.
The same, with parts III, IV (Stevenson's continuation), 1769.
The same. Hamburg und Bremen, 1770, 1771, 1772, 1776, 1777, 1804.
The same. Mannheim. 1780.
The same. Leipzig, 1797, 1802. (Rabenhorst.)
Versuch über die menschliche Natur in Herrn Yoricks, Verfasser des
Tristram Shandy Reisen durch Frankreich und Italien. Braunschweig, 1769.
(Fürstliche Waisenhausbuchhandlung), pp. 248. Translation by Hofprediger
Mittelstedt.
Herrn Yoricks, Verfasser des Tristram Shandy, Reisen durch Frankreich
und Italien, als ein Versuch über die menschliche Natur. Braunschweig,
1769. Is a second edition of the former.
The same, 1774.
Yoricks empfindsame Reise von neuem verdeutscht. 2 vols. Leipzig, 1801.
A revision of Bode's work by Johann Lorenz Benzler.
Empfindsame Reise durch Frankreich und Italien übersetzt von Ch.
C. Meissner. Zwickau, 1825. (Schumann.)
Eine Empfindsame Reise . . . übersetzt, mit Lebensbeschreibung des
Autors und erläuternden Bemerkungen von H. A. Clemen. Essen, 1827.
A Sentimental Journey through France and Italy. Yorick's Empfindsame
Reise durch Frankreich und Italien, mit erläuternden Anmerkungen von
W. Gramberg. 8vo. Oldenburg, 1833. (Schulze.) Since both titles are
given, it is not evident whether this is a reprint, a translation,
or both.
Laurence Sterne--Yoricks Empfindsame Reise durch Frankreich und Italien.
Halle. (Hendel.) A revision of Bode's translation, with a brief
introductory note by E. Suchier.
Yorick's empfindsame Reise durch Frankreich und Italien, übersetzt von
A. Lewald. Pforzheim, 1842.
Yorick's empfindsame Reise, übersetzt von K. Eitner. Bibliothek
ausländischer Klassiker. Bd. 75. Hildburghausen.
Empfindsame Reise durch Frankreich und Italien Deutsch von Friedrich
Hörlek. Leipzig, 1859. (Reclam.)
_c. Letters, Sermons and Miscellaneous_
Briefe von (Yorick) Sterne an seine Freunde Nebst seiner Geschichte
eines Ueberrocks, Aus dem Englischen. Hamburg, 1775. (Bohn.) Pp. VIII,
144.
Yorick's Briefe an Elisa. Hamburg, 1775. (Bohn.) Pp. XX, 75.
Briefe von Elisa an Yorick. Aus dem Engl. Hamburg, 1775. Pp. XVI, 64.
Translation of the above three probably by Bode.
Briefwechsel mit Elisen und seinen übrigen Freunden. Leipzig, 1775.
(Weidmann.)
Elisens ächte Briefe an Yorik. Leipzig, 1775.
Briefe an seine vertrauten Freunde nebst Fragment im Geschmack des
Rabelais und einer von ihm selbst verfassten Nachricht von seinem Leben
und seiner Familie, herausgegeben von seiner Tochter Madame Medalle.
Leipzig, 1776. (Weidmann.) Pp. XXVIII, 391. Translation probably by Chr.
Felix Weisse.
The same. 1785.
Yorick's Briefe an Elisa. Leipzig, 1785. (Göschen.) A new edition of
Bode's rendering.
Briefe von Lorenz Sterne, dem Verfasser von Yorik's empfindsame Reisen.
Englisch und Deutsch zum erstenmal abgedruckt. London, 1787. Is probably
the same as "Hinterlassene Briefe. Englisch und Deutsch." Leipzig, 1787.
(Nauck.)
Predigten von Laurenz Sterne oder Yorick. Zürich. I, 1766; II, 1767.
(Fuesslin und Comp.)
The same, III, under the special title "Reden an Esel."
Predigten. Zürich, 1773. (Orell.)
Neue Sammlung von Predigten: Leipsig, 1770. (Hahn.) Translation by Prof.
A. E. Klausing.
Reden an Esel. Mit Einleitung und Anmerkungen. Hamburg, 1795. (Herold,
jun.)
Reden an Esel, von Lorenz Sterne. Thorn, 1795.
Lorenz Sterne des Menschenkenners Benutzung einiger Schriftsteller.
Basel, 1781. (Flick.) An abridged edition of his sermons.
Buch der Predigten oder 100 Predigten und Reden aus den verschiedenen
Zeiten by R. Nesselmann. Elbing, 1868. Contains Sterne's sermon on St.
Luke X, 23-37.
Yorick's Nachgelassene Werke. Leipzig, 1771. Translation of the Koran,
by J. G. Gellius.
Der Koran, oder Leben und Meinungen des Tria Juncta in Uno, M. N. A.
Ein hinterlassenes Werk von dem Verfasser des Tristram Shandy. Hamburg,
1778. Translation probably by Bode.
Yorick's Betrachtungen über verschiedene wichtige und angenehme
Gegenstände. Frankfurt und Leipzig, 1769.
Betrachtungen über verschiedene Gegenstände. Braunschweig, 1789.
(Schulbuchhandlung.)
Nachlese aus Laurence Sterne's Werken in's Deutsche übersetzt von Julius
Voss. Thorn, 1854.
French translations of Sterne's works were issued at Bern and
Strassburg, and one of his "Sentimental Journey" at Kopenhagen and an
Italian translation of the same in Dresden (1822), and in Prague (1821).
III. MISCELLANEOUS AUTHORITIES.
The following list contains (a) books or articles treating
particularly, or at some length, the relation of German authors
to Laurence Sterne; (b) books of general usefulness in determining
literary conditions in the eighteenth century, to which frequent
reference is made; (c) periodicals which are the sources of reviews
and criticisms cited in the text. Other works to which only
incidental reference is made are noted in the text itself.
Allgemeine deutsche Bibliothek. Berlin und Stettin, 1765-92. Edited by
Nicolai.
Allgemeine Litteratur Zeitung. Jena, Leipzig, Wien, 1781.
Almanach der deutschen Musen. Leipzig, 1770-1781. Edited by Chr. Heinr.
Schmid.
Altonaer Reichs-Postreuter. 1750. Editor 1772-1786 was Albrecht
Wittenberg.
Altonischer Gelehrter Mercurius. Altona, 1763-1772.
Appell, Joh. Wilhelm. Werther und Seine Zeit. 4 Aufl. Oldenburg, 1896.
Auserlesene Bibliothek der neuesten deutschen Litteratur. Lemgo,
1772-1778.
Baker, Thomas Stockham. The Influence of Laurence Sterne upon German
Literature. In Americana Germanica. Vol. II, No. 4, pp. 41-56.
Bauer, F. Sternescher Humor in Immermanns Münchhausen. Programm. Wien,
1896.
Bauer, F. Ueber den Einfluss Laurence Sternes auf Chr. M. Wieland.
Programm. Karlsbad. 1898.
Behmer, Karl August. Laurence Sterne und C. M. Wieland. Forschungen zur
neueren Literaturgeschichte, No. 9 München, 1899. Ein Beitrag zur
Erforschung fremder Einflüsse auf Wielands Dichtungen.
Berlinische Monatsschrift, 1783-1796, edited by Gedike and Biester.
Bibliothek der schönen Wissenschaften und der freyen Künste. Leipzig,
1757-65. 12 vol. I-IV edited by Nicolai and Mendelssohn, V-XII edited by
Chr. Felix Weisse.
J. J. C. Bode's Literarisches Leben. Nebst dessen Bildniss von Lips.
Berlin, 1796. First published in Vol. VI of Bode's translation of
Montaigne, "Michael Montaigne's Gedanken und Meinungen." Berlin,
1793-1795. The life of Bode is Vol. VI, pp. III-CXLIV.
Bremisches Magazin zur Ausbreitung der Wissenschaften, Künste und
Tugend. Bremen und Leipzig, 1757-66.
Büchner, Alex. Sternes Coran und Makariens Archiv. Goethe ein Plagiator?
Morgenblatt, No. 39, p. 922 f.
Czerny, Johann, Sterne, Hippel und Jean Paul. Berlin, 1904.
Deutsche Bibliothek der schönen Wissenschaften. Halle, 1767-1771. Edited
by Klotz.
Deutsches Museum. Leipzig, 1776-1788. Edited by Dohm and Boie and
continued to 1791 as Neues deutsches Museum.
Ebeling, Friedrich W. Geschichte der komischen Literatur in Deutschland
während der 2. Hälfte des 18. Jahrhunderts. Leipzig, 1869. 3 vols.
Elze, Frederich Karl. Die englische Sprache und Litteratur in
Deutschland. Dresden, 1864.
Erfurtische Gelehrte Zeitung. Erfurt, 1781-1796.
Frankfurter Gelehrte Anzeigen. Frankfurt. Published under several
titles, 1736-1790. Editors, Merck, Bahrdt and others.
Gervinus, G. G. Geschichte der deutschen Dichtung. Edited by Karl
Bartsch. 5 vols. Leipzig, 1871-74.
Goedeke, Karl. Grundriss zur Geschichte der deutschen Dichtung. Dresden,
1884-1900.
Gothaische gelehrte Zeitungen. Gotha, 1774-1804. Published and edited by
Ettinger.
Göttingische Anzeigen von Gelehrten Sachen 1753. Michaelis was editor
1753-1770, then Christian Gottlob Heyne.
Hamburger Adress-Comptoir Nachrichten, 1767. Edited by Joh. Wm. Dumpf.
Hamburgischer unpartheyischer Correspondent. Full title, Staats- und
Gelehrte Zeitung des Hamburgischen unpartheyischen Correspondenten.
Editor, 1763-3, Bode; 1767-1770, Albrecht Wittenberg.
Hédouin, Alfred. Goethe plagiaire de Sterne, in Le Monde Maçonnique.
July, 1863.
Heine, Carl. Der Roman in Deutschland von 1774 bis 1778. Halle, 1892.
Hettner, Hermann. Geschichte der deutschen Literatur im achtzehnten
Jahrhundert. 4te Auflage. Braunschweig, 1893-94. This is the third
division of his Literaturgeschichte des achtzehnten Jahrhunderts.
Hillebrand, Joseph. Die deutsche Nationalliteratur seit dem Anfange des
achtzehnten Jahrhunderts, besonders seit Lessing bis auf die Gegenwart.
2te Ausgabe. Hamburg und Gotha, 1850.
Hirsching, Friedr. Carl Gottlob. Historisch-litterarisches Handbuch
berühmter und denkwürdiger Personen, welche in dem 18. Jahrhundert
gelebt haben. Vol. XIII. Leipzig, 1809.
Jenaische Zeitungen von gelehrten Sachen. Jena, 1765-1781.
Jördens, Karl Heinrich. Lexikon deutscher Dichter und Prosaisten.
Leipzig, 1806-1811.
Koberstein, Karl August. Geschichte der deutschen Nationalliteratur.
Leipzig, 1872-73.
Koch, Max. Ueber die Beziehungen der englischen Literatur zur deutschen
im 18. Jahrhundert. Leipzig, 1883.
Kurz, Heinrich. Geschichte der deutschen Literatur. Leipzig, 1876-81.
Leipziger Musen-Almanach. Leipzig, 1776-87. Editor, 1776-78, Friedrich
Traugott Hase.
Longo, Joseph. Laurence Sterne und Johann Georg Jacobi. Programm. Krems,
1898.
Magazin der deutschen Critik. Halle, 1772-1776. Edited by Gottlob
Benedict Schirach.
Mager, A. Wielands Nachlass des Diogenes von Sinope und das englische
Vorbild. Abhandlung. Marburg, 1890.
Meusel, Johann Georg. Das gelehrte Deutschland, oder Lexicon der jetzt
lebenden deutschen Schriftsteller. Lemgo, 1796-1806.
Meusel, Johann Georg. Lexicon der von 1750 bis 1800 verstorbenen
teutschen Schriftsteller. Leipzig, 1802-16.
Neue Allgemeine deutsche Bibliothek. Kiel, 1793-1800. Edited by Bohn.
Berlin und Stettin, 1801-1805. Edited by Nicolai.
Neue Bibliothek der schönen Wissenschaften und der freyen Künste.
Leipzig, 1765-1806. Edited first by Chr. Felix Weisse, then by the
publisher Dyk.
Neue Critische Nachrichten. Greifswald, 1750-1807. Editor from 1779 was
Georg Peter Möller, professor of history at Greifswald.
Neues Bremisches Magazin. Bremen, 1766-1771.
Neue Hallische Gelehrte Zeitung. Founded by Klotz in 1766, and edited by
him 1766-71, then by Philipp Ernst Bertram, 1772-77.
Neue litterarische Unterhaltungen. Breslau, bey Korn der ä 1774-75.
Neue Mannigfaltigkeiten. Eine gemeinnützige Wochenschrift, follows
Mannigfaltigheiten which ran from Sept., 1769 to May, 1773, and in June
1773, the new series began. Berlin. Vol. II, pp. 97-106. Life of Sterne.
Neue Zeitungen von Gelehrten Sachen. 1715-1785. At the latter date the
title was changed to Neue Litteratur Zeitung. Leipzig.
Schmidt, Julian. Bilder aus dem geistigen Leben unserer Zeit. Leipzig,
1870. Vol. IV, 1875. Vol. IV, pp. 272 ff, Studien über den Englischen
Roman.
Schmidt, Julian. Geschichte der deutschen Litteratur von Leibnitz bis
auf unsere Zeit. Berlin, 1886-96.
Schmidt, Julian. Geschichte des geistigen Lebens in Deutschland von
Leibnitz bis auf Lessing's Tod, 1681-1781. Leipzig, I, 1862; II, 1864.
Schröder, Lexicon Hamburgischer Schriftsteller. Hamburg, 1851-83, 8
vols.
Springer, Robert. Essays zur Kritik und zur Goethe-Literatur. "War
Goethe ein Plagiarius Lorenz Sternes?" Minden i. W., 1885.
Teutscher Mercur. Weimar, 1773-89. And Neuer deutscher Merkur. Weimar,
1790-1810. Edited by Wieland, Reinhold and Böttiger.
Unterhaltungen. Hamburg bey Bock, 1767-70. Edited by J. J. Eschenburg,
I-IV; Albrecht Wittenberg, V; Christoph Dan. Ebeling, VI-X.
(Der) Wandsbecker Bothe. Edited by Matthias Claudius. Wandsbeck,
1771-75.
INDEX OF PROPER NAMES
Abbt, 43.
Abel, J. F., 170.
Addison, 157.
Alberti, 26, 27, 46.
Behrens, Johanna Friederike, 87.
Benzler, J. L., 61, 62.
Blankenburg, 5, 8, 139.
Bock, Joh. Chr., 93, 127, 129-133, 136.
Bode, J. J. C., 15, 16, 24, 34, 37, 38, 40-62, 67, 76, 90, 94,
106, 115.
Bodmer, 75.
Boie, 59, 131.
Bondeli, Julie v., 30, 31.
Bonstetten, 89.
Böttiger, C. A., 38, 42-44, 48, 49, 52, 58, 77, 81.
Brandon, J., 82.
Brockes, 37.
Burney, Frances, 37.
Burton, 77.
Butler, 6, 29.
Campe, J. H., 43, 164-166.
Carr, John, 14.
Cervantes, 6, 23, 26, 60, 168, 178.
Chappelle, 35, 112.
Claudius, 59, 133, 157-158.
Combe, Wm., 69.
Defoe, 3.
Denis, 10, 75, 166.
Draper, Eliza, 64-70, 89, 114, 176.
Eberhard, 5.
Ebert, 10, 26, 44-46, 59, 62.
Eckermann, 98, 101, 104.
Einsiedel, 59.
Eschenburg, 2.
Ferber, J. C. C., 84.
Ferriar, 77, 78.
Fielding, 4, 6, 10, 23, 58, 60, 96, 145, 154.
Forster, 12.
Frenais, 60.
Garrick, 66, 161.
Garve, 22, 135.
Gay, 92.
Gebler, 90.
Gellert, 32, 37, 120.
Gellius, 76, 92.
Gerstenberg, 59.
Gleim, 2, 3, 59, 85-87, 112, 152.
Göchhausen, 88, 140-144, 181.
Göchhausen, Fräulein v., 59.
Goeckingk, 162-3.
Goethe, 40, 41, 59, 75, 77, 85, 91, 97-109, 126, 153, 156, 167,
168, 170, 180.
Goeze, 27, 48.
Goldsmith, 10, 98.
Göschen, Georg. Joachim, 134-135.
Griffith, Richard, 74-75.
Grotthus, Sara v., 40-41.
Hamann, 28, 29, 59, 69, 71, 97, 153.
Hartknoch, 28, 32, 97.
Hebbel, 88, 153.
Hedemann, 136-138.
Heine, H., 103.
Heinse, 152.
Herder, 5, 7, 8, 28, 29, 32, 59, 97, 99, 156.
Herder, Caroline Flachsland, 89, 99, 152.
Hermes, 2, 8, 109.
Hippel, 6, 59, 101, 155.
Hofmann, J. C., 88.
Hopffgarten, 93.
Hopfner, 69.
Hume, 63.
Ireland, 80.
Jacobi, 59, 85-90, 112-114, 131, 136, 139, 142, 143.
Jung-Stilling, 99.
Kästner, 30.
Kaufmann, 88.
Kirchberger, 30.
Kirsten, 93.
Klausing, A. E., 72.
Klopstock, 37, 51, 59.
Klotz, 21, 114.
Knebel, 109, 152.
Knigge, 91, 93, 110, 154, 166.
Kölbele, 52.
Koran, 74-76, 92, 95, 103-108, 153.
Kotzebue, 133-34.
Krummacher, 153.
Lenz, 152.
Lessing, 24-28, 40-46, 59, 62, 77, 97, 109, 156.
Leuchsenring, 88.
Lichtenberg, 4, 78, 84, 158-60.
Liscow, 3, 24.
Matthison, 60, 89, 152.
de Medalle, Lydia Sterne, 64, 68, 69.
Medicus, Wilhelm Ludwig, 69.
Mendelssohn, 24, 43, 109, 110.
Merck, 89, 99, 139.
Meyer, Aug. Wilh., 83.
Miller, J. M., 168, 170, 173, 180.
Mittelstedt, 46-47, 55-57, 115.
Montaigne, 60.
Moritz, K. P., 168.
Möser, 7, 166.
Müchler, K. F., 79.
Murray, Rev. James, 71.
Musäus, 10, 91, 138, 152, 153, 158.
Nicolai, 27, 40, 43, 77, 78, 110;
Sebaldus Nothanker, 6, 88, 110, 150.
Nicolay, Ludwig Heinrich v., 158.
Nonne, 93.
Opitz, Christian, 127.
Ossian, 10.
Paterson, Sam'l, 79.
Percy, Bishop, 2, 10.
Raabe, Wilhelm, 153.
Rabelais, 60.
Rabenau, A. G. F., 138.
Rahmel, A. W. L., 166.
Ramler, 90.
Richardson, 4, 10, 31, 43, 96, 179.
Richter, Jean Paul, 75, 91, 155.
Riedel, 29-30, 32, 54, 109, 125.
la Roche, Sophie, 139.
Rousseau, 4, 71.
Sattler, J. P., 8.
Schiller, 135, 153.
Schink, J. F., 80-82.
Schirach, 109.
Schmidt, Klamer, 60.
Schubart, 107.
Schummel, 59, 93, 114-129, 136, 140.
Schwager, 138.
Seidelinn, 153.
Shadwell, 25.
Smollett, 63.
Sonnenfels, 125.
Stephanie, d. j., 153.
Stevenson, J. H., 44-53, 57, 64, 81, 105.
Stolberg, 61.
Sturz, 160-162.
Swift, 69, 146, 157, 160.
v. Thümmel, 93, 135, 155.
Timme, 168-179.
Usteri, 30.
Wagner, H. L., 41, 157.
Wegener, 150-151.
Weisse, Chr. Felix, 68.
Wezel, 110, 138, 144-150, 179-181.
Wieland, 10, 14, 31, 32, 42, 59, 61, 73, 90, 93-99, 103, 146,
156, 181.
Wilkes, 64.
Wittenberg, 53, 87.
v. Wolzogen, 153.
Young, 7, 10, 149-150.
Zelter, 98, 102.
Ziegler, Louise v. (Lila), 89.
Zimmermann, 31, 59.
Zückert, 12-18, 22, 31, 32, 37, 58-60, 99.
* * * * *
* * * *
Errors and Inconsistencies
German text is unchanged unless there was an unambiguous error, or the
text could be checked against other sources. Most quoted material is
contemporary with Sterne; spellings such as "bey" and "Theil" are
standard.
Missing letters or punctuation marks are genuinely absent, not merely
invisible. Ellipsis (. . .) is shown as printed, as is any adjoining
punctuation.
The variation between "title page" and "title-page" is unchanged.
Punctuation of "ff" is unchanged; at mid-sentence there is usually no
following period. Hyphenization of phrases such as "a twelve-year old"
is consistent.
Chapter I
the unstored mind [_unchanged_]
Chapter II
des vaterländischen Geschmack entwickeln
[_unchanged: error for "den"?_]
Vol. I, St. 2, pp. 245-251, 1772 [245-251.]
Bode, the successful and honored translator [sucessful]
sends it as such to "my uncle, Tobias Shandy."
[_open quote missing_]
Ich bin an seine Sentiments zum Theil schon so gewöhnt [go]
Footnote 48: . . . . in Auszug aus den Werken [Auzug]
Julie von Bondeli[52] [Von]
frequent references to other English celebrities [refrences]
"How many have understood it?" [understod]
Chapter III
He says of the first parts of the Sentimental Journey, [Journay]
the _Hamburgische Adress-Comptoir-Nachrichten_;[19]
[Nachrichten_;" with superfluous close quote]
Footnote 19: ... prominent Hamburg periodical.] [perodical]
eine Reise heissen, bey der [be]
It may well be that, as Böttiger hints,[24] [Bottiger]
Footnote 24: See foot note to page lxiii.] [_two words_]
Bode's translation in the Allgemeine [Allegemeine]
has been generally accepted [generaly]
Chapter IV
manages to turn it at once with the greatest delicacy [delicay]
the Journey which is here mentioned."[31] [mentionad]
Footnote 34: ... (LII, pp. 370-371) [_missing )_]
he is probably building on the incorrect statement [incorect]
Footnote 87: ... Berlin, 1810 [810].
"Die Schöne Obstverkäuferin" ["Die "Schöne]
Chapter V
Footnote 3 ... Anmerk. 24 [Anmerk,]
Animae quales non candidiores terra tulit." [_missing close quote_]
"like Grenough's tooth-tincture [_missing open quote_]
founding an order of "Empfindsamkeit." [_missing close quote_]
Footnote 24 ... "Der Teufel auf Reisen," [Riesen]
Footnote 27 ... _Allg. deutsche Bibl._ [Allg deutsche]
Sein Seelchen auf den Himmel [gen Himmel]
In an article in the _Horen_ (1795, V. Stück,) [V Stück]
Footnote 84 ... G. B. Mendelssohn [G. B Mendelssohn]
Chapter VI
re-introducing a sentimental relationship. [relationiship]
nach Erfindung der Buchdrukerkunst [_unchanged_]
"Ueber die roten und schwarzen Röcke," [_"Röke" without close quote]
the twelve irregularly printed lines [twleve]
conventional thread of introduction [inroduction]
an appropriate proof of incapacity [incaapcity]
[Footnote 23 ... Litteratur-geschichte [_hyphen in original_]
Footnote 35 ... p. 28. [_final . missing_]
[Footnote 38 ... a rather full analysis [nalysis]
multifarious and irrelevant topics [mutifarious]
Goethe replies (December 30), in approval, and exclaims [exlaims]
laughed heartily at some of the whims."[49] [_missing close quote_]
[Footnote 52 ... Hademann as author [auther]
für diesen schreibe ich dieses Kapitel nicht [fur]
[Footnote 69 ... _July_ 1, 1774 [_italics in original_]
Darauf denke ich, soll jedermanniglich vom 22. Absatze fahren
[_"vom. 22. Absatze" with extra space after "22." as if for
a new sentence_]
accompanied by typographical eccentricities [typograhical]
the relationships of trivial things [relationiships]
Herr v. ** and Herr v. *** [_asterisks unchanged_]
Chapter VII
expressed themselves quite unequivocally [themsleves]
the pleasure of latest posterity." [_final . missing_]
"regarded his taste as insulted because I sent him "Yorick's
Empfindsame Reise."[3]
[_mismatched quotation marks unchanged_]
Georg Christopher Lichtenberg.[7]
[Lichtenberg." with superfluous close quote]
Aus Lichtenbergs Nachlass: Aufsätze, Gedichte, Tagebuchblätter
[_"Gedichte Tagebuchblätter" without comma_]
Doch lass' ich, wenn mir's Kurzweil schafft [schaft]
a poem named "Empfindsamkeiten [Enpfindsamkeiten]
A poet cries [croes]
"Faramond's Familiengeschichte,"[46]
[_inconsistent apostrophe unchanged: compare footnote_]
sondern mich zu bedauern!' [_inner close quote conjectural_]
Ruhe deinem Staube [dienem]
the neighboring village is in flames [nieghboring]
Footnote 67 ... [_all German spelling in this footnote unchanged_]
"Die Tausend und eine Masche, oder Yoricks wahres Shicksall,
ein blaues Mährchen von Herrn Stanhope" [_all spelling unchanged]
[The Bibliography is shown in the Table of Contents as "Chapter VIII",
but was printed without a chapter header.]
Bibliography (England)
Life of Laurence Sterne, by Percy Fitzgerald [Lift]
b. The Sentimental Journey [Jonrney]
Bibliography (Germany)
The Koran, etc. Wien, 1798. [1798).]
Tristram Schandi's Leben und Meynungen ... III, pp. 210 [p. 210]
durch Frankreich und Italien, übersetzt von A. Lewald. [Italien.]