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CHAPTER III
[Footnote 1: Prutz, Geschichte der Kreuzzuege. Berlin, 1883.]
[Footnote 2: Allatius, Symmicta. Coeln, 1653.]
[Footnote 3: Deutsche Pilgerreisen nach dem heiligen Lande, Roehricht und Meissner. Berlin, 1880.]
[Footnote 4: For excellent bibliographical evidence see Die geographische Kenntnis der Alpen im Mittelalter in supplement to Muenchner Allgem. Zeitung, January 1885.]
[Footnote 5: Comp. Oehlmann, Die Alpenpaesse im Mittelalter, Jahrbuch fuer Schweizer.]
[Footnote 6: Biese, op. cit.]
[Footnote 7: Fr. Diez, Leben und Werke der Troubadours. Zwickau, 1829]
[Footnote 8: Des Minnesangs Fruehling, von Lachmann-Haupt.]
[Footnote 9: Geschichte der Malerei. Woermann und Wottmann.]
[Footnote 10: 'Detailed study of Nature had begun; but the attempt to blend the separate elements into a background landscape in perspective betrayed the insecurity and constraint of dilettante work at every point.' Ludwig Kaemmerer on the period before Van Eyck in Die Landschaft in der deutschen Kunst bis zum Tode Albrecht Duerers. Leipzig, 1880]
CHAPTER IV
[Footnote 1: Die Kultur der Renaissance in Italien.]
[Footnote 2: Untersuchungen ueber die kampanische Wandmalerei. Leipzig, 1873.]
[Footnote 3: Comp. Schnaase, op. cit.]
[Footnote 4: Argon, ii. 219; iii. 260, 298. Comp. Cic. ad Att., iv. 18, 3.]
[Footnote 5: Renaissance und Humanismus in Italien und Deutschland. Berlin, 1882. (Oncken, Allgemeine Geschichte in Einzeldarstettungen, ii. 8.)]
[Footnote 6: Itinerar. syr., Burckhardt ii.]
[Footnote 7: Loci specie percussus, Burckhardt i.]
[Footnote 8: In his paper 'Kulturgeschichte und Naturwissenschaft' (Deutsche Rundschau, vol. xiii.), which is full both of original ideas and of exaggerated summary opinions, Du Bois Reymond fails to do justice to this, and altogether misjudges Petrarch's feeling for Nature. After giving this letter in proof of mediaeval feeling, he goes on to say: 'Full of shame and remorse, he descends the mountain without another word. The poor fellow had given himself up to innocent enjoyment for a moment, without thinking of the welfare of his soul, and instead of gloomy introspection, had looked into the enticing outer world. Western humanity was so morbid at that time, that the consciousness of having done this was enough to cause painful inner conflict to a man like Petrarch—a man of refined feeling, and scientific, though not a deep thinker.' Even granting this, which is too tragically put, the world was on the very eve of freeing itself from this position, and Petrarch serves as a witness to the change.]
[Footnote 9: Comp., too, De Genealogia Deorum, xv., in which he says of trees, meadows, brooks, flocks and herds, cottages, etc., that these things 'animum mulcent,' their effect is 'mentem in se colligere.']
[Footnote 10: Comp. Voigt, Enea Silvio de' Piccolomini als Papst Pius II. und sein Zeitalter.]
[Footnote 11: Comp. Geiger and Ad. Wolff, Die Klassiker aller Zeiten und Nationen.]
[Footnote 12: Quando mira la terra ornata e bella. Rime di V. Colonna.]
[Footnote 13: Ombrosa selva che il mio duolo ascolti.]
CHAPTER V
[Footnote 1: Ruge, Geschichte des Zeitalters der Entdeckungen. Berlin, 1881. (Allgem. Geschichte in Einzeldarstellungen, von Oncken.) Die neu Welt der Landschaften, etc. Strasburg, 1534.]
[Footnote 2: De rebus oceanicis et novo orbi Decades tres Petri Martyris at Angleria Mediolanensis, Coloniae, 1574.]
[Footnote 3: Il viaggio di Giovan Leone e Le Navagazioni, di Aloise da Mosto. di Pietro, di Cintra. di Anxone, di un Piloto Portuguese e di Vasco di Gama quali si leggono nella raccolta di Giovambattista Ramusio. Venezia, 1837.]
[Footnote 4: For example, this from Ramusio: 'And the coast is all low land, full of most beautiful and very tall trees, which are evergreen, as the leaves do not wither as do those in our country, but a new leaf appears before the other is cast off: the trees extend right down into the marshy tract of shore, and look as if flourishing on the sea. The coast is a most glorious sight, and in my opinion, though I have cruised about in many parts both in the East and in the West, I have never seen any coast which surpassed this in beauty. It is everywhere washed by many rivers, and small streams of little importance, as big ships will not be able to enter them.]
[Footnote 5: Ideler, Examen critique. Cosmos.]
[Footnote 6: Coleccion de los viajes y decubrimientos que hicieron por mar los espanoles desde fines del siglo XV. con varios documentos ineditos ... co-ordinata e illustrada por Don Martin Fernandez de Navarrete. Madrid, 1858.]
[Footnote 7: Geschichte des Zeitalters der Entdeckungen.]
[Footnote 8: As he lay sick and despairing off Belem, an unknown voice said to him compassionately: 'O fool! and slow to believe and serve thy God.... He gave thee the keys of those barriers of the ocean sea which were closed with such mighty chains, and thou wast obeyed through many lands, and hast gained an honourable fame throughout Christendom.' In a letter to the King and Queen of Spain in fourth voyage.]
[Footnote 9: Humboldt.]
[Footnote 10: Biese, op. cit.]
[Footnote 11: Zoeckler, Geschichte der Beziehungen zwischen Theologie und Naturwissenschaft.]
[Footnote 12: F. Hammerich, St Birgitta.]
[Footnote 13: Zoeckler, op. cit.]
[Footnote 14: Comp. Wilkens' Fray Luis de Leon. Halle, 1866.]
[Footnote 15: Comp. Wilkens' Fray Luis de Leon. Halle, 1866.]
[Footnote 16: Comp. Wilkens' Fray Luis de Leon. Halle, 1866.]
[Footnote 17: Comp. Wilkens' Fray Luis de Leon. Halle, 1866.]
[Footnote 18: Humboldt.]
[Footnote 19: Comp. Carriere, Die Poesie.]
[Footnote 20: Zoeckler, in Herzog's Real-Encykl., xxi., refers to 'Le Solitaire des Indes ou la Vie de Gregoire Lopez.' Goerres, Die christliche Mystik; S. Arnold, Leben der Glaeubigen; French, Life of St Teresa.]
CHAPTER VI
[Footnote 1: In Shakespeare Studien, chap. 4, Hense treats Shakespeare's attitude towards Nature very suggestively; but I have gone my own way.]
[Footnote 2: Hamlet, i. 3: 'The canker galls the infants of the spring too oft before their buttons be disclosed.' Comp. i. 1; Romeo and Juliet, i. 1; Henry VI., part 2, iii. 1; Tempest, i. 2.]
[Footnote 3: Comp. Henkel, Das Goethe'sche Gleichnis; Henry IV., 2nd pt., iv. 4; Richard II., i. i; Othello, iii. 3, and v. 2; Cymbeline, ii. 4; King John, ii. 2; Hamlet, iii. 1; Tempest, iv. 2.]
[Footnote 4: See Hense for bucolic idyllic traits.]
[Footnote 5: Poetische Personifikation in griechischen Dichtungen.]
CHAPTER VII
[Footnote 1: Comp. Woermann, Ueber den landschaftlichen Natursinn der Griechen und Roemer, Vorstudien zu einer Arckaeologie der Landschaftsmalerei. Muenchen, 1871.]
[Footnote 2: Comp. Schnaase, Geschichte der bildenden Kuenste im 15 Jahrhundert, edited by Luebke. Stuttgart, 1879.]
[Footnote 3: Falke, Geschichte des modernen Geschmacks. Leipzig, 1880]
[Footnote 4: Geschichte der deutschen Renaissance. Stuttgart, 1873.]
[Footnote 5: Comp. also Kaemmerer, op. cit.]
[Footnote 6: Lubke, op. cit.]
[Footnote 7: Lubke refers to A. von Zahn's searching work, Durer's Kunstlehre und sein Verhaeltnis zur Renaissance. Leipzig, 1866.]
[Footnote 8: Proportion III., B.T. iii. b. Nuremberg, 1528.]
[Footnote 9: Op. cit.]
[Footnote 10: In what follows, I have borrowed largely from Rosenberg's interesting writings (Greuzboten, Nos. 43 and 44, 1884-85), and still more from Schnaase, Falke, and Carriere, as I myself only know the masters represented at Berlin and Munich.]
[Footnote 11: Kaemmerer, op. cit.]
[Footnote 12: Kaemmerer, op. cit.]
CHAPTER VIII
[Footnote 1: Renaissance und Humanismus in Italien und Deutschland.]
[Footnote 2: Renaissance und Humanismus in Italien und Deutschland.]
[Footnote 3: Zoeckler.]
[Footnote 4: Comp. Hase, Sebastian Frank von Woerd der Schwarmgeist.]
[Footnote 5: Comp. Hubert, Kleine Schriften.]
[Footnote 6: Zoeckler, etc.]
[Footnote 7: Comp. Uhland, Schriften zur Geschichte der Dichtung und Sage. Alte hoch und nieder deutsche Volkslieder, where plants, ivy, holly, box, and willow, represent summer and winter.]
[Footnote 8: Uhland.]
[Footnote 9: Uhland.]
[Footnote 10: Wunderhorn.]
[Footnote 11: Biese, op. cit.]
[Footnote 12: Fred Cohn, 'Die Gaerten in alter und neuer Zeit,' D. Rundschau 18, 1879. In Italy in the sixteenth century there was a change to this extent, that greenery was no longer clipt, but allowed to grow naturally, and the garden represented the transition from palace to landscape, from bare architectural forms to the free creations of Nature. The passion for flowers—the art of the pleasure garden, flourished in Holland and Germany. (Falke.)]
[Footnote 13: W.H. Riehl states (Kulturstudien aus drei Jahrhunderten) that Berlin, Augsburg, Leipzig, Darmstadt, and Mannheim were described in the seventeenth century as having 'very fine and delightful positions'; and the finest parts of the Black Forest, Harz and Thuringian mountains as 'very desolate,' deserted, and monotonous, or, at best, as not particularly pleasant scenery. If only a region were flat and treeless, a delicious landscape could be charmed out of it. Welcker, Court physician at Hesse Cassel, describing Schlangenbad in 1721, said that it lay in a desolate, unpleasing district, where nothing grew but foliage and grass, but that through ingenious planting of clipt trees in lines and cross lines, some sort of artistic effect had been produced. Clearly the principles of French garden-craft had become a widely accepted dogma of taste. Riehl contrasts the periwig period with the mediaeval, and concludes that the mediaeval backgrounds of pictures implied feeling for the wild and romantic. He says: 'In the Middle Ages the painters chose romantic jagged forms of mountains and rocks for backgrounds, hence the wild, bare, and arid counted as a prototype of beautiful scenery, while some centuries later such forms were held to be too rustic and irregular for beauty.' One cannot entirely agree with this. He weakens it himself in what follows. 'It was not a real scene which rose Alp-like before their mind's eye, but an imaginary and sacred one; their fantastic, romantic ideal called for rough and rugged environment': and adds, arguing in a circle, 'Their minds passed then to real portraiture of Nature, and decided the landscape eye of the period.' My own opinion is that the loftiness of the 'heroic' mountain backgrounds seemed suitable for the sacred subjects which loomed so large and sublime in their own minds, and that these backgrounds did not reveal their ideal of landscape beauty, nor 'a romantic feeling for Nature,' nor 'a taste for the romantic,' nor yet a wondrous change of view in the periwig period.]
[Footnote 14: In his Harburg Program of 1883 (Beitraege zur Geschichte des Naturgefuehls), after an incomplete survey of ancient and modern writings on the subject, Winter sketches the development of modern feeling for Nature in Germany from Opitz to 1770, as shewn in the literature of that period, basing his information chiefly upon Goedeke's Deutsche Dichtung.]
[Footnote 15: Comp. Chovelius Die bedeutendsten deutschen Romanz des 17 Jahrhunderts. Leipzig, 1866.]
[Footnote 16: Chovelius.]
[Footnote 17: Daniel Lohenstein's Blumen. Breslau, 1689.]
CHAPTER IX
[Footnote 1: Freiherr von Ditfurth, Deutsche Volks und Gesellschaftslieder des 17 und 18 Jahrhunderts, 1872.]
[Footnote 2: Goedeke-Tittmannschen Sammlung, xiii., Trutz-Nachtigall.]
[Footnote 3: Geschichte der deutschen Litteratur.]
[Footnote 4: Tittmann's Deutsche Dichter des 17 Jahrhunderts, vol. vi.]
[Footnote 5: Comp., too, iv. 5: 'Die ihr alles hoert und saget, Luft and Forst und Meer durchjaget; Echo, Sonne, Mond, und Wind, Sagt mir doch, wo steckt mein Kind?'
21. 'Den sanften West bewegt mein Klagen, Es rauscht der Bach den Seufzern nach Aus Mitleid meiner Plagen; Die Voegel schweigen, Um nur zu zeigen Dass diese schoene Tyrannei Auch Tieren ueberlegen sei.' Abendlied contains beautiful personifications: 'Der Feierabend ist gemacht, Die Arbeit schlaeft, der Traum erwacht, Die Sonne fuehrt die Pferde trinken; Der Erdkreis wandert zu der Ruh, Die Nacht drueckt ihm die Augen zu, Die schon dem suessen Schlafe winken.']
[Footnote 6: Hettner, Litteraturgeschichte des 18 Jahrhunderts.]
[Footnote 7: Lappenberg in Zeitschrift fuer Hamburgische Geschichte, ii. Hettner, op. cit.]
[Footnote 8: 'Ye fields and woods, my refuge from the toilsome world of business, receive me in your quiet sanctuaries and favour my Retreat and thoughtful Solitude. Ye verdant plains, how gladly I salute ye! Hail all ye blissful Mansions! Known Seats! Delightful Prospects! Majestick Beautys of this earth, and all ye rural Powers and Graces! Bless'd be ye chaste Abodes of happiest Mortals who here in peaceful Innocence enjoy a Life unenvy'd, the Divine, whilst with its bless'd Tranquility it affords a happy Leisure and Retreat for Man, who, made for contemplation and to search his own and other natures, may here best meditate the cause of Things, and, plac'd amidst the various scenes of Nature, may nearer view her Works. O glorious Nature! supremely fair and sovereignly good! All-loving and All-lovely All-Divine! Whose looks are so becoming, and of such infinite grace, whose study brings such Wisdom, and whose contemplation such Delight.... Since by thee (O Sovereign mind!) I have been form'd such as I am, intelligent and rational; since the peculiar Dignity of my Nature is to know and contemplate Thee; permit that with due freedom I exert those Facultys with which thou hast adorn'd me. Bear with my ventrous and bold approach. And since not vain Curiosity, nor fond Conceit, nor Love of aught save Thee alone, inspires me with such thoughts as these, be thou my Assistant, and guide me in this Pursuit; whilst I venture thus to tread the Labyrinth of wide Nature, and endeavour to trace thee in thy Works.']
[Footnote 9: Comp. Jacob von Falke, 'Der englische Garten' (Nord und Sued, Nov. 1884), and his Geschichte des modernen Geschmacks.]
[Footnote 10: Dessins des edifices, meubles, habits, machines, et utensils des Chinois, 1757.]
CHAPTER X
[Footnote 1: 'Die Alpen im Lichte verschiedener Zeitalter,' Sammlung wissenschaftlicher Vortraege, Virchow und Holtzendorff. Berlin, 1877.]
[Footnote 2:
Geschaefte Zwang und Grillen Entweihn nicht diese Trift; Ich finde hier im Stillen Des Unmuts Gegengift. Es webet, wallt, und spielet, Das Laub um jeden Strauch, Und jede Staude fuehlet Des lauen Zephyrs Hauch. Was mir vor Augen schwebet Gefaellt und huepft und singt, Und alles, alles lebet, Und alles scheint verjuengt. Ihr Thaeler und ihr Hoehen Die Lust und Sommer schmueckt! Euch ungestoert zu sehen, Ist, was mein Herz erquickt. Die Reizung freier Felder Beschaemt der Gaerten Pracht, Und in die offnen Waelder Wird ohne Zwang gelacht.... In jaehrlich neuen Schaetzen zeigt sich des Landmanns Glueck, Und Freiheit und Ergoetzen Erheitern seinen Blick.... Ihm prangt die fette Weide Und die betante Flur; Ihm gruenet Lust und Freude Ihm malet die Natur.']
[Footnote 3: Litteratur geschichte.]
[Footnote 4: Saemtliche poetische Werke, J.P. Uz. Leipzig, 1786.]
[Footnote 5: Saemtliche Werke. Berlin, 1803.]
[Footnote 6: Saemtliche Werke, J.G. Jacobi, vol. viii. Zurich, 1882.]
[Footnote 7: He said of his garden at Freiburg, which was laid out in terraces on a slope, that all that Flora and Pomona could offer was gathered there. It had a special Poet's Corner on a hillock under a poplar, where a moss-covered seat was laid for him upon some limestone rock-work; white and yellow jasmine grew round, and laurels and myrtles hung down over his head. Here he would rest when he walked in the sun; on his left was a mossy Ara, a little artificial stone altar on which he laid his book, and from here he could gaze across the visible bit of the distant Rhine to the Vosges, and give himself up undisturbed to his thoughts.]
[Footnote 8: Gessners Schriften. Zurich, 1770.]
[Footnote 9: Spalding, Die Bestimmung des Menschen. Leipzig, 1768.]
[Footnote 10: Klopstock's Briefe. Brunswick, 1867.]
[Footnote 11: Comp. Odes, 'Die Kunst Tialfs' and 'Winterfreuden.']
[Footnote 12: Briefe.]
[Footnote 13: Julian Schmidt.]
[Footnote 14: Comp. his letters from Switzerland, which contain nothing particular about the scenery, although he crossed the Lake of Zurich, and 'a wicked mountain' to the Lake of Zug and Lucerne.]
[Footnote 15: Claudius, who, at a time when the lyric both of poetry and music was lost in Germany in conventional tea and coffee songs, was the first to rediscover the direct expression of feeling—that is, Nature feeling. (Storm's Hausbuch.)]
CHAPTER XI
[Footnote 1: I have obtained much information and suggestion from 'Ueber die geographische Kenntnis der Alpen im Mittelalter,' and 'Ueber die Alpine Reiselitteratur in fruherer Zeit,' in Allgem. Zeitung. Jan. 11, 1885, and Sept. 1885, respectively.]
[Footnote 2: Evagatorium 3, Bibliothek d. litterar. Vereins. Stuttgart, 1849.]
[Footnote 3: Bibliothek des litterar. Vereins. Stuttgart, 1886.]
[Footnote 4: Descriptio Larii lacus. Milan, 1558.]
[Footnote 5: Itinerarium Basil. 1624.]
[Footnote 6: Osenbrueggen, Wanderungen in der Schweiz, 1867; Entwickelungsgeschichte des Schweizreisens; Friedlaender, Ueber die Entstehung und Entwickelung.]
[Footnote 7: Comp. Erich Schmidt, Richardson, Rousseau, and Goethe. Jena, 1875.]
[Footnote 8: Remarks on several parts of Italy. London, 1761.]
[Footnote 9: Letters of Lady M. Wortley Montagu, Sept. 25, 1718.]
[Footnote 10: Friedlaender, op. cit.]
[Footnote 11: Schmidt. Moser's description of a sensitive soul in Patriotischen Phantasien is most amusing.]
[Footnote 12: Laprade adduces little of importance in his book Le Sentiment de la Nature (2nd edition), the first volume of which I have dealt with elsewhere. I have little in common with Laprade, although he is the only writer who has treated the subject comprehensively and historically. His standpoint is that of Catholic theology; he never separates feeling for Nature from religion, and is severe upon unbelievers. The book is well written, and in parts clever, but only touches the surface and misses much. His position is thus laid down: 'Le vrai sentiment de la Nature, le seul poetique, le seul fecond et puissant, le seul innocent de tout danger, est celui qui ne separe jamais l'idee des choses visibles de la pensee de Dieu.' He accounts for the lack of any important expressions of feeling for Nature in French classics with: 'Le genie de la France est le genie de l'action.' and 'L'ame humaine est le but de la poesie.' He recognizes that even with Fenelon 'la Nature reste a ses yeux comme une simple decoration du drame que l'homme y joue, le poete en lui ne la regarde jamais a travers les yeux du mystique.' Of the treatment of Nature in La Fontaine's Fables, he says: 'Ce n'est pas peindre la Nature, c'est l'abolir'; and draws this conclusion: 'Le sentiment de l'infini est absent de la poesie du dix-septieme siecle aussi bien que le sentiment de la Nature'; and again: 'L'esprit general du dix-huitieme siecle est la negation meme de la poesie ... l'amour de la Nature n'etait guerre autre chose qu'une haine deguisee et une declaration de guerre a la societe et a la religion. Il n'y a pai trace du sentiment legitime et profond qui attire l'artiste et le poete vers les splendeurs de la creation, revelatrices du monde invisible. Ne demandez pas an dix-huiteme siecle la poesie de la Nature, pas plus que celle du coeur.' Buffon shews 'l'etat poetique des sciences de la Nature,' but his brilliant prose painting lacks 'la presence de Dieu, la revelation de l'infini les harmonies de l'ame et de la Nature n'existent pas pour Buffon.... plus de la rhetorique que de vrai sentiment de la Nature.']
[Footnote 13: Comp. the garden of Elysium in La Nouvelle Heloise: Where the gardener's hand is nowhere to be discerned, nothing contradicts the idea of a desert island, and I cannot perceive any footsteps of men ... you see nothing here in an exact row, nothing level, Nature plants nothing by the ruler.']
[Footnote 14: OEuvres de Jacques Bernardin Henri de Saint Pierre.]
[Footnote 15: 'B. de S. Pierre a plus que Rousseau les facultes propres du paysagiste, l'amour meme du pittoresque, la vive curiosite des sites, des animaux, et des plants, la couleur et une certaine magie speciale du pinceau,' Laprade adds the reproof: 'Sa pensee religieuse est au-dessous de son talent d'artiste et en abaisse le niveau.']
[Footnote 16: Voyage round the World, 1772-1775.]
[Footnote 17: Paul Lemnius, 1597, Landes Rugiae; Kosegarten, 1777-1779; Rellstab, 1799, Ausflucht noch der Insel Ruegen; Navest, 1800, Wanderungen durch die Insel Ruegen; Gruembke, 1805; Indigena, Streifzuege durch das Ruegenland. J.P. Hackert in 1762, and K. D. Friedrichs in 1792, painted the scenery. Comp. E. Boll, Die Inset Ruegen, 1858.]
CHAPTER XII
[Footnote 1: Comp. Gottschall, Poetik. Breslau, 1853.]
[Footnote 2: Ueber Ossian und die Lieder alter Voelker, Saemtliche Werke, Teil 7.]
[Footnote 3: Op. cit., Teil 15.]
[Footnote 4: Zur Philosophie und Gesehichte, 2 Teil.]
[Footnote 5: J.G. Sulzer's Unterredungen ueber die Schoenheit der Naetur nebst desselben moralischen Betrachtungen ueber besondere Gegenstaende der Naturlehre is typical. Charites describes his conversion to the love of Nature by his friend Eukrates. Eukrates woke him at dawn and led him to a hill close by, as the sun rose. The fresh air, the birds' songs, and the wide landscape move him, and Eukrates points out that the love of Nature is the 'most natural of pleasures,' making the labourer so happy that he forgets servitude and misery, and sings at his work. 'This pleasure is always new to us, and the heart, provided it be not possessed by vanity or stormy passions, lies always open to it. Do you not know that they who are in trouble, and, above all, they who are in love, find their chief relief here? Is not a sick man better cheered by sunshine than by any other refreshment?' Then he points out Nature's harmonies and changes of colour, and warns Charites to avoid the storms of the passions. 'Yonder brook is a picture of our soul; so long as it runs quietly between its banks, the water is clear and grass and flowers border it; but when it swells and flows tumultuously, all this ornament is torn away, and it becomes turbid. To delight in Nature the mind must be free.... She is a sanctity only approached by pure souls.... As only the quiet stream shews the sky and the objects around, so it is only on quiet souls that Nature's pictures are painted; ruffled water reflects nothing.' He waxes eloquent about birds' songs, flowers, and brooks, and wanders by the hour in the woods, 'all his senses open to Nature's impressions,' which are 'rays from that source of all beauty, the sight of which will one day bless the soul.' His friend is soon convinced that Nature cannot be overpraised, and that her art is endlessly great.]
[Footnote 6: Vorn Gefuehl des Schoenen und Physiologie ueberhaupt. Winter.]
[Footnote 7: Comp. Das Fluchtigste. 'Tadle nicht der Nachtigallen, Bald verhallend suesses Lied,' oder 'Nichts verliert sich,' etc.]
[Footnote 8: Herder's Nachlass, Duentzer und F.G. von Herder, 1857.]
[Footnote 9: Bernay's Der junge Goethe.]
[Footnote 10: Die Sproedde, Die Bekehrte, Maerz, Lust und Qual, Luna, Gegenwart.]
[Footnote 11: Laprade is all admiration for the 'incomparable artiste et poete inspire du sentiment de la Nature, c'est qu'il excelle a peindre le monde exterieur et le coeur humain l'un par l'autre, qu'il mele les images de l'univers visible a l'expression des sentiments intimes, de maniere a n'en former qu'un seul tissu.... Tous les elements d'un objet d'une situation apparaissent a la fois, et dans leur harmonie, essentielle a cet incomparable esprit.' He is astonished at the symbolism in Werthtr: 'Chaque lettre repond a la saison ou elle est ecrite.... l'idee et l'image s'identifient dans un fait supreme, dans un cri; il se fait entre l'emotion intime et l'impression du dehors une sorte de fusion.' And despite Goethe's Greek paganism and pantheism, he declares: 'Le nom de Goethe marque une de ces grandes dates, une de ces grandes revolutions de la poesie—la plus grande, nous le croyons, depuis Homer.' ... 'Goethe est la plus haut expression poetique des tendances de notre siecle vers le monde exterieur et la philosophie de la Nature.']
[Footnote 12: Comp. Tagebucher und Briefe Goethe's aus Italien an Frau von Stein und Herder. E. Schmidt, Weimar, 1886.]
[Footnote 13: Julian Schmidt.]
[Footnote 14: The Lady of the Lake breathes a delightful freshness, the very spirit of mountain and wood, free alike from the moral preaching of Wordsworth, and from the storms of passion.]
[Footnote 15: Laprade.]
[Footnote 16: 'Sa formule religieuse, c'est une question; sa pensee, c'est le doute ... l'artiste divinise chaque detail. Son pantheisme ne s'applique pas seulement a l'ensemble des choses; Dieu tout entier est reellement present poor lui dans chaque fragment de matiere dans le plus immonde animal ... c'est une religion aussi vieille que l'humanite decline; cela s'appelle purement et simplement le fetichisme.' (Laprade.)]
[Footnote 17: Vorschule der AEsthetik. Compare 'With every genius a new Nature is created for us in the further unveiling of the old.' 2 Aufi. Berlin Reimer, 1827.]
[Footnote 18: 'Like a lily softly swaying in the hushed air, so my being moves in its elements, in the charming dream of her.' 'Our souls rush forward in colossal plans, like exulting streams rushing perpetually through mountain and forest.' 'If the old mute rock of Fate did not stand opposing them, the waves of the heart would never foam so beautifully and become mind.' 'There is a night in the soul which no gleam of starlight, not even dry wood, illuminates,' etc.]
[Footnote 19: Comp. Tieck's Biographie von Koepke. Brandes.]
[Footnote 20: Franz Sternbald, I. Berlin, 1798.]
[Footnote 21: Haym, Die romantische Schule. Berlin, 1870.]
[Footnote 22: Phantasus, i. Berlin, 1812.]
[Footnote 23: 'A young hunter was sitting in the heart of the mountains in a thoughtful mood beside his fowling-piece, while the noise of the water and the woods was sounding through the solitude ... it grew darker ... the birds of night began to shoot with fitful wing along their mazy courses ... unthinkingly he pulled a straggling root from the earth, and on the instant heard with affright a stifled moan underground, which winded downwards in doleful tones, and died plaintively away in the deep distance. The sound went through his inmost heart; it seized him as if he had unwittingly touched the wound, of which the dying frame of Nature was expiring in its agony.' (Runenberg.)]
[Footnote 24: Hymnen an die Nacht.]
[Footnote 25: In Die Lehrlinge von Sais.]
[Footnote 26: Athenaeum, iii., 1800.]
INDEX
Addison AEschylus Agrippa v. Nettesheim Alamanni Alberti, Leon Alcantara Alcuin Alexander Ambrose Angilbert Anno v. Coeln Apollonios Rhodios Apollonius Sidonius Apuleius Aquinus, Thomas Aribert v. Mailand Aribo Ariosto Aristophanes Aristotle Augustine Augustus Ausonius Aventinus Avitus
Baccioli, Lucca Bakhuysen Basil Beauvais, V. v. Beda v. Bern Bernhard v. Clairvaux Bernhard v. Hildesheim Bernhard v. Ventadour Bertran de Born Birgitta Blair de Bles Boccaccio Boecklin Boehme Boetius Boie Bojardo Bonaventura Boucher Bouts Braunschweig-Wolfenbuettel, A. v. Brockes Brueghel, Peter and Jan Bruno Buffon Buerger Burkhard v. Monte Sion Byron,
Calderon Calpernius Camoens Campanella Carew Cassiodorus Catullus Celtes Chambers Charlemagne Chateaubriand Chaucer Chlodwig Chlotaire Chrysostom Cicero Claudius Clement of Rome v. Clugny, Abbe M. Colonna, Vittoria Columbus Columella Corneille Cornelia Correggio Cowley Cramer Cronegk Crugot Cuyp Cyprian
Dante Darius Defoe Dionisius da B.S. Sepolchro Domidius Dracontius Drayton Drummond du Bois-Reymond Duerer
v. Eichendorff Eist, Deitmar v. Ekkehart Ennodius Epiphanius, M.H. Euripides Everdingen, A. v. v. Eyck
Fabri Fenelon Fischart Fleming Forster Fortunatus, Francis of Assisi Frank, Sebastian Fredegar Frederic the Great Friedlander Fuerttenbach
Gatterer Gellert Gerhard, Paul Gervinus Gessner, Conrad Gessner, Salomon Giorgione Gleim Goethe Gogen Gottfried v. Strassburg Gozzoli Grasser Gregory Nazianzen Gregory of Nyssa Gregory of Tours Gruembke Gryphius Guarini, G. Guenther, Christian Guenther d. Liguriner Guotenberg, U. v. Gussfeldt
Hadrian Haeckel Hagedorn Haller Harsdoerfer Hartmann Hebel Hegel Heine Herder Hermes Hilary Hillern, W. v. Hobbema Hoffmannswaldau Hoelderlin Hoelty Homer Horace Hugo v. St. Victor Hugo, Victor Hulsen Humboldt
Ibykos Isodore
Jacob v. Bern Jacobi, Joh. G. Jerome Jovius
Kalidasa Kallimachos Kant Kent Keyssler Kiechel Klaj Kleist, E. v. Klipphausen Klopstock Koenig, Eva Kuerenberg
Lamartine Lamprecht Leman Lenotre Leon, Luis de Leonardo da Vinci Lessing Livy Logau Lohenstein Longos Lopez Lorraine, Claude Louis XIV. Louis XV. Lucretius Ludwig zu Nassau Luis de Leon Lueneberg Luther
Maghas Mantegna Mareuil, A. v. Maria Theresa v. Martius Medici, Lorenzo de Meer, Aart v. d. Meleager Memling Menander Michael Angelo Milton Minucius Felix Molanus Montagu Montemayor Montreux Moore Morungen, H. v.
Moscherosch Moeser Mosto, A. da Murdach
Navarrete, F. de Nemesianus Nettesheim, C.A. v. Nicolas Nonnos Novalis
Opitz Osorio Ossian Ouwater Ovid
Paracelsus Patenir Paul, Jean, Paul, St Paulinus of Nola Perdiccas Peter Martyr Petrarch Pfintzing Phidias Philip of Macedon Phokas Pico della Mirandola Pierre, B. de St Pindar Pisanello Pius II. (Enea Silvio), Plato Pliny Polo, Marco Pope Potter, Paul Poussin Propertius Prudentius Ptolemaios
Racine Radegunde Raphael Regensburg Reinmar Reissner Richardson Rickel, D. v. Roche, Sophie la Ronsard Rousseau, Rubens Rucellai Rueckert Rugge Ruysbroek Ruysdael
Sabiende, R. v. Sachs, Hans Sannazaro Sappho Saussure v. Schachten Schaller Scherr Scheuchzer Schickhart Schiller Scipio Africanus Scott Seneca Shaftesbury Shakespeare, Shelley, Sidney Simonides Socrates Sophocles Southey Southwell Spalding Spee Spenser Spielhagen Spinoza Spix Stolberg Storm, Th. Sulzer Summenhart Suso
Tasso Tauler Teresa v. Avila Theocritus Theodoric Theodulf Thomson Tiberius Tibullus Tieck Titian Toscanelli, Paolo
Uhland d'Urfe Uz, Joh. P.
Vasco da Gama Velde, Adrian v. d. Veldegge, H. v. Vespucci Virgil Vischer Vives, Luis Volkmar Voltaire Voss
Wahlafried Walther v. d. Vogelweide Wandelbert Watteau Weyden, Roger v. d. William of Tours Winckelmann Wolfram v. Eschenbach Wordsworth Wyatt Wynant
Young
Zesen, P. v. Ziegler, A. v. Zimmermann Zweibruecken, A. v.
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