The German Classics of the Nineteenth and Twentieth Centuries: Masterpieces of German Literature Vol. 19
General
The German Classics of the Nineteenth and Twentieth Centuries: Masterpieces of German Literature Vol. 19
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
It is a depressing sight when an artist in life, even on a small scale,
who has grown old in elegant trifles and ostentation and self-seeking,
instead of coming to a sudden end in a fight or as he goes home at
night from the tavern, must live on to grow melancholy and end as a
dabbler in the sentimental reflections which have always been foreign
to him. But since life is incontestably a powerful composer, and thus
cannot be accused of senseless caprices, there is nothing for it but to
listen to the strains it produces, to admire, and to think the best of
it. And after all there is a certain tragic beauty in the thing when
such a spirit, that has been spoiled and left raw and then beaten down,
rebels at the very end and clamors for its rights, when it flutters its
awkward wings and, since nothing else is left, insists on having its
fill of bitterness and complaint.
There was much now that came to rub and gnaw at this rude, ill-trained
soul; and it became evident that its earlier stubbornness and
self-control had rested upon insecure foundations. The manager was the
first to realize his condition. To the pastor, on one of his visits, he
said with a shrug of his shoulders: "One can't really help being sorry
for Hürlin. Since he's been looking so down in the mouth, I don't make
him work; but it's no use--that's not what's troubling him. He thinks
and studies too much. If I didn't know his sort too well, I should say
it was just his bad conscience, and serve him right. But that's not all
of it. There's something gnawing at him from inside--and at his age a
fellow can't stand that long. We shall see." After this the minister
sat now and then with Hürlin in his room, near Holdria's green
bird-cage, and talked to him of life and death, and tried to bring some
light into his darkness--but in vain. Hürlin listened or not as his
mood was, nodded or hummed, but spoke no word and grew constantly
stranger. Once in a while one of Finkenbein's jokes would appeal to
him, and he would give a dry laugh or beat on the table and nod
approvingly; but immediately afterward he would sink into himself again
to listen to the confused voices that claimed his attention and
tormented him without his being able to understand them.
Public-domain text, read in full here on John Shaqi.
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