The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
General
The German Classics of the Nineteenth and Twentieth Centuries, Volume 04: Masterpieces of German Literature Translated into English. in Twenty Volumes
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
Now the soul understands the wail of the nightingale and the smile of
the new-born babe; the significance of the flowers and the mysterious
hieroglyphics of the starry sky; the holy import of life as well as
the beautiful language of Nature. All things speak to it, and
everywhere it sees the lovely spirit through the delicate envelope.
On this gaily decorated floor it glides through the light dance of
life, innocent, and concerned only to follow the rhythm of sociability
and friendship, and not to disturb the harmony of love. And during it
all an eternal song, of which it catches now and then a few words
which adumbrate still higher wonders.
Ever more beautifully this magic circle encompasses the charmed soul,
and that which it forms or speaks sounds like a wonderful romance of
childhood's beautiful and mysterious divinities--a romantic tale,
accompanied by the bewitching music of the feelings, and adorned with
the fairest flowers of lovely life.
APHORISMS
By FRIEDRICH SCHLEGEL
From the _Lyceum and the Athenæum_ (1797-1800)
TRANSLATED BY LOUIS H. GRAY
Perfect understanding of a classic work should never be possible; but
those who are cultivated and who are still striving after further
culture, must always desire to learn more from it.
If an author is to be able to write well upon a theme, he must no
longer feel interest in it; the thought which is to be soberly
expressed must already be entirely past and must no longer personally
concern the writer. So long as the artist invents and is inspired, he
is in an unfavorable situation, at least for communicating his
concepts. He will then wish to say everything--a false tendency of
young geniuses, or an instinctively correct prejudice of old bunglers.
In this way he mistakes the value and the dignity of self-restraint,
although for the artist, as for the man, this is the first and the
last, the most needful and the highest.
We should never appeal to the spirit of antiquity as an authority.
There is this peculiarity about spirits: they cannot be grasped with
the hands and be held up before others. Spirits reveal themselves only
to spirits. Here, too, the briefest and most concise course would
doubtless be to prove, through good works, our possession of the faith
which alone gives salvation.
He who desires something infinite knows not what he desires; but the
converse of this proposition is not true.
In the ordinary kind of fair or even good translation it is precisely
the best part of a work that is lost.
It is impossible to offend a man if he will not be offended.
Every honest author writes for no one or for all men; he who writes
that this one or that one may read him, deserves not to be read at
all.
In the poetry of the Ancients we see the perfection of the letter: in
that of the moderns we divine the growth of the spirit.
The Germans are said to be the foremost nation of the world as regards
artistic sense and scientific genius. Very true, only--there are very
few Germans.
Public-domain text, read in full here on John Shaqi.
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