The German Classics, v. 20: Masterpieces of German Literature Translated into English
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The German Classics, v. 20: Masterpieces of German Literature Translated into English
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
CLEMENT. I sat down near them--not with them. And you know it was for
your sake, exclusively for your sake, that I did it. I won't deny that
some of them improved on closer acquaintance; there were some really
interesting people among them. And you mustn't get the idea, darling,
that when I'm among ill-dressed people I have a feeling of conscious
superiority. It's not that--but there's something in their whole
bearing, in their very nature, that makes one nervous.
MARGARET. Oh, I think that's rather a sweeping statement.
CLEMENT. Now don't get offended with me, darling. I've just said there
were some very interesting people among them. But how a _lady_ can feel
at home with them for any length of time, I shall never be able to
understand.
MARGARET. You forget one thing, my dear Clement--that in a certain
sense I belong to their circle, or did belong to it.
CLEMENT. You--I beg your pardon!
MARGARET. They were artists.
CLEMENT. Ah good--we're back on that subject again!
MARGARET. Yes--and that's the thing that always hurts me, that you
can't feel with me there.
CLEMENT. "Can't feel with you" ... I like that! I can feel with you all
right--but you know what it was I always disliked about your
scribbling, and you know that it's a very personal thing.
MARGARET. Well, there are women who in my situation at that time would
have done worse things than write poetry.
CLEMENT. But such poetry! (He picks up a little book on the
mantelpiece.) That's the whole question. I can assure you, every time I
see it lying there, everytime I even think of it, I'm ashamed to think
it's yours.
MARGARET. You simply don't understand it. No, you mustn't be vexed with
me; if you had just that one thing more, you'd be perfect--and that
probably is not to be. But what is it that disturbs you in the verses?
You surely know that I haven't experienced anything like that.
CLEMENT. I hope not!
MARGARET. You know it's all imagination.
CLEMENT. But then I can't help asking myself ... how comes a lady to
have such an imagination? (Reads.)
"So, drunk with bliss, I hang upon thy neck
And suck thy lips' drained sweetness ..."
(Shakes his head.) How can a lady write such stuff, or allow it to be
printed? Everybody who reads it must call up a picture of the authoress
and the neck and ... the intoxication.
MARGARET. When I give you my word that such a neck has never existed
...
CLEMENT. No, I can't believe that it has. Lucky for me that I
can't--and ... for you too, Margaret. But how did you ever come by such
fancies? All these glowing emotions can't possibly be referred to your
first husband--you told me yourself he never understood you.
MARGARET. Of course he didn't--that's why I got a divorce from him. You
know all about that. I simply couldn't exist by the side of a man who
had no ideas beyond eating and drinking and cotton.
CLEMENT. Yes, I know. But all that's three years ago--and you wrote the
verses later.
Public-domain text, read in full here on John Shaqi.
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