The author whom we have thus copiously quoted alludes to Jean Paul's having had the idea of "Titan" while writing "Hesperus." This reminds us of a Philistine disparagement of the "Titan," that so many of the characters of the other work reappear here under new names. There are some critics who ought to object to the full moon, that she is only the same old moon that we had, in her first quarter or half, several nights ago. However, as we have not yet had "Hesperus" in English, nor are likely to for some time, this kind of objection will not trouble English readers of "Titan." Jean Paul has been justly praised for his success in drawing and shading female characters. Our French critic says: "Richter has the rare merit of placing on the stage in the same work six female personages, who have not a shadow of resemblance to each other, and who, from the moment of their appearance on the scene to that of their quitting it, never deviate a single minute from the character the author has given them." The fate of his Titanide, Linda, created a loud remonstrance in Germany; and one can hardly, indeed, help feeling as if poetic justice had been a little caricatured, at least, in Richter's disposal of that half strong-headed and half headstrong woman. Painful, however, as her end is, the Translator could not listen an instant to the suggestion of omitting a line of the scenes in which that terrible tragedy is brought to a close. When the "Titan" first appeared, complaint was made by some that there was too much of drollery, by others that there was not enough; some found too much sentimentality, others too much philosophy; the Translator has found it full, if not of that brevity which is the soul of _wit_ (not, however, of humor), yet of that variety which is the spice of life. The Translator (or Transplanter, for he aspires to the title) of this huge production, in his solicitude to preserve the true German aroma of its native earth, may have brought away some part of the soil, and even stones, clinging to the roots (_stones of offence_ they may prove to many, stones of stumbling to many more). He can only say, that if he had made Jean Paul always talk in ordinary, conventional, straightforward, instantly intelligible prose, the reader would not have had _Jean Paul the Only_. And yet it is confidently claimed that, under all the exuberance of metaphor and simile, and learned technical illustrations and odd digressions, and gorgeous episodes and witching interludes, that characterizes Richter, every attentive and thoughtful reader will find a broad and solid ground of real good sense and good feeling, and that in this extraordinary man whom, at times, his best friends were almost tempted to call a crazy giant, will be found one whose _heart_ (to use the homely phrase) is ever _in the right place_.