ТОП просматриваемых книг сайта:
The Autobiography of Goethe. Иоганн Вольфганг фон Гёте
Читать онлайн.Название The Autobiography of Goethe
Год выпуска 0
isbn 4057664648877
Автор произведения Иоганн Вольфганг фон Гёте
Жанр Языкознание
Издательство Bookwire
In this way his activity, which he had been used chiefly to employ upon us, was crippled. The lessons he gave us were no longer required with the former exactness, and we tried to gratify our curiosity for military and other public proceedings as much as possible, not only at home, but also in the streets, which was the more easily done, as the front door, open day and night, was guarded by sentries who paid no attention to the running to and fro of restless children.
The many affairs which were settled before the tribunal of the Royal Lieutenant had quite a peculiar charm, from his making it a point to accompany his decisions with some witty, ingenious, or lively turn. What he decreed was strictly just, his manner of expressing it whimsical and piquant. He seemed to have taken the Duke of Ossuna as his model. Scarcely a day passed in which the interpreter did not tell some anecdote or other of this kind to amuse us and my mother. This lively man had made a little collection of such Selomonian decisions; but I only remember the general impression, and cannot recall to my mind any particular case.
By degrees we became better acquainted with the strange character of the Count. This man clearly understood his own peculiarities, and as there were times in which he was seized with a sort of dejection, hypochondria, or by whatever name we may call the evil demon, he withdrew into his room at such hours, which were often lengthened into days, saw no one but his valet, and in urgent cases could not even be prevailed upon to receive any one. But as soon as the Evil Spirit had left him, he appeared as before, active, mild, and cheerful. It might be inferred from the talk of his valet, Saint Jean, a small, thin man of lively good-nature, that in his earlier years he had caused a great misfortune when overcome by this temper; and that therefore, in so important a position as his, exposed to the eyes of all the world, he had earnestly resolved to avoid similar aberrations.
The Frankfort Painters.
During the very first days of the Count's residence with us, all the Frankfort artists, as Hirt, Schütz, Trautmann, Nothnagel, and Junker, were called to him. They showed their finished pictures, and the Count bought what were for sale. My pretty, light room in the gable-end of the attic was given up to him, and immediately turned into a cabinet and studio, for he designed to keep all the artists at work for a long time, especially Seekatz of Darmstadt, whose pencil, particularly in simple and natural representations, highly pleased him. He therefore caused to be sent from Grasse, where his elder brother possessed a handsome house, the dimensions of all the rooms and cabinets; then considered with the artists, the divisions of the walls, and fixed accordingly upon the size of the large oil-pictures, which were not to be set in frames, but to be fastened upon the walls like pieces of tapestry. And now the work went on zealously. Seekatz undertook country scenes, and succeeded extremely well in his old people and children, which were copied directly from nature. His young men did not answer so well, they were almost all too thin, and his women failed from the opposite cause. For as he had a little, fat, good, but unpleasant-looking wife, who would let him have no model but herself, he could produce nothing agreeable. He was also obliged to exceed the usual size of his figures. His trees had truth, but the foliage was over minute. He was a pupil of Brinkmann, whose pencil in easel pictures is not contemptible.
Schütz, the landscape painter, had perhaps the best of the matter. He was thoroughly master of the Rhine country, and of the sunny tone which animates it in the fine season. Nor was he entirely unaccustomed to work on a larger scale, and then he showed no want of execution or keeping. His paintings were of a cheerful cast.
Trautmann Rembrandtized some resurrection-miracles out of the New Testament, and alongside of them set fire to villages and mills. One cabinet was entirely allotted to him, as I found from the designs of the rooms. Hirt painted some good oak and beech forests. His cattle were praiseworthy. Junker, accustomed to the imitation of the most elaborate Dutch, was least able to manage this tapestry-work, but he condescended to ornament many compartments with flowers and fruits for a handsome price.
As I had known all these men from my earliest youth, and had often visited them in their studios, and as the Count also liked to have me with him, I was present at the suggestions, consultations, and orders, as well as at the deliveries of the pictures, and ventured to speak my opinion freely when sketches and designs were handed in. I bad already gained among amateurs, particularly at auctions, which I attended diligently, the reputation of being able to tell at once what any historical picture represented, whether taken from Biblical or Profane History, or from Mythology; and even if I did not always hit upon the meaning of allegorical pictures, there was seldom any one present who understood it better than I. Often had I persuaded the artists to represent this or that subject, and I now joyfully made use of these advantages. I still remember writing a circumstantial essay, in which I described twelve pictures which were to exhibit the history of Joseph; some of them were executed.
After these achievements, which were certainly laudable in a boy, I will mention a little disgrace which happened to me within this circle of artists. I was well acquainted with all the pictures which had been from time to time brought into that room. My youthful curiosity left nothing unseen or unexplored. I once found a little black box behind the stove; I did not fail to investigate what might be concealed in it, and drew back the bolt without long deliberation. The picture contained was certainly of a kind not usually exposed to view, and although I tried to bolt it again immediately, I was not quick enough. The Count entered and caught me—"Who allowed you to open that box?" he asked, with all his air of a Royal Lieutenant. I had not much to say for myself, and he immediately pronounced my sentence in a very stern manner. "For eight days," said he, "you shall not enter this room." I made a bow, and walked out. Even this order I obeyed most punctually, so that the good Seekatz, who was then at work in the room, was very much annoyed, for he liked to have mo about him; and, out of a little spite, I carried my obedience so far, that I left Seekatz's coffee, which I generally brought him, upon the threshold. He was then obliged to leave his work and fetch it, which he took so ill, that he almost conceived a dislike to me.
French Theatre.
It now seems necessary to state more circumstantially, and to make intelligible how, under these circumstances, I made my way with more or less ease through the French language, which, however, I had never learned. Here, too, my natural gift was of service to me, enabling me easily to catch the sound of a language, its movement, accent, tone, and all other outward peculiarities. I knew many words from the Latin; Italian suggested still more; and by listening to servants and soldiers, sentries and visitors, I soon picked up so much that, if I could not join in conversation, I could at any rate manage single questions and answers. All this, however, was little compared to the profit I derived from the theatre. My grandfather had given me a free ticket, which I used daily, in spite of my father's reluctance, by dint of my mother's support. There I sat in the pit, before a foreign stage, and watched the more narrowly the movement and the expression, both of gesture and speech, as I understood little or nothing of what was said, and therefore could only derive entertainment from the action and the tone of voice. I understood least of comedy, because it was spoken rapidly, and related to the affairs of common life, of the phrases of which I knew nothing. Tragedy was not so often played, and the measured step, the rhythm of the Alexandrines, the generality of the expression, made it more intelligible to me in every way. It was not long before I took up Racine, which I found in my father's library, and declaimed the pieces to myself, in the theatrical style and manner, as the organ of my ear and the organ of speech, so nearly akin to that, had caught it, and this with considerable animation, although I could not perceive the connexion of a whole speech. I even learned entire passages by rote, like a trained talking-bird, which was easier to me, from having previously committed to memory passages from the Bible which are generally unintelligible to a child, and accustomed myself to reciting them in the tone of the Protestant preachers. The versified French comedy was then much in vogue;