LITMIR.BIZ

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favourable issue, could not restrain his tears, and would have kissed the Count's hands. The Count motioned him off, and said severely and seriously, "You know I cannot bear such things." And with these words he went into the ante-room, to attend to his pressing affairs, and hear the claims of so many expectant persons. So the matter was disposed of, and the next morning we celebrated with the remnants of the yesterday's sweetmeats, the passing over of an evil through the threatenings of which we had happily slept.

      Whether the interpreter really spoke so wisely, or merely so painted the scene to himself, as one is apt to do after a good and fortunate action, I will not decide; at least he never varied it in repeating it. Indeed, this day seemed to him both the most anxious and the most glorious in his life.

      One little incident will show how the Count in general rejected all false parade, never assumed a title which did not belong to him, and how witty he was in his more cheerful moods.

      A man of the higher class, who was one of the abstruse, solitary Frankforters, thought he must complain of the quartering of the soldiers upon him. He came in person, and the interpreter proffered him his services, but the other supposed that he did not need them. He came before the Count with a most becoming bow, and said, "Your excellency!" The Count returned the bow, as-well as the "excellency." Struck by this mark of honour, and not supposing but that the title was too humble, he stooped lower, and said, "Monseigneur." "Sir," said the Count, very seriously, "we will not go further, or else we may easily bring it to Majesty." The ether gentleman was extremely confused, and had not a word to utter. The interpreter, standing at some distance, and apprised of the whole affair, was wicked enough not to move, but the Count, with much cheerfulness, continued, "Well now, for instance, sir, what is your name?" "Spangenberg," replied the other. "And mine," said the Count, "is Thorane. Spangenberg, what is your business with Thorane? Now, then, let us sit down; the affair shall at once be settled."

      And thus the affair was indeed settled at once, to the great satisfaction of the person I have here named Spangenberg, and the same evening, in our family circle, the story was not only told by the waggish interpreter, but was given with all the circumstances and gestures.

      After these confusions, disquietudes, and grievances, the former security and thoughtlessness soon returned, in which the young particularly live from day to day, if it be in any degree possible. My passion for the French theatre grew with every performance. I did not miss an evening, though on every occasion, when after the play I sat down with the family to supper—often putting up-with the remains—I had to endure the constant reproaches of my father, that theatres were useless, and would lead to nothing. In these cases I adduced all and every argument which is at hand for the apologists of the stage when they fall into a difficulty like mine. Vice in prosperity and virtue in misfortune, are in the end set right by poetical justice. Those beautiful examples of misdeeds punished, Miss Sarah Sampson, and the Merchant of London, were very energetically cited on my part; but, on the other hand, I often came off worst when the Fouberies de Scapin, and others of the sort, were in the bill, and I was forced to bear reproaches for the delight felt by the public in the deceits of intriguing servants, and the successful follies of prodigal young men. Neither party was convinced; but my father was very soon reconciled to the theatre when he saw that I advanced with incredible rapidity in the French language.

      Juvenile Attempt at the Drama.

      Men are so constituted that everybody would rather undertake himself what he sees done by others, whether he has aptitude for it or not. I had soon exhausted the whole range of the French stage; several pieces I had already witnessed for the third and fourth times; all had passed before my eyes and mind, from the stateliest tragedy to the most frivolous after-piece; and as when a child I had presumed to imitate Terence, I did not fail now as a boy, on a much more inciting occasion, to copy the French forms to the best of my ability and want of ability. There were then performed some half-mythological, half-allegorical pieces in the taste of PIRON; they partook somewhat of the nature of parody, and were much liked. These representations particularly attracted me: the little gold wings of a lively Mercury, the thunderbolt of a disguised Jupiter, an amorous Danaë, or by whatever name a fair one visited by the gods might be called, if indeed it were not a shepherdess or huntress to whom they descended. And as elements of this kind, from Ovid's Metamorphosis, or the Pantheon Mythicum of Pomey, were humming in swarms about my head—I had soon put together in my imagination a little piece of the kind, of which I can only say that the scene was rural, and that there was no lack in it of king's daughters, princes, or gods. Mercury, especially, made so vivid an impression on my senses, that I could almost be sworn that I had seen him with my own eyes.

      I presented my friend Derones with a very neat copy, made by myself, which he accepted with quite a special grace, and with a truly patronizing air, glanced hastily over the manuscript, pointed out a few grammatical blunders, found some speeches too long, and at last promised to examine and judge the work more attentively when he had the requisite leisure. To my modest question, whether the piece could by any chance be performed, he assured me that it was not altogether impossible. In the theatre, he said, a great deal went by favour, and he would support me with all his heart: only the affair must be kept private; for he had himself once on a time surprised the directors with a piece of his own, and it would certainly have been acted if it had not been too soon detected that he was the author. I promised him all possible silence; and already saw in my mind's eye the name of my piece posted up in large letters on the comers of the streets and squares.

      Light-minded as my friend generally was, the opportunity of playing the master was but too desirable. He read the piece through with attention, and while he sat down with me to make some trivial alterations, turned the whole thing, in the course of the conversation, completely topsy-turvy, so that not one stone remained on another. He struck out, added, took away one character, substituted another—in short, went on with the maddest wantonness in the world, so that my hair stood on end. My previous persuasion that he must understand the matter, allowed him to have his way, for he had often laid before me so much about the Three Unities of Aristotle, the regularity of the French drama, the probability, the harmony of the verse, and all that belongs to these, that I was forced to regard him, not merely as informed, but thoroughly grounded. He abused the English and scorned the Germans; in short, he laid before me the whole dramaturgic litany which I have so often in my life been compelled to hear.

      Like the boy in the fable, I carried my mangled offspring home, and strove in vain to bring it to life. As, however, I would not quite abandon it, I caused a fair copy of my first manuscript, after a few alterations, to be made by our clerk, which I presented to my father, and thus gained so much that for a long time he let me eat my supper in quiet after the play was over.

      Dramatic Theories.

      This unsuccessful attempt had made me reflective, and I resolved now to learn at the very sources, these theories, these laws, to which every one appealed, but which had become suspicious to me chiefly through the impoliteness of my arrogant master. This was not indeed difficult, but laborious. I immediately read Corneille's Treatise on the Three Unities, and learned from that how people would have it, but why they desired it so was by no means clear to me; and what was worst of all, I fell at once into still greater confusion when I made myself acquainted with the disputes on the Cid, and read the prefaces in which Corneille and Racine are obliged to defend themselves against the critics and public. Here at least I plainly saw that no man knew what he wanted; that a piece like the Cid, which had produced the noblest effect, was to be condemned at the command of an all-powerful cardinal; that Racine, the idol of the French living in my day, who had now also become my idol—(for I had got intimately acquainted with him when Schöff Von Olenschlager made us children act Britannicus, in which the part of Nero fell to me)—that Racine, I say, even in his own day, was not able to get on with the amateurs nor critics. Through all this I became more perplexed than ever, and after having pestered myself a long time with this talking backwards and forwards, and theoretical quackery of the previous century, threw them to the dogs, and was the more resolute in casting all the rubbish away, the more I thought I observed that the authors themselves who had produced excellent things, when they began to speak about them, when they set forth the grounds of their treatment, when they desired to defend, justify, or excuse themselves, were

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