Ludwig Tieck.

The author of the foregoing tale, Ludwig Tieck, has lately been introduced to the English reader by an admirable translation of his two exquisite¹ little novels, The Pictures and The Betrothing². He is one among the great German writers who made their appearance during the last ten years of the eighteenth century; a period—whether from any extraordinary productiveness in the power that regulates the seed-time and the harvests of the human race, or from the mighty³ excitements and stimulants⁴ wherewith the world was then teeming—among the richest in the blossoming of genius. For not to mention the great military talents first developed in those days, among the holders⁵ of which were he who conquered all the continent of Europe, and he before whom that conqueror⁶ fell; turning away from the many rank but luxuriant weeds that sprang up in France, after all its plains had been manured with blood; and fixing the eye solely⁷ upon literary excellence⁸, we find in our own country, that the chief part of those men by whom we may hope that the memory of our days will be transmitted to posterity⁹ as a thing precious and to be held in honour, that Wordsworth, and Coleridge, and Southey, and Lamb, and Landor, and Scott, put forth¹⁰ during those ten years the first-fruits of their minds; while in Germany, the same period was rendered illustrious by Fichte and John Paul Richter at its commencement, and subsequently by Schelling, and Hegel, and Steffens, Schleiermacher, and the Schlegels, and Novalis, and Tieck. Of this noble brotherhood¹¹, who all, I believe, studied at the same university, that of Jena, and who were all bound together by friendship, by affinity¹² of genius, and by unity¹³ of aim, the two latter, Novalis and Tieck, were the poets: for though there are several things of great poetical¹⁴ beauty in the works of the Schlegels, their fame, upon the whole, rests on a different basis. The lovely dreamy mind of Novalis was cut off in the full promise of its spring; it only just awoke from the blissful visions of its childhood, to breathe forth a few lyrical murmurs¹⁵ about the mysteries it had been brooding over, and then fell asleep again. Upon Tieck, therefore, the character of German poetry in the age following those of Goethe and Schiller will mainly depend: and never did Norwegian or Icelandic spring burst forth more suddenly than the youth of Ludwig Tieck. I know not in the whole history of literature, any poet who can count up so many and so great exploits achieved on his first descent into the arena¹⁶: in number and variety even Goethe must yield the precedence, though his youthful triumphs were Goetz of Berlichingen and Werther. There was in Tieck’s early works the promise, and far more than the promise, of the greatest dramatic poet whom Europe had seen since the days of Calderon; there was a rich, elastic¹⁷, buoyant, comic spirit, not like the analytical¹⁸ reflection, keen biting wit of Molière and Congreve, and other comic writers of the satirical school, but like the living merriment, the uncontrollable, exuberant¹⁹ joyousness²⁰, the humour arising from good humour, not, as it often does, from ill humour, the incarnation, so to say, of the principle of mirth, in Shakespeare, and Cervantes, and Aristophanes; and as a wreath of flowers to crown the whole, there was the heavenly purity and starlike loveliness of his Genoveva. Had the rest of Tieck’s life kept pace with the fertility of the six years from 1798 to 1804, he must have been beyond all rivalry²¹ the second of German poets; and as Eschylus in the Frogs shares his supremacy²² with Sophocles, so would Goethe have invited Tieck to sit beside him on his throne. Unfortunately for those who would have feasted upon his fruits, the poet, during the last twenty years, has been so weighed down by almost unintermitting ill health, that he has published but little. There was a short interval²³ indeed that seemed to bid fairer, about the year 1812, when he began to collect his tales and lesser²⁴ dramas, on a plan something like that of the Decameron, in the Phantasm, but it has not yet been carried beyond the second reign²⁵, out of seven through which it was designed to extend. Of that collection the chief part had been known to the world ten or twelve years before: some things, however, appeared then for the first time, and among them, I believe, was the tale of The Love-Charm. Latterly, Tieck’s genius has taken a new spring, in a somewhat different direction from that of his youth. He has written half a dozen novels, in the manner of the couple recently translated; nor are the others of less excellence than those two; a beautiful tale of magic has also been just published; and the speedy appearance of several other things that have employed him during the long period of seeming inactivity, is promised; wherein he has been engaged more or less for above a quarter of a century, and to gather materials for which he some years since visited England. Of this work the highest expectations may justly be formed: not many people, even, in this country, possess a more extensive and accurate acquaintance with our ancient drama than Tieck; no one has entered more fully²⁶ into the spirit of its great poets, than Tieck has shown himself to have done in the prefaces to his Old English Theatre and his Shakespeare’s Vorschule; few have ever bestowed²⁷ such attention on the history of the stage in all countries, or have so studied the principles of dramatic composition and the nature of dramatic effect; hardly any one, I may say no one, ever learnt so much from Shakespeare: no one, therefore, can have more to teach us about him; and to judge from the remarks on some of the plays which have already been printed in the Abendzeitung, no one was ever so able to trace out the most secret workings of the great master’s mind, or to retain his full, calm self-possession when following him on his highest flights; no one ever united in such perfection the great critic with the great poet. One may look forward, therefore, with confidence to the greatest work in æsthetical criticism that even Germany will ever have produced.

Of the foregoing tale itself little need be said. If the translator has failed so grievously that an English reader cannot see its merits, he would hardly help himself out of the scrape by talking about the effect he ought to have produced. And grievously he must have failed, if any reader with a feeling for poetry does not perceive and enjoy the beauty of the descriptions, especially of the two eventful scenes, the power and passion of the wild dithyramb, the admirable delineation²⁹ of the characters in proportion to their relative importance, and the poetical harmony and perfect keeping of the whole. Nothing can be more delicate than the way of softening³⁰ the horror that might be felt for the bride: she has not even a name, that there may be no distinct object for our disgust to fasten on; she is only spoken of under titles of a pleasurable meaning; her beauty, like Helen’s on the walls of Troy, is manifested by its effect: the young men are astonished at it; her air of deep melancholy³¹ impresses even the gayest and most thoughtless, and is thus more powerful than if pages had been employed in giving utterance³² to her remorse³³; besides which, had the latter course been adopted, the main object would have been the wicked heart, not the wicked deed, the sin, not the crime; and sin is always loathsome³⁴, whereas a crime may often be looked upon with pity. The poet has therefore wisely kept all his power of characteristic delineation for the two chief persons in the tale; and rarely have any characters been brought out so distinctly within a work of such dimensions; the contrast between them runs through every feature, yet each is the necessary complement³⁵ to the other; the abuse which they vent²⁸ in the ball-room each against his dearest friend, and in the ears of almost a stranger, is in the true style of our frail³⁶ affections, veering³⁷ before the slightest puff³⁸ of self-will; nor is there a circumstance mentioned about either, which tends not to complete the picture, and is not all but indispensable. On some occasions a whole life and character are revealed by a single touch; as for instance when Emilius exclaims, No bread! Can such things be? No other man could have been so ignorant of what goes on in the world, as to marvel³⁹ at such a common occurrence; yet Emilius, it is quite certain, would be surprised, when awaked from his dreams, to behold⁴⁰ the face of real life; so that this exclamation⁴¹ is, as it were, a great toe from which to construct one who is anything rather than a Hercules. Indeed the whole scene of the peasant’s marriage, which at first sight may appear like a somewhat idle digression, brought in for no better reason than amusement, is absolutely necessary to the tale as a work of art: it not only shows the character of Emilius in a fresh and important point of view, not only supplies him with fuel, so that he is ready to burn at the approach of the first spark, as for the former scene he had been prepared by the arousal of his feelings in the ball-room; which, besides, cast a mysterious haze⁴² over the scene, and leave it half doubtful how much of the crime was actually perpetrated: the peasant’s wedding is necessary as a contrast, as a complement, and as a relief to the other marriage; nor can that calm and masterly irony⁴³, which is among the first elements in the mind of a great poet, be more clearly manifested, than it is here, where the pomp and rejoicing of the great and wealthy are suddenly turned ‘into sorrow and lamentation⁴⁴ and dismay;’ while the poor and the abashed⁴⁵ and the despised are enabled to pass their days in what to them is comfort, and to obtain the enjoyment⁴⁶ of a day ‘unto which in after-times they may look back with delight.’

Everything about the one marriage seems happy; everything about the other seems wretched; but neither is what it seems: they who seem happy are a prey⁴⁷ to extravagant⁴⁸ and sinful desires; those who seem wretched have moderate wishes, and, though they have offended, have not done it wantonly or in malice⁴⁹; they are making what seems to them the only atonement in their power, and ‘the fellow bears the creature the same good-will, though she is such a sorry bit of clay’; therefore the end of each marriage is according, not unto the outward show and promise, but unto that which lies within the heart. It is thus that poetical justice endeavours, so far as it may, to anticipate the sentence of Omniscient⁵⁰ justice.

1 exquisite   

adj.精美的；敏锐的；剧烈的，感觉强烈的

参考例句：

• I was admiring the exquisite workmanship in the mosaic.我当时正在欣赏镶嵌画的精致做工。
• I still remember the exquisite pleasure I experienced in Bali.我依然记得在巴厘岛所经历的那种剧烈的快感。

2 betrothing   

v.将某人许配给，订婚( betroth的现在分词 )

参考例句：

3 mighty   

adj.强有力的；巨大的

参考例句：

• A mighty force was about to break loose.一股巨大的力量即将迸发而出。
• The mighty iceberg came into view.巨大的冰山出现在眼前。

4 stimulants   

n.兴奋剂( stimulant的名词复数 )；含兴奋剂的饮料；刺激物；激励物

参考例句：

• Coffee and tea are mild stimulants. 咖啡和茶是轻度兴奋剂。
• At lower concentrations they may even be stimulants of cell division. 在浓度较低时，它们甚至能促进细胞分裂。 来自辞典例句

5 holders   

支持物( holder的名词复数 )； 持有者； （支票等）持有人； 支托（或握持）…之物

参考例句：

• Slaves were mercilessly ground down by slave holders. 奴隶受奴隶主的残酷压迫。
• It is recognition of compassion's part that leads the up-holders of capital punishment to accuse the abolitionists of sentimentality in being more sorry for the murderer than for his victim. 正是对怜悯的作用有了认识，才使得死刑的提倡者指控主张废除死刑的人感情用事，同情谋杀犯胜过同情受害者。

6 conqueror   

n.征服者，胜利者

参考例句：

• We shall never yield to a conqueror.我们永远不会向征服者低头。
• They abandoned the city to the conqueror.他们把那个城市丢弃给征服者。

7 solely   

adv.仅仅，唯一地

参考例句：

• Success should not be measured solely by educational achievement.成功与否不应只用学业成绩来衡量。
• The town depends almost solely on the tourist trade.这座城市几乎完全靠旅游业维持。

8 excellence   

n.优秀，杰出，(pl.)优点，美德

参考例句：

• His art has reached a high degree of excellence.他的艺术已达到炉火纯青的地步。
• My performance is far below excellence.我的表演离优秀还差得远呢。

9 posterity   

n.后裔，子孙，后代

参考例句：

• Few of his works will go down to posterity.他的作品没有几件会流传到后世。
• The names of those who died are recorded for posterity on a tablet at the back of the church.死者姓名都刻在教堂后面的一块石匾上以便后人铭记。

10 forth   

adv.向前；向外，往外

参考例句：

• The wind moved the trees gently back and forth.风吹得树轻轻地来回摇晃。
• He gave forth a series of works in rapid succession.他很快连续发表了一系列的作品。

11 brotherhood   

n.兄弟般的关系，手中情谊

参考例句：

• They broke up the brotherhood.他们断绝了兄弟关系。
• They live and work together in complete equality and brotherhood.他们完全平等和兄弟般地在一起生活和工作。

12 affinity   

n.亲和力，密切关系

参考例句：

• I felt a great affinity with the people of the Highlands.我被苏格兰高地人民深深地吸引。
• It's important that you share an affinity with your husband.和丈夫有共同的爱好是十分重要的。

13 unity   

n.团结，联合，统一；和睦，协调

参考例句：

• When we speak of unity,we do not mean unprincipled peace.所谓团结，并非一团和气。
• We must strengthen our unity in the face of powerful enemies.大敌当前，我们必须加强团结。

14 poetical   

adj.似诗人的；诗一般的；韵文的；富有诗意的

参考例句：

• This is a poetical picture of the landscape. 这是一幅富有诗意的风景画。 来自《简明英汉词典》
• John is making a periphrastic study in a worn-out poetical fashion. 约翰正在对陈腐的诗风做迂回冗长的研究。 来自辞典例句

15 murmurs   

n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕

参考例句：

• They spoke in low murmurs. 他们低声说着话。 来自辞典例句
• They are more superficial, more distinctly heard than murmurs. 它们听起来比心脏杂音更为浅表而清楚。 来自辞典例句

16 arena   

n.竞技场，运动场所；竞争场所，舞台

参考例句：

• She entered the political arena at the age of 25. 她25岁进入政界。
• He had not an adequate arena for the exercise of his talents.他没有充分发挥其才能的场所。

17 elastic   

n.橡皮圈，松紧带；adj.有弹性的；灵活的

参考例句：

• Rubber is an elastic material.橡胶是一种弹性材料。
• These regulations are elastic.这些规定是有弹性的。

18 analytical   

adj.分析的；用分析法的

参考例句：

• I have an analytical approach to every survey.对每项调查我都采用分析方法。
• As a result,analytical data obtained by analysts were often in disagreement.结果各个分析家所得的分析数据常常不一致。

19 exuberant   

adj.充满活力的；（植物）繁茂的

参考例句：

• Hothouse plants do not possess exuberant vitality.在温室里培养出来的东西，不会有强大的生命力。
• All those mother trees in the garden are exuberant.果园里的那些母树都长得十分茂盛。

20 joyousness   

快乐，使人喜悦

参考例句：

• He is, for me: sigh, prayer, joyousness. 对我来说，他就是叹息，祈祷和欢乐。

21 rivalry   

n.竞争，竞赛，对抗

参考例句：

• The quarrel originated in rivalry between the two families.这次争吵是两家不和引起的。
• He had a lot of rivalry with his brothers and sisters.他和兄弟姐妹间经常较劲。

22 supremacy   

n.至上；至高权力

参考例句：

• No one could challenge her supremacy in gymnastics.她是最优秀的体操运动员，无人能胜过她。
• Theoretically,she holds supremacy as the head of the state.从理论上说，她作为国家的最高元首拥有至高无上的权力。

23 interval   

n.间隔，间距；幕间休息，中场休息

参考例句：

• The interval between the two trees measures 40 feet.这两棵树的间隔是40英尺。
• There was a long interval before he anwsered the telephone.隔了好久他才回了电话。

24 lesser   

adj.次要的，较小的；adv.较小地，较少地

参考例句：

• Kept some of the lesser players out.不让那些次要的球员参加联赛。
• She has also been affected,but to a lesser degree.她也受到波及，但程度较轻。

25 reign   

n.统治时期，统治，支配，盛行；v.占优势

参考例句：

• The reign of Queen Elizabeth lapped over into the seventeenth century.伊丽莎白王朝延至17世纪。
• The reign of Zhu Yuanzhang lasted about 31 years.朱元璋统治了大约三十一年。

26 fully   

adv.完全地，全部地，彻底地；充分地

参考例句：

• The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。
• They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

27 bestowed   

赠给，授予( bestow的过去式和过去分词 )

参考例句：

• It was a title bestowed upon him by the king. 那是国王赐给他的头衔。
• He considered himself unworthy of the honour they had bestowed on him. 他认为自己不配得到大家赋予他的荣誉。

28 vent   

n.通风口，排放口；开衩；vt.表达，发泄

参考例句：

• He gave vent to his anger by swearing loudly.他高声咒骂以发泄他的愤怒。
• When the vent became plugged,the engine would stop.当通风口被堵塞时，发动机就会停转。

29 delineation   

n.记述；描写

参考例句：

• Biography must to some extent delineate characters.传记必须在一定程度上描绘人物。
• Delineation of channels is the first step of geologic evaluation.勾划河道的轮廓是地质解译的第一步。

30 softening   

变软，软化

参考例句：

• Her eyes, softening, caressed his face. 她的眼光变得很温柔了。它们不住地爱抚他的脸。 来自汉英文学 - 家（1-26） - 家（1-26）
• He might think my brain was softening or something of the kind. 他也许会觉得我婆婆妈妈的，已经成了个软心肠的人了。

31 melancholy   

n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的

参考例句：

• All at once he fell into a state of profound melancholy.他立即陷入无尽的忧思之中。
• He felt melancholy after he failed the exam.这次考试没通过，他感到很郁闷。

32 utterance   

n.用言语表达，话语，言语

参考例句：

• This utterance of his was greeted with bursts of uproarious laughter.他的讲话引起阵阵哄然大笑。
• My voice cleaves to my throat,and sob chokes my utterance.我的噪子哽咽，泣不成声。

33 remorse   

n.痛恨，悔恨，自责

参考例句：

• She had no remorse about what she had said.她对所说的话不后悔。
• He has shown no remorse for his actions.他对自己的行为没有任何悔恨之意。

34 loathsome   

adj.讨厌的，令人厌恶的

参考例句：

• The witch hid her loathsome face with her hands.巫婆用手掩住她那张令人恶心的脸。
• Some people think that snakes are loathsome creatures.有些人觉得蛇是令人憎恶的动物。

35 complement   

n.补足物，船上的定员；补语；vt.补充，补足

参考例句：

• The two suggestions complement each other.这两条建议相互补充。
• They oppose each other also complement each other.它们相辅相成。

36 frail   

adj.身体虚弱的；易损坏的

参考例句：

• Mrs. Warner is already 96 and too frail to live by herself.华纳太太已经九十六岁了，身体虚弱，不便独居。
• She lay in bed looking particularly frail.她躺在床上，看上去特别虚弱。

37 veering   

n.改变的；犹豫的；顺时针方向转向；特指使船尾转向上风来改变航向v.（尤指交通工具）改变方向或路线( veer的现在分词 )；（指谈话内容、人的行为或观点）突然改变；（指风） （在北半球按顺时针方向、在南半球按逆时针方向）逐渐转向；风向顺时针转

参考例句：

• Anyone veering too close to the convoys risks being shot. 任何人改变方向，过于接近车队就有遭枪击的风险。 来自互联网
• The little boat kept veering from its course in such a turbulent river. 小船在这湍急的河中总是改变方向。 来自互联网

38 puff   

n.一口(气)；一阵(风)；v.喷气，喘气

参考例句：

• He took a puff at his cigarette.他吸了一口香烟。
• They tried their best to puff the book they published.他们尽力吹捧他们出版的书。

39 marvel   

vi.(at)惊叹vt.感到惊异；n.令人惊异的事

参考例句：

• The robot is a marvel of modern engineering.机器人是现代工程技术的奇迹。
• The operation was a marvel of medical skill.这次手术是医术上的一个奇迹。

40 behold   

v.看，注视，看到

参考例句：

• The industry of these little ants is wonderful to behold.这些小蚂蚁辛勤劳动的样子看上去真令人惊叹。
• The sunrise at the seaside was quite a sight to behold.海滨日出真是个奇景。

41 exclamation   

n.感叹号，惊呼，惊叹词

参考例句：

• He could not restrain an exclamation of approval.他禁不住喝一声采。
• The author used three exclamation marks at the end of the last sentence to wake up the readers.作者在文章的最后一句连用了三个惊叹号，以引起读者的注意。

42 haze   

n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊

参考例句：

• I couldn't see her through the haze of smoke.在烟雾弥漫中，我看不见她。
• He often lives in a haze of whisky.他常常是在威士忌的懵懂醉意中度过的。

43 irony   

n.反语，冷嘲；具有讽刺意味的事，嘲弄

参考例句：

• She said to him with slight irony.她略带嘲讽地对他说。
• In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。

44 lamentation   

n.悲叹，哀悼

参考例句：

• This ingredient does not invite or generally produce lugubrious lamentation. 这一要素并不引起，或者说通常不产生故作悲伤的叹息。 来自哲学部分
• Much lamentation followed the death of the old king. 老国王晏驾，人们悲恸不已。 来自辞典例句

45 abashed   

adj.窘迫的，尴尬的v.使羞愧，使局促，使窘迫( abash的过去式和过去分词 )

参考例句：

• He glanced at Juliet accusingly and she looked suitably abashed. 他怪罪的一瞥，朱丽叶自然显得很窘。 来自《简明英汉词典》
• The girl was abashed by the laughter of her classmates. 那小姑娘因同学的哄笑而局促不安。 来自《简明英汉词典》

46 enjoyment   

n.乐趣；享有；享用

参考例句：

• Your company adds to the enjoyment of our visit. 有您的陪同，我们这次访问更加愉快了。
• After each joke the old man cackled his enjoyment.每逢讲完一个笑话，这老人就呵呵笑着表示他的高兴。

47 prey   

n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨

参考例句：

• Stronger animals prey on weaker ones.弱肉强食。
• The lion was hunting for its prey.狮子在寻找猎物。

48 extravagant   

adj.奢侈的；过分的；(言行等)放肆的

参考例句：

• They tried to please him with fulsome compliments and extravagant gifts.他们想用溢美之词和奢华的礼品来取悦他。
• He is extravagant in behaviour.他行为放肆。

49 malice   

n.恶意，怨恨，蓄意；[律]预谋

参考例句：

• I detected a suggestion of malice in his remarks.我觉察出他说的话略带恶意。
• There was a strong current of malice in many of his portraits.他的许多肖像画中都透着一股强烈的怨恨。

50 omniscient   

adj.无所不知的；博识的

参考例句：

• He's nervous when trying to potray himself as omniscient.当他试图把自己描绘得无所不知时，内心其实很紧张。
• Christians believe that God is omniscient.基督教徒相信上帝是无所不知的。