"Yes; I knew him well," replied the stranger. "I am a native of Baireuth, where he passed the best years of his life. In my mind the man and the author are closely united. I never read a page of his writings without hearing his voice, and seeing his form before me. There he sits, with his majestic4, mountainous forehead, his mild blue eyes, and finely cut nose and mouth; his massive frame clad loosely and carelessly in an old green frock, from the pockets of which the corners of books project, and perhaps the end of a loaf of bread, and the nose of a bottle;--a straw hat, lined with green, lying near him; a huge walking-stick in his hand, and at his feet a white poodle, with pink eyes and a string round his neck. You would sooner have taken him for a master-carpenter than for a poet. Is he a favorite author of yours?"
Flemming answered in the affirmative.
"But a foreigner must find it exceedingly difficult to understand him," said the gentleman. "It is by no means an easy task for us Germans."
"I have always observed," replied Flemming, "that the true understanding and appreciation5 of a poet depend more upon individual, than upon national character. If there be a sympathy between the minds of writer and reader, the bounds and barriers of a foreign tongue are soon overleaped. If you once understand an author's character, the comprehension of his writings becomes easy."
"Very true," replied the German, "and the character of Richter is too marked to be easily misunderstood. Its prominent traits are tenderness and manliness6,--qualities, which are seldom found united in so high a degree as in him. Over all he sees, over all he writes, are spread the sunbeams of a cheerful spirit,--the light of inexhaustible human love. Every sound of human joy and of human sorrow finds a deep-resoundingecho in his bosom7. In every man, he loves his humanity only, not his superiority. The avowed8 object of all his literary labors9 was to raise up again the down-sunken faith in God, virtue10, and immortality11; and, in an egotistical, revolutionary age, to warm again our human sympathies, which have now grown cold. And not less boundless12 is his love for nature,--for this outward, beautiful world. He embraces it all in his arms."
"Yes," answered Flemming, almost taking the words out of the stranger's mouth, "for in his mind all things become idealized. He seems to describe himself when he describes the hero of his Titan, as a child, rocking in a high wind upon the branches of a full-blossomed apple-tree, and, as its summit, blown abroad by the wind, now sunk him in deep green, and now tossed him aloft in deep blue and glancing sunshine,--in his imagination stood that tree gigantic;--it grew alone in the universe, as if it were the tree of eternal life; its roots struck down into the abyss; the white and red clouds hung as blossoms upon it; the moon asfruit; the little stars sparkled like dew, and Albano reposed13 in its measureless summit; and a storm swayed the summit out of Day into Night, and out of Night into Day."
"Yet the spirit of love," interrupted the Franconian, "was not weakness, but strength. It was united in him with great manliness. The sword of his spirit had been forged and beaten by poverty. Its temper had been tried by a thirty years' war. It was not broken, not even blunted; but rather strengthened and sharpened by the blows it gave and received. And, possessing this noble spirit of humanity, endurance, and self-denial, he made literature his profession; as if he had been divinely commissioned to write. He seems to have cared for nothing else, to have thought of nothing else, than living quietly and making books. He says, that he felt it his duty, not to enjoy, nor to acquire, but to write; and boasted, that he had made as many books as he had lived years."
"And what do you Germans consider the prominent characteristics of his genius?"
"Most undoubtedly14 his wild imagination and his playfulness. He throws over all things a strange and magic coloring. You are startled at the boldness and beauty of his figures and illustrations, which are scattered16 everywhere with a reckless prodigality;--multitudinous, like the blossoms of early summer,--and as fragrant17 and beautiful. With a thousand extravagances are mingled18 ten thousand beauties of thought and expression, which kindle19 the reader's imagination, and lead it onward20 in a bold flight, through the glow of sunrise and sunset, and the dewy coldness and starlight of summer nights. He is difficult to understand,--intricate,--strange,--drawing his illustrations from every by-corner of science, art, and nature,--a comet, among the bright stars of German literature. When you read his works, it is as if you were climbing a high mountain, in merry company, to see the sun rise. At times you are enveloped21 in mist,--the morning wind sweeps by you with a shout,--you hear the far-off muttering thunders. Wide beneath you spreads the landscape,--field, meadow, town, and winding22 river. The ringing of distant church-bells, or the sound of solemn village clock, reaches you;--then arises the sweet and manifold fragrance23 of flowers,--the birds begin to sing,--the vapors24 roll away,--up comes the glorious sun,--you revel26 like the lark27 in the sunshine and bright blue heaven, and all is a delirious28 dream of soul and sense,--when suddenly a friend at your elbow laughs aloud, and offers you a piece of Bologna sausage. As in real life, so in his writings,--the serious and the comic, the sublime29 and the grotesque30, the pathetic and the ludicrous are mingled together. At times he is sententious, energetic, simple; then again, obscure and diffuse31. His thoughts are like mummies embalmed32 in spices, and wrapped about with curious envelopements; but within these the thoughts themselves are kings. At times glad, beautiful images, airy forms, move by you, graceful33, harmonious;--at times the glaring, wild-looking fancies, chained together by hyphens, brackets, and dashes, brave and base, high and low, all in their motley dresses, go sweeping34 down the dusty page, like the galley-slaves, that sweep the streets of Rome, where you may chance to see the nobleman and the peasant manacled together."
Flemming smiled at the German's warmth, to which the presence of the lady, and the Laubenheimer wine, seemed each to have contributed something, and then said;
"Better an outlaw35, than not free!--These are his own words. And thus he changes at his will. Like the God Thor, of the old Northern mythology36, he now holds forth37 the seven bright stars in the bright heaven above us, and now hides himself in clouds, and pounds away with his great hammer."
"And yet this is not affectation in him," rejoined the German. "It is his nature, it is Jean Paul. And the figures and ornaments38 of his style, wild, fantastic, and oft-times startling, like those in Gothic cathedrals, are not merely what they seem, but massive coignes and buttresses39, which support the fabric40. Remove them, and the roofand walls fall in. And through these gurgoyles, these wild faces, carved upon spouts41 and gutters42, flow out, like gathered rain, the bright, abundant thoughts, that have fallen from heaven.
"And all he does, is done with a kind of serious playfulness. He is a sea-monster, disporting43 himself on the broad ocean; his very sport is earnest; there is something majestic and serious about it. In every thing there is strength, a rough good-nature, all sunshine overhead, and underneath44 the heavy moaning of the sea. Well may he be called `Jean Paul, the Only-One.' "
With such discourse45 the hour of dinner passed; and after dinner Flemming went to the Cathedral. They were singing vespers. A beadle, dressed in blue, with a cocked hat, and a crimson46 sash and collar, was strutting47, like a turkey, along the aisles48. This important gentleman conducted Flemming through the church, and showed him the choir49, with its heavy-sculptured stalls of oak, and the beautiful figures in brown stone, over the bishops50' tombs. He then led him, by a side-door, into theold and ruined cloisters51 of St. Willigis. Through the low gothic arches the sunshine streamed upon the pavement of tombstones, whose images and inscriptions52 are mostly effaced53 by the footsteps of many generations. There stands the tomb of Frauenlob, the Minnesinger. His face is sculptured on an entablature in the wall; a fine, strongly-marked, and serious countenance54. Below it is a bas-relief, representing the poet's funeral. He is carried to his grave by ladies, whose praise he sang, and thereby55 won the name of Frauenlob.
"This then," said Flemming, "is the grave, not of Praise-God Bare-bones, but of Praise-the-Ladies Meissen, who wrote songs `somewhat of lust15, and somewhat of love.' But where sleeps the dust of his rival and foe56, sweet Master Bartholomew Rainbow?"
He meant this for an aside; but the turkey-cock picked it up and answered;
"I do not know. He did not belong to this parish."
It was already night, when Flemming crossedthe Roman bridge over the Nahe, and entered the town of Bingen. He stopped at the White Horse; and, before going to bed, looked out into the dim starlight from his window towards the Rhine, and his heart leaped up to behold57 the bold outline of the neighbouring hills crested58 with Gothic ruins;--which in the morning proved to be only a high, slated59 roof with fantastic chimneys.
The morning was bright and frosty; and the river tinged60 with gay colors from the rising sun. A soft, thin vapor25 floated in the air. In the sunbeams flashed the hoar-frost, like silver stars; and through a long avenue of trees, whose dripping branches bent61 and scattered pearls before him, Paul Flemming journeyed on in triumph.
I will not prolong this journey, for I am weary and way-worn, and would fain be at Heidelberg with my readers, and my hero. It was already night when he reached the Manheim gate, and drove down the long Hauptstrasse so slowly, that it seemed to him endless. The shops werelighted on each side of the street, and he saw faces at the windows here and there, and figures passing in the lamp-light, visible for a moment and then swallowed up in the darkness. The thoughts that filled his mind were strange; as are always the thoughts of a traveller, who enters for the first time a strange city. This little world had been going on for centuries before he came; and would go on for centuries after he was gone. Of all the thousands who inhabited it he knew nothing; and what knew they, or thought, of the stranger, who, in that close post-chaise, weary with travel, and chilled by the evening wind, was slowly rumbling62 over the paved street! Truly, this world can go on without us, if we would but think so. If it had been a hearse instead of a post-chaise, it would have been all the same to the people of Heidelberg,--though by no means the same to Paul Flemming.
But at the farther end of the city, near the Castle and the Carls-Thor, one warm heart was waiting to receive him; and this was the German heart of his friend, the Baron63 of Hohenfels, with whom he was to pass the winter in Heidelberg. No sooner had the carriage stopped at the irongrated gate, and the postilion blown his horn, to announce the arrival of a traveller, than the Baron was seen among the servants at the door; and, a few moments afterwards, the two long-absent friends were in each other's arms, and Flemming received a kiss upon each cheek, and another on the mouth, as the pledge and seal of the German's friendship. They held each other long by the hand, and looked into each other's faces, and saw themselves in each other's eyes, both literally64 and figuratively; literally, inasmuch as the images were there; and figuratively, inasmuch as each was imagining what the other thought of him, after the lapse65 of some years. In friendly hopes and questionings and answers, the evening glided66 away at the supper-table, where many more things were discussed than the roasted hare, and the Johannisberger; and they sat late into the night, conversing67 of the thoughts and feelings and delights, which fill the hearts of young men, who have already enjoyed and suffered, and hoped and been disappointed.
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1
Mediterranean
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| adj.地中海的；地中海沿岸的 | |
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harp
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| n.竖琴；天琴座 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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manliness
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| 刚毅 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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avowed
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| adj.公开声明的，承认的v.公开声明，承认( avow的过去式和过去分词) | |
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9
labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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immortality
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| n.不死，不朽 | |
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boundless
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| adj.无限的；无边无际的；巨大的 | |
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reposed
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| v.将（手臂等）靠在某人（某物）上( repose的过去式和过去分词 ) | |
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14
undoubtedly
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| adv.确实地，无疑地 | |
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lust
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| n.性(淫)欲；渴(欲)望；vi.对…有强烈的欲望 | |
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16
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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kindle
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| v.点燃，着火 | |
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onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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enveloped
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| v.包围，笼罩，包住( envelop的过去式和过去分词 ) | |
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winding
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| n.绕，缠，绕组，线圈 | |
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23
fragrance
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| n.芬芳，香味，香气 | |
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24
vapors
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| n.水汽，水蒸气，无实质之物( vapor的名词复数 )；自夸者；幻想 [药]吸入剂 [古]忧郁（症）v.自夸，（使）蒸发( vapor的第三人称单数 ) | |
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vapor
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| n.蒸汽，雾气 | |
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revel
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| vi.狂欢作乐，陶醉；n.作乐，狂欢 | |
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lark
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| n.云雀，百灵鸟；n.嬉戏，玩笑；vi.嬉戏 | |
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28
delirious
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| adj.不省人事的，神智昏迷的 | |
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29
sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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31
diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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32
embalmed
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| adj.用防腐药物保存（尸体）的v.保存（尸体）不腐( embalm的过去式和过去分词 )；使不被遗忘；使充满香气 | |
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33
graceful
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| adj.优美的，优雅的；得体的 | |
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sweeping
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| adj.范围广大的，一扫无遗的 | |
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35
outlaw
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| n.歹徒，亡命之徒；vt.宣布…为不合法 | |
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mythology
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| n.神话，神话学，神话集 | |
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forth
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| adv.向前；向外，往外 | |
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38
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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39
buttresses
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| n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 ) | |
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40
fabric
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| n.织物，织品，布；构造，结构，组织 | |
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41
spouts
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| n.管口( spout的名词复数 )；（喷出的）水柱；（容器的）嘴；在困难中v.（指液体）喷出( spout的第三人称单数 )；滔滔不绝地讲；喋喋不休地说；喷水 | |
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42
gutters
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| （路边）排水沟( gutter的名词复数 )； 阴沟； （屋顶的）天沟； 贫贱的境地 | |
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43
disporting
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| v.嬉戏，玩乐，自娱( disport的现在分词 ) | |
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44
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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45
discourse
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| n.论文，演说；谈话；话语；vi.讲述，著述 | |
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46
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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47
strutting
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| 加固，支撑物 | |
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48
aisles
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| n. (席位间的)通道, 侧廊 | |
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49
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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50
bishops
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| （基督教某些教派管辖大教区的）主教( bishop的名词复数 )； （国际象棋的）象 | |
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51
cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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52
inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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53
effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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54
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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55
thereby
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| adv.因此，从而 | |
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56
foe
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| n.敌人，仇敌 | |
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57
behold
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| v.看，注视，看到 | |
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58
crested
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| adj.有顶饰的，有纹章的，有冠毛的v.到达山顶（或浪峰）( crest的过去式和过去分词 )；到达洪峰，达到顶点 | |
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59
slated
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| 用石板瓦盖( slate的过去式和过去分词 ) | |
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60
tinged
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| v.（使）发丁丁声( ting的过去式和过去分词 ) | |
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61
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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62
rumbling
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| n. 隆隆声, 辘辘声 adj. 隆隆响的 动词rumble的现在分词 | |
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63
baron
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| n.男爵；(商业界等)巨头，大王 | |
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64
literally
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| adv.照字面意义，逐字地；确实 | |
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65
lapse
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| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
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66
glided
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| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
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conversing
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| v.交谈，谈话( converse的现在分词 ) | |
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