INTRODUCTION BY THE PUBLISHER
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"HANS BREITMANN GIFE A BARTY" - the first of the poems here submitted to the English public - appeared originally in 1857, in Graham's Magazine, in Philadelphia, and soon became widely known. Few American poems, indeed, have been held in better or more constant remembrance than the ballad of "Hans Breitmann's Barty;" for the words just quoted have actually passed into a proverbial expression. The other ballads of the present collection, likewise published in several newspapers, were first collected in 1869 by Mr. Leland, the translator of Heine's "Pictures of Travel" and "Book of Songs," and author of Meister Karl's Sketch -Book," Philadelphia, 1856 and "Sunshine in Thought," New York, 1863. They are much of the same character as "The Barty" - most of them celebrating the martial career of "Hans Breitmann," whose prototype was a German, serving during the war in the 15th Pennsylvanian cavalry, and who - we have it on good authority - was a man of desperate courage whenever a cent could be made, and one who never fought unless something could be made. The "rebs" "gobbled" him one day; but he re-appeared in three weeks overloaded with money and valuables. One of the American critics remarks: - "Throughout all the ballads it is the same figure presented - an honest 'Deutscher,' drunk with the New World as with new wine, and rioting in the expression of purely Deutsch nature and half-Deutsch ideas through a strange speech."
The poems are written in the dull broken English (not to be confounded with the Pennsylvanian German) spoken by millions of - mostly uneducated - Germans in America, immigrants to a great extent from southern Germany. Their English has not yet become a distinct dialect; and it would even be difficult to fix at present the varieties in which it occurs. One of its prominent peculiarities, however, is easily perceived: it consists in the constant confounding of the soft and hard consonants; and the reader must well bear it in mind when translating the language that meets his eye into one to become intelligible to his ear. Thus to the German of our poet, kiss becomes giss; company - gompany; care - gare; count - gount; corner - gorner; till - dill; terrible - derrible; time - dime; mountain - moundain; thing - ding; through - droo; the - de; themselves - demselves; other - oder; party - barty; place - blace; pig - big; priest - breest; piano - biano; plaster - blaster; fine - vine; fighting - vighting; fellow - veller; or, vice versa, he sounds got - cot; green - creen; great - crate; gold dollars - cold tollars; dam - tam; dreadful - treadful; drunk - troonk; brown - prown; blood - ploot; bridge - pridge; barrel - parrel; boot - poot; begging - peggin'; blackguard - plackguart; rebel - repel; never - nefer; river - rifer; very - fery; give - gife; victory - fictory; evening - efening; revive - refife; jump - shoomp; join - choin; joy - choy; just - shoost; joke - choke; jingling - shingling;, &c.; or, through a kindred change, both - bofe; youth - youf; but mouth - mout'; earth - eart'; south - sout'; waiting - vaiten;' was - vas; widow - vidow; woman - voman; work - vork; one - von; we - ve, &c. And hence, by way of a compound mixture, we get from him drafel for travel, derriple for terrible, a daple-leck for a table-leg, bepples for pebbles, tisasder for disaster, schimnastig dricks for gymnastic tricks, let-bencil for lead-pencil, &c. The peculiarity of Germans pronouncing in their mother tongue s like sh when it is followed by a t or p, and of Germans in southern Germany often also final s like sh, naturally produced in their American jargon such results as shplit, shtop, shtraight, shtar, shtupendous, shpree, shpirit, &c; ish(is), ash(as), &c.; and, by analogy led to shveet(sweet), schwig(swig), &c. We need not notice, however, more than these freaks of the German-American-English of the present poems, as little as we need advert to simple vulgarisms also met with in England, such as the omission of the final g in words terminating in ing (blayin' - playing; shpinnen' - spinning; ridin', sailin', roonin', &c.). We must, of course, assume that the reader of this little volume is well acquainted both with English and German.
The reader will perceive that the writer has taken another flight in "Hans Breitmann's Christmas," and many of the later ballads, from what he did in those preceding; and exception might be taken to his choice of subjects, and treatment of them, if the language employed by him were a fixed dialect - that is, a language arrested at a certain stage of its progress; for in that case he would have had to subordinate his pictures to the narrow sphere of the realistic incidents of a given locality. But the imperfect English utterances of the German, newly arrived in America, coloured more or less by the peculiarities of his native idiom, do not make, and never will make a dialect, for the simple reason that, in proportion to his intelligence, his opportunities, and the length of time spent by him among his new English-speaking countrymen, he will sooner or later rid himself of the crudenesses of his speech, thus preventing it from becoming fixed. Many of the Germans who have emigrated and are still emigrating to America belong to the well-educated classes, and some possess a very high culture. Our poet has therefore presented his typical German, with perfect propriety, in a variety of situations which would be imperceptible within which the the dialect necessarily moves, and has endowed him with character, even where the local colour is wanting.
In "Breitmann in Politics," we are on purely American ground.
In it the Germans convince themselves that, as their hero can no longer plunder the rebels, he ought to plunder the nation, and they resolve on getting him elected to the State Legislature. They accordingly form a committee, and formulate for their candidate six "moral ideas" as his platform. These they show to their Yankee helper, Hiram Twine, who, having changed his politics fifteen times, and managed several elections, knows how matters should be handled. He says the moral ideas are very fine, but not worth a "dern;" and instead of them proclaims the true cry, that Breitmann is sound upon the goose, about which he tells a story. Then it is reported that the German cannot win, and that, as he is a soldier, he has been sent into the political field only to lead the forlorn hope and get beaten. In answer to this, Twine starts the report that Smith has sold the fight to Breitmann, a notion which the Americans take to at once -
"For dey mostly dinked id de naturalest ding as efer couldt pefall
For to sheat von's own gonstituents is de pest mofe in de came,
Und dey nefer sooposed a Dootchman hafe de sense to do de same."
Accordingly, Breitmann calls a meeting of Smith's supporters, tells them that he hopes to get a good place for his friend Smith, though he cannot approve of Smith's teetotal principles, because he, Breitmann, is a republican, and the meaning of that word is plain: - "… If any enlightened man vill seeken in his Bibel, he will find dat a publican is a barty ash sells lager; und de ding is very blain, dat a re-publican ish von who sells id 'gain und 'gain." Moreover, Smith believes in God, and goes to church, - what liberal German can stand this? - while Breitmann, being a publican, must be a sinner. As to parties, the principles of both are the same - plunder - and "any man who gifes me his fote, - votefer his boledics pe, - shall alfays pe regardet ash bolidigal friendt py me."
This brings the house down. And when Breitmann announces that he sells the best beer in the city, and stands drinks gratis to his "bolidigal friendts," and orders in twelve barrels of lager for the meeting, he is unanimously voted "a brickbat, and no sardine."