Tieck, page 19: "Das zweite Blatt enthält die Vertossung der Hero ... und dies ist offenbar eines der vorzüglichsten. Das Licht ist sehr gut geordnet, das Auge findet sogleich unter den Gruppen einen Ruhepunkt; nur hat Hamilton dem Claudio eine zu theatralische Stellung und dem Leonato zu wenig Ausdruck gegeben."
Tieck carries the praise of the Anzeigen, the "Das beste Stück" of which refers only to the group under immediate discussion, to the whole series. He takes his main critical vocabulary from the prototype and adds the original differentiation of Claudio and Leonato to which reference must be made later.
"Much Ado," IV, 2; G. G. A., 1791, page 1794: ... "ein Gemisch von verkrüppelten, unedeln Caricaturen ohne alle Grazie ... Zu bedauren ist die Kunst, die an den Stich verwendet ist; denn der Stich ist einer der besten." Tieck's criticism of this plate is paralel in so far as he praises the mechanical perfection of the engraver, who is Heath of S, and not Simon of L. So far we have the blind following of the model. But Tieck also makes the picture a basis for a long discussion of caricature and of thoro condemnation of Smirke, who is also no favorit of the Anzeigen. As Tieck's letters show a profuse use of the word caricature, he need not be especially indeted to the Anzeigen for it.
"Richard III," I, 1, G. G. A., 1791, page 1795. Here Tieck's borrowing is direct. G. G. A.: "Eine schlechte Composition, ohne Ausdruck." Tieck, page 27: "Die Composition ist schlecht, alle Figuren sind ohne Ausdruck." G. G. A.: "Eine Menge Reflexe, Wiederscheine s. w. aber alles dieses macht keine Wirkung, und das Auge findet keinen Ruhepunkt." Tieck, page 28: "und sucht durch unendlich viele Wiederscheine ... dass das Auge bei den vielen Lichtmassen gar keine Ruhe findet." But again, besides these verbal and associational paralels, Tieck has added a free treatment of the composition, an examination of the drawing of the figures, of which there is no hint in the model and, all in all, makes the criticism his own. The impulse certainly came from the Anzeigen, but the whole critique is a product of Tieck's self.
"Richard III," IV, 3, G. G. A., 1791, page 1795: "Stellung gezwungen." Tieck, page 28: "Der Mörder unnatürlich." Here Tieck borrowed the idea and after an examination of the plate changed the wording.
"As You Like It," II, 1, G. G. A., 1793, page 561: "Ein treffliches Landschaftsgemälde." Tieck, page 18: "die reizende Landschaft." An examination of the whole of Tieck's criticism shows that he has added a characterization of Jacques, has discust the choice of this particular subject, and in this connection shows especially that the plate under discussion is only a vignette to the plays and not a part of the real play itself.
"As You Like It," last scene, G. G. A., 1793, pages 561-2: "Orlando, der mit zeimleich ausgespreizeten Beinen." Tieck, page 18: "Seine augespreizten Beine machen ihn widrig." Here Tieck has taken an externality of the description and has given it a point. The use of the word "widrig" gives a new tuch.
"Romeo and Juliet," I, 5, G. G. A.: "die Hauptfiguren muss man suchen." Tieck, page 29: "Die Hauptfiguren findet man nur mit einiger Mühe." Notis, however, how Tieck then goes on independently to giv his own point: "den Vater der Julie kann man nur errathen; Julie selbst hat wenig Character. Tybald ist die ausdruckvollste Figur auf diesem Blatte." Tieck also quotes in full the passage beginning, "If I profane with my unworthy hand" which the Anzeigen only indicates. This might be laid to yuthful pedantry, were the whole not made far clearer for the entire citation.
"Romeo and Juliet," IV, 5, G. G. A., 562: "Julia nach genommenem Schlaftrunk für todt gehalten, mit den Worten des Mönchs: Peace ho for shame! ff. Dieser tröstend, die Mutter die Hände ringend, Paris Julien umfassend, ein Stück mit vielem Affect" ... Tieck, page 30: "Julie hat den Schlaftrunk genommen und scheint gestorben, ihre Aeltern sowie ihr Bräutigam Paris sind in Verzweifelung, der Pater sucht Alle zu trösten." In the discussion of the small plate which follows, the Anzeigen points out the changes which have been made on it, this being one of the supplementary small plates for the 1802 text edition. Tieck also notises the fact of the change but that he took his information not only from the Anzeigen but from an examination of the original is proved by his additions to the information of the Anzeigen. Tieck's comment is, "Mehrere unnütze Personen weggelassen." This reason goes at least one step farther than the Anzeigen comment. In the magazine, the effect of the double light in L is adversly criticized. Tieck adds to this, "Der alte Capulet hat auf beiden Blättern wenig Ausdruck." That both Tieck and the magazine use the fraze "tut ... Wirkung" in this place seems of secondary importance. A mere linguistic reminiscence, where it is not connected with an idea, is not influence. This must be sought in basic ideas, in hints which point the way for new lines of thought, in an adoption of facts. An author like Tieck shows independence when he adds, eliminates and remolds what he receives, even tho the form of the thought clings often to him.
So, then, when the Anzeigen (1793, page 562) has the fraze "Julie in dem Grabgewölbe erwachend," the fact that Tieck (page 30) introduces his criticism with the words, "Julie erwacht, als der Mönch eben in das Gewölbe tritt," is of slite consequence. This is a simple description of fact. Of much more importance is the fact that the magazine goes on to point out that not nature but the stage should be the model for the painter in this case, a doctrin which Tieck not only does not mention, but in fact, utterly rejects when the time comes to discuss it in the course of the treatment.