The following song expresses rather the sweeter side of that misery, and on that account is here inserted:
Sweetest roses, ye are drooping,
By my love ye were not worn;
Bloom for one, who past all hoping,
Feels his soul by sorrow torn.
Oh, the days still live in thought, love,
When to thee, my angel, bound;
I my garden early sought, love,
And for thee the young buds found.
All the flowers and fruits I bore thee,
And I cast them at thy feet;
As I proudly stood before thee,
Then my heart with hope would beat!
Sweetest roses, ye are drooping,
By my love ye were not worn;
Bloom for one, who past all hoping,
Feels his soul by sorrow torn.
The opera of "Erwin and Elvira" was suggested by the pretty little romaunt or ballad introduced by Goldsmith in his "Vicar of Wakefield," which had given us so much pleasure in our happiest days, when we never dreamed that a similar fate awaited us.
I have already introduced some of the poetical productions of this epoch, and I only wish they had all been preserved. A never failing excitement in the happy season of love, heightened by the beginning of care, gave birth to songs, which throughout expressed no overstrained emotion, but always the sincere feeling of the moment. From social songs for festivals, down to the most trifling of presentation-verses—all was living and real and what a refined company had sympathized in; first glad, then sorrowful, till finally there was no height of bliss, no depth of woe, to which a strain was not devoted.
All these internal feelings and outward doings, so far as they were likely to vex and pain my father, were by my mother's bustling prudence skilfully kept from him. Although his hope of seeing me lead into his house, that first one (who had so fully realised his ideas of a daughter-in-law) had died away, still this "state-lady," as he used to call her in his confidential conversations with ms wife, would never suit him.
Nevertheless he let matters take their course, and diligently occupied himself with his little Chancery. The young juristic friend, as well as the dexterous amanuensis, gained continually more and more of influence under his firm. As the absentee was now no longer missed there, they let me take my own way, and sought to establish themselves firmly upon a ground on which I was not destined to thrive.
Fortunately my own tendencies corresponded with the sentiments and wishes of my father. He had so great an idea of my poetic talents, and felt so personal a pleasure in the applause which my earliest efforts had obtained, that he often talked to me on the subject of new and further attempts. On the other hand, I did not venture to communicate to him any of these social effusions and poems of passion.
Plan of Egmont.
As, in Götz von Berlichingen, I had in my own way mirrored forth the image of an important epoch of the world, I now again carefully looked round for another crisis in political history of similar interest. Accordingly the Revolt of the Netherlands attracted my attention. In Götz, I had depicted a man of parts and energy, sinking under the delusion that, in times of anarchy, ability and honesty of purpose must have their weight and influence. The design of Egmont was to shew that the most firmly established institutions cannot maintain themselves against a powerful and shrewdly calculating Despotism. I had talked so earnestly with my father about what the piece ought to be, and what I wanted to do, that it inspired him with an invincible desire to see the plan which I had already worked out in my head, fairly set down on paper, in order to its being printed and admired.