While struggling against the mingled inertness and active opposition of the manufacturers, Arkwright had all the while been busily engaged in augmenting the capability and efficiency of his machinery, and in 1775 he brought out a patent for a series of adaptations and inventions by means of which the whole process of yarn manufacture—including carding, drawing, roving, and spinning—was performed by a beautifully arranged succession of operations on one machine. With the grant of this patent, every obstacle in the way of a sufficient supply of yarn was overcome, and, whatever might happen to Arkwright, the prosperity of the cotton manufacture was guaranteed. Afterward the invention was adapted for the woollen and worsted trade with equal success.
The machine of Arkwright was adapted for roving by means of a revolving cam. For the process of carding, additions and improvements of great ingenuity were affixed to the carding-cylinder patented by Lewis Paul in 1748, transforming it into an entirely new machine. The most important of these were the crank and comb, said to have been used by Hargreaves, but which it is now known that Hargreaves stole from Arkwright; the perpetual revolving cloth called the feeder, said to have been used by John Lees, a Quaker of Manchester, in 1778, but which Arkwright had undoubtedly used previously at Cromford; and filleted cards on the second cylinder, which also must have been used by Arkwright in 1778, although a manufacturer named Wood claimed to have first used them in 1774. Indeed, the whole of the complicated self-acting machinery, which without the intervention of hand labor performed the different processes necessary to change raw cotton into thread suitable for warp, was substantially the invention of Arkwright; and while each separate machine was in itself a remarkable triumph of inventive skill, the construction of the whole series, and the adaptation of each to its individual function in the continuous succession of operations, must be regarded as an almost unique achievement in the history of invention.
INTELLECTUAL REVOLT OF GERMANY
GOETHE'S "WERTHER" REVIVES ROMANTICISM
A.D. 1775
KARL HILLEBRAND
The latter half of the eighteenth century was, throughout Europe, a period of revolt against the old ideas, the outworn bonds of mediæval society. In art and literature the older system, with its elaborately planned rules and formulas, is technically called "classicism"; and the outburst against it established "romanticism," the spirit of desire, the longing for higher things, an impulse which ruled the intellectual world for generations, and which many critics still believe to be the chief hope for the future.
Romanticism found expression, more or less impassioned and defiant, in every land, but its earliest and strongest impulse is generally regarded as having sprung from Germany. The sceptical, half-cynical rule of Frederick the Great had left men's minds free, and imagination was everywhere aroused. The early culmination of its extravagance is found in the youth of Goethe and Schiller, Germany's two greatest poets; and Goethe's famous novel, The Sorrows of Young Werther, became the text-book of the rising generation of romanticists. Werther kills himself for disappointed love, and the book has been seriously accused of creating an epidemic of suicide in Germany. Hillebrand, writer of the following analysis of the period and the movement, is among the foremost of present-day German authorities upon the subject.
Goethe was twenty-six years old when he accepted (1775) the invitation of Charles Augustus, and transported to Weimar the tone and the allures of the literary bohemia of Strasburg. There, to the terror of the good burghers of that small residence, to the still greater terror of the microscopic courtiers, began that "genial" and wild life which he and his august companion led during several years. Hunting, riding on horseback, masquerades, private theatricals, satirical verse, improvisation of all sorts, flirtation particularly, filled up day and night, to the scandal of all worthy folk, who were utterly at a loss to account for his serene highness saying "Du" to this Frankfort roturier. The gay Dowager Duchess, Wieland's firm friend, looked upon these juvenile freaks with a more lenient eye; for she well knew that the fermentation once over, a noble, generous wine would remain. "We are playing the devil here," writes Goethe to Merck; "we hold together, the Duke and I, and go our own way. Of course, in doing so we knock against the wicked, and also against the good; but we shall succeed; for the gods are evidently on our side." Soon Herder was to join them there, unfortunately not always satisfied with the results of his teaching about absolute liberty of genius.