Authors and Books.
A new German work, entitled Klopstock in Zurich from the years 1730 to 1751, gives quite a new portrait of the poet of the Messias, who, both by the time of his appearance and by the dignity of his theme, is held as the patriarch of German poetry. In this sprightly little volume the mystic halo with which an exaggerated homage has invested the head of the genial young German rolls away, and we behold a pleasant fellow in gay summer costume, floating about upon the blue lake of Zurich, surrounded by a circle of fair and admiring votaries, to whom he chants strains from his immortal poem, and reaps a harvest of kisses in return. We behold a chivalrous equestrian dashing through the still streets of old Zurich, draining unreasonable depths of beer with wild students, biting glass, and swallowing coal, until the old Bodmer with whom he was living—a reverential admirer of the great Prophet of the Messias, and in whose imagination Klopstock sat separate in a godlike and passionless serenity—was bitterly grieved by these earthly experiences of a Greek rather than of a Christian divinity, complained, remonstrated, rebuked, until the jovial poet was forced to leave the good Bodmer's house, and betake himself to Rape's, with whom he sat in silken hose, and speculated upon the universe. It is always pleasant to hear these human facts of the heroes of fame and imagination. Few things remove Washington farther from the general sympathy than the unbending austerity of hue in which his mental portrait is always colored. Why should our great men, whose humanity makes them dearer, go so solemnly and sadly through all posterity? Burns could draw the tired hostlers of village inns from their beds to listen open-mouthed and open-hearted to his wondrous and witching stories. Shakspeare shall always have stolen sheep, even though De Quincy proves by splendid and resonant reasoning that he could never have done it. Raphael shall have been a warm-blooded man, spite of our cold-blooded speculations upon his saintship, so that we shall not wonder at De Maistre's delicate and dainty truth that the Fornarina "loved her love more than her lover." Not that sheep-stealing, or any other peccadillo is beautiful, or in any way to be commended or imitated, but that these are the signs of human and actual sympathy which these great and glorious geniuses show us—as stately sky-sailed galleons, sweeping the sea into admiring calm at their progress, might hang out simple lanterns to the fishing-smacks around, to show their crews that the same red blood was the sap of all that splendid life. "Is he not the Just?" "Yes—and because he is the Just, I have done it." Poor old Herr Bodmer could not see with equanimity the illustrious guest of his imagination boating about the lake with the girls at Zurich, and selling the stanzas—of priceless worth to him—for a snatched and blushing kiss. For our own part, we are glad that generous Mr. Morikofer has pulled off the bleached horse hair wig of factitious gravity, and shown us the natural moist and waving hair of a human-hearted poet.
A History of German Literature, from W. Wackernagel, is coming out in parts at Basle. Since Gervinus there has been no broad treatment of the subject. But Gervinus gives us rather a history of the cultivation than of the literature of Germany. Vilmar is much too partial and partisan, and Hillebrand treats only the period from Lessing to the present time. Wackernagel surveys the whole ground from the beginning. The first part of his work is occupied with the elder literature of Germany, but he has handled it so dexterously that it interests the general reader, even while he develops the laws by which the old high German proceeded from the Gothic, and the middle high German from that. He divides the literary history into three parts. 1. The old high German era, Frank, Carlovingian, of the German Latinity of the bards. 2. The middle high German, beginning with the Crusades, and treating all the chivalric, social, and international relations which they inspired. 3. The new German style. The treatise is original and profound, and lacks only a little more elaboration of the biographical notices.
A somewhat curious proof of the influence which America at present exerts, even in language, may be found in the title of a dictionary (English and German), recently published at Brunswick. The title alluded to, is as follows: A new and complete dictionary of the English and German languages, compiled with especial regard to the American idiom for general use; containing a concise grammar, &c., &c.: by William Odell Elwell.
Carl Heideloff, whose exquisite work on the architectural ornaments of the Middle Ages, should entitle him to the gratitude of every student of mediæval art, will publish, before the end of this month, by Geigar of Nuremberz, a folio, illustrated with the finest steel engravings, entitled Architectonic Sketches, and complete buildings, in the Byzantine and Old German styles.
It has long been a mooted point among the philosophers of the beautiful in Germany whether the art of gardening was a legitimate branch of æsthetic culture. Bouterweck denied that the artificial perversions of an old-fashioned French garden had the slightest relation to art, but admitted that the Landschafts-gartenkunst, or art of landscape gardening, might very properly be ranked with painting and sculpture. Thiersch passes the subject by in silent contempt, while Tittman, whose work on beauty and art is fast becoming a universal hand-book of æsthetics, declares, on the other hand, that it is, even more than architecture, closely allied to the study of the beautiful, since its object is far less directly connected with human wants, and more nearly related to the attractive and fascinating. Herr Rudolph Siebeck would appear, however, to have put the question for a time at rest, by a work at present publishing by Voigt, in Leipsic, entitled Die Vildende Gartenkunst, in ihren modernen Formen, which, as he very correctly asserts, "embraces in one comprehensive theory all those laws of the art of gardening which æsthetics present, by the application of natural and artificial methods, in order to plan and execute walks and grounds, according to the dictates of a refined taste." In pursuance of this great aim, Herr Siebeck, (who was, by the way, formerly the imperial Russian court-gardener at Lazienka, and is at present council-gardener at Leipsic,) after completing his education as a practical gardener, scientifically studied the higher principles of his art at the universities of Munich and Leipsic, both of which, but particularly the former, have long been celebrated for the facilities which they afford for this study. After which, under the kind patronage of Baron Hugel, he journeyed to "every country" the natives of which had so far advanced in the art of gardening as to deserve the honor of a visit. The results of this study and labor are given in the above-titled volume, which embraces all things, if not exactly from the cedar of Lebanon to the hyssop on the wall, at least from the largest royal park to the smallest garden in a city. The work is illustrated with twenty colored garden plans, arranged according to the following categories: 1. Kitchen Gardens. 2. Pleasure Gardens. 3. Pleasure and Kitchen Gardens. 4. Public Gardens. 5. A Botanical Garden.