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COLOGNE.-A veil of obscurity still hangs over theatrical matters here. Three great and opulent cities, Cologne, Hamburgh, and Frankfort-on-the-Maine, are, at the present moment, incapable of supporting a respectable theatre. The theatre at Leipsic, also, is closed.-The German Sängerbund, at Cincinnati, U.S., has just written to congratulate the members of the Männergesangverein on the success they lately achieved in England, and also to request a list of the pieces constituting their repertory. The Association has, in consequence, resolved to forward their Transatlantic brothers a selection of the best compositions in their collection.

ERFURT.-The Erfurter Musikverein celebrated its anniversary, under the direction of Herr Taubert, in a brilliant manner, on the 19th ult. Among the pieces performed were the first chorus from Gideon, by Herr F. Schneider, the last symphony, in C minor, by Herr Taubert the overture, and "Jägerlied," from Blaubart, by the same composer, and Beethoven's concerto in C minor. Dr. Franz Liszt was present.

CREFELD. The second Niederrheinisches Musikfest, will be celebrated here on the 12th and 13th inst. More than 700 singers have already announced their intention of taking part in it.

MUNICH.-Herr Marschner will himself direct the representation of his Hans Heiling. Herr Wagner's Tannhäuser is to be produced immediately.

DIEPPE.-A concert was given here on the 27th ult., at the Salle des Bains, for the superannuated bathing women, by Madame Catherina Mackenzie, the pianist, which attracted a very crowded audience. Madame Mackenzie's co-operators were M. Bessems, the violinist, and Madlle. Falconi, the talented cantatrice. Among other pieces, a sonata by Beethoven, for piano and violin, was executed by Madame Mackenzie and M. Bessems, and Madlle. Falconi sang an air from Ernani and another by Pergolesi with striking effect.

REVIEWS.

PORTRAIT OF MICHAEL COSTA, Esq., by Baugniet. Published by
Boosey and Sons, Holles-street.

A NEARLY full-length likeness of the celebrated conductor, by M. Baugniet, and one of the best executed and most faithful portraits we have seen from the studio of that admirable and spirited draughtsman. The engraving is dedicated to the Sacred Harmonic Society by Messrs. M. and M. Hanhart, the lithographers.

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HE CORNET-À-PISTON.—Just Published, in a large volume (cloth), price 5s., BOOSEY'S UNIVERSAL CORNOPEAN TUTOR, edited by Stanton Jones. The want of a useful cornet method having been very generally expressed by the amateurs and professors of that instrument, the publishers have been induced to employ one of the most experienced masters to prepare a work equally adapted for the private or professional student. The "Universal Cornopean Tutor" is founded on the method of Forrestier, Caussinus, and Carnaud, and unites in a condensed form all the theoretical and practical features of each of those celebrated works. It includes the system of music, technical information required for the production of a good tone and brilliant execution, and a most useful and progressive series of exercises, studies, and lessons, selected and original, followed by a collection of popular modern operatic melodies. It is, in short, a complete method, although published at a price to place it within the reach of the village musician. Price 58. in cloth. Boosey and Sons, 28, Holles-street.

IGNOR GORDIGIANI.-In a few days will be pub

Popolari Toscana Romanzas, duette, &c. Boosey and Sons, 28, Holles-street.

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EW MUSIC FOR PIANOFORTE-Four Hands. "Si la Stanchezza," from Il Trovatore, price 3s.; "Il Balen," and "Di quella pira," Il Trovatore, price 48.; "La mia letizia," I Lombardi, price 3s. Boosey and Sons, 28, Holles

street.

best and most original polka produced for some time. Arranged for the piano by Tinney, price 2s. 6d.; Full Band, 5s.; Septet, 3s. 6d. Boosey and Sons, 28, Holles-street.

DANCE MUSIC for the CONCERTINA. Boosey's

nine popular pieces of Dance Music, easily and brilliantly arranged for Concertina Solo. Price 2s. 6d. Subscription for 12 Nos., One Guinea. Boosey and Sons, 28, Holles-street.

RACHEL AT DRURY LANE THEATRE.-On Thursday night a miscellaneous performance took place at this theatre, under the patronage of the Queen, for the benefit of the French Charitable Association. The entertainments began with Molière's two-act JENNY L'HIRONDELLE POLKA, by Lachner, is the comedy, Le Dépit Amoureux. An act from Wallace's Maritana (by the Royal Opera company), and a vocal and instrumental concert in which several well-known artists took part were also comprised in the programme. But the great attraction was the second act of Racine's Athalie, with Rachel as the old and wicked Queen. In this act occur the celebrated vision, and the equally famous examination of the child, Joas, by Athalie. Rachel with white and silvery locks-Rachel old and haggard! N'importe. She was Rachel still, and more than ever incomparable. Whether it was the superior size of the theatre we cannot say. But certainly we never remember to have seen the French tragedian so sublimely great. Madlle. Dinah's Joas could not well be surpassed. The scene of the vision and its sequel is one of the finest in all the tragedies of Racine's. At the end of the performance the house rang with cheers; Rachel was twice recalled; and the stage was strewed with bouquets. It was a leave-taking worthy of the artist and the public.

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[ORDMANN.-DI QUELLA PIRA, Morceaux de
Trovatore. Price 3s. Boosey and Sons, 28, Holles-street.
ORDMANN.-IL BALEN DEL SUO SORRISSO,
Morceaux de Trovatore. Price 3s. Boosey and Sons, 28, Holles-street.
ORDMANN.-SI LA STANCHEZZA, Morceaux de
Trovatore. Price 3s. Boosey and Sons, 28, Holles-street.

No

BOOSE'S MILITARY JOURNAL, adapted for a

Reed Band, is published on the 15th of every month. Subscription, Three Guineas per half year, payable in advance. Full particulars, with a list of the back numbers, (exceeding one hundred) sent free on application.

BOOSE'S BRASS BAND JOURNAL is also published

on the 15th. Subscription Three Guineas per annum, payable in advance. Full particulars, with a list of the back numbers, sent free on application. This work can be performed by a Brass Band ranging from eight to fifty performers. London: Boosey and Sons, Musical Instrument Manufacturers, 28, Holles-street.

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A NEW COLLECTION OF OPERAS, IN LARGE BOOKS, CLOTH COVERS, GILT LETTERS,

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CASE'S Concertinas are made under the superintendance of Mr. George Casc, the celebrated professor, and are guaranteed to remain in tune and in good condition. They are cheaper and superior instruments to any others made in London. No. 1, in mahogany case, price 4 guineas; Nos. 2, 3, and 4, in rosewood or amboyna, price 6, 8, and 10 guineas; No. 5, the finest Concertina that is made, in ebony, with plated metal studs, price 12 guineas. Carriage free to every part of England.

Lately Published, a New Edition of

CASE'S CONCERTINA INSTRUCTIONS,
Price 10s. 6d. Also,

THE CONCERTINA MISCELLANY,

A periodical of new music for Concertina and Piano, arranged by George Case.
Published every month, price 2s. 6d., or 21s. per annum.

CORNET-A-PISTONS,

INTRODUCED BY

C. BOOSE, BANDMASTER OF THE FUSILIER

GUARDS.

This celebrated instrument, made from an entirely new model, is in the greatest favour with all the professors and amateurs of the Cornet in England. It produces a beautifully clear and powerful tone, and grately facilitates the execution of the most brilliant music. Price Seven Guineas. Carriage free to any part of Great Britain.

Just Published,

BOOSEY'S UNIVERSAL CORNOPEAN TUTOR.

A complete theoretical and practical school for the Cornet. Price 5s. in 6 handsome books.

Also,

BOOSEY'S CORNOPEAN JOURNAL.

275 popular melodies for the Cornet-à-Piston, selected from the modern operas, dances, and songs. Price 15s. in ornamental binding. Published and sold by Boosey and Sons, 28, Holles-street, London, Musical Instrument Manufacturers to Her Majesty's Army, the Militia, etc.

BOOSEY AND SONS, 28, HOLLES STREET, LONDON.

Published by JOHN BOOSEY, of 27, Notting Hill-square, in the parish of Kensington, at the office of BOOSEY & SONS, 28, Holles-street. Sold also by REED, 15, John-street, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street; KEITH, PROWSE, & Co., 48, Cheapside; G. SCHEURMANN, 86, Newgatestreet; HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON & SONS, Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers.

Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin's-lane, in the Parish of St. Martin's in the Fields, in the County of Middlesex.— Saturday, August 11, 1855.

SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

VOL. 33.-No. 33.

SATURDAY, AUGUST 18, 1855.

PRICE 4d.
STAMPED 5d.

TO ADVERTISERS.

THE CIRCULATION OF THE "MUSICAL WORLD" is exclusively among the educated and upper classes of society. It is one of the most extensively-read Art Journals in England, and forms a very advantageous medium for advertisements of a superior character.

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Advertisements are received until Twelve o'clock on FRIDAY MORNING; and must be paid for when delivered.

MR.
R. AND MADAME R. SIDNEY PRATTEN, Pro-

fessors of the Flute, Guitar, and Concertina, 131B, Oxford-street; where their Concertina Classes are held, and where all their compositions may be had for the above instruments.

ISS BLANCHE CAPILL-(Voice, Contralto),

PRIVATE INSTRUCTION IN THE ART OF

POETICAL ELOCUTION, as adapted to the several purposes of Speaking, Reading, and Singing. By the Rev. Hugh Hutton, M.A. Select Classes for the study of the elder English Poets, and the practice of General Elocution.-Address -No. 2, Provost-road, Haverstock-hill.

M Professor of Music and Singing. 4. Alfred-street, Wiver-temco, Islington; HYDE PARK COLLEGE FOR YOUNG LADIES,

where letters respecting pupils or engagements may be addressed.

31, Westbourne-terrace. Instituted 1853, by Gentlemen in the neighbour. hood for the purpose of affording to Young Ladies, privately introduced, the ad

WANTED a SITUATION, as Assistant in the Wholesales of a sound and extended Education, in Classes conducted by the first

Department of a Music Warehouse, by a Young Man who understands the trade. First-rate reference on application to "Q.," care of Messrs. Boosey and Sons, 28, Holles-street.

TW MUSIC SELLERS, Wanted a situation, by a person dadguien partant.

Visitor The Right on, and Right Rev. the Bishop of London.
President-The Right Hon. the Earl of Carlisle, K.G.
Pupils must be introduced by the President, Vice-Presidents, Committee, or
Ladies Visitors.
The Junior Department will re-assemble (after the Summer Vacation) on Mon-
The next Term (Michaelmas), for the Senior Department, will commence
Prospectus, with every information, may be had on application at the College.
J. R. C. THOMSON, Secretary.

The most respectable references can be given. Address A. L., Professor of Music, October 31st. 74, Great Portland-street, Portland-place, London.

MUSIC TRADE-As Shopman, a young man, age 21, is

desirous of a re-engagement, or any other responsible situation in the above line, can have six years' good character from his late employer. AddressJ. L., care of Messrs. Boosey and Sons, 28, Holles-street.

A

MDMER

[DME. ANNA THILLON, AUGUSTUS BRAHAM, FARQUHARSON, RICHARDSON, GEORGE CASE. The above popular artistes will make a tour in the provinces in September next. Applications and Sons, 28, Holles-street, London.

YOUNG LADY, in her Nineteenth Year, who is respecting engagements should be addressed to Mr. George Case, at Messrs. Boosey

competent to teach French, Music, and the Rudiments of Drawing, wishes for a SITUATION IN A SCHOOL as Junior Teacher, where, in return for her services, she can have Lessons in French, also in Music from a Master.-Address A.Z., Mead and Powell's, Railway-arcade, London Bridge.

IGNOR GREGORIO begs to inform his friends and

SIG

pupils that he has left London for the purpose of fulfilling continental engagements, and will return at the end of October. Applications for admission into the Choir of the Royal Bavarian Chapel are to be addressed to Herr Jansa, 10, Mornington-crescent.

B

IRMINGHAM MUSICAL FESTIVAL, in Aid of the
Funds of the General Hospital, on the 28th, 29th, 30th, and 31st days of
August next. Principal vocalists:-Mad. Grisi, Mdlle. Angiolina Bosio, Mad.
Mario, Signor Gardoni, Herr Reichardt, and Mr. Sims Reeves, Signor Lablache,
Rudersdorff, and Mad. Castellan, Miss Dolby, and Mad. Viardot Garcia; Signor
Mr. Weiss, and Herr Formes. Organist, Mr. Stimpson. Conductor, Mr. Costa,
Outline of the Performances:

Tuesday Morning.-Elijah, Mendelssohn.
Wednesday Morning.-Eli, an Oratorio composed expressly for this Festival, the

REMOVAL-MR. W. H. ADAMS-Professor of the words written by W. Barthomolew Costa.

Pianoforte (pupil of Wm. Sterndale Bennett), and Organist of St. James's, Bermondsey, begs to announce his removal to Clapham Rise, Clapham, where all communications are respectfully requested to be addressed.-Tuition on the Pianoforte, Harmony, and Organ.

A GENTLE TANLY YOUTH, not under Sixteen Years,

Thursday Morning.-Messiah, Händel.

Friday Morning.-The Mount of Olives, Beethoven; the Requiem, Mozart; A
Selection from Israel in Egypt, Händel.

Tuesday Evening.-Grand Concert, comprising Overture, Ruy Blas-Mendels-
sohn; Cantata, Leonora-Macfarren; Overture, Der Freischutz-Weber; Selections
from Operas, &c.; Overture, Masaniello-Auber; Finale, Preghiera, Mosè in
Egitto-Rossini.
Wednesday Evening,-Grand Concert, comprising Symphony in A Major-
Selections from Les Huguenots, &c.-Meyerbeer; Priests' March, Athalie
Mendelssohn.

wanted in large music warehouse. Apply by letter to Z., care of Mendelssohn; Overture, Leonora-Beethoven; Finale, Lorely-Mendelssohn; Trübner and Co., 1 noster-row. No salary in the first six months.

H

EREFORI MUSICAL FESTIVAL for the Benefit of the Wido and Orphans of the Clergy of the Dioceses of Hereford, Gloucester, and Wcester will be held in the Cathedral and Shire Hall, on August 21st, 22nd, 23rd, and 24th. Under the patronage of Her Majesty the Queen. Principal Vocalists:-Madame Grisi, Madame Clara Novello, Madame Weiss, Miss Moss, Miss Dolby, Mr. Sims Reeves, Signor Mario, Mr. Montem Smith, Mr. Weiss, and Mr. H. Barnby. Programmes forwarded on application to Mr. G. Townshend Smith, Conductor.

33

hoven; Finale, L'Invocazione all' Armonia-H. R. H. Prince Albert; Overture,
Thursday Evening.-Grand Concert, comprising Pastoral Symphony-Beet-
Guillaume Tell-Rossini; Selections from Le Prophète, L'Etoile du Nord, &c.-
Meyerbeer; Overture, Ruler of the Spirits-Weber.
Friday Evening.-A Full Dress Ball.

Parties requiring programmes of the performances may have them forwarded
by post, or may obtain them (with any other information desired yon application
to Mr. Henry Howell, Secretary to the Committee, 34, Bennett's-hill, Birmingham,
J. F. LEDSAM, Chairman,

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OPERA AND DRAMA.

BY RICHARD WAGNER.

(Continued from page 512.)

PART II.

present is the matter-of-fact confirmation of the following cir-
cumstance: that the subject for a drama may be borrowed from
a historical story in the case of Shakspere, on whose stage an
appeal to the imagination supplied the place of scenery, but not
in our own, because we desire the scenery, as well as everything
else, to be represented to the senses. But even Schiller found it
was not possible to compress into the dramatic unity he had in
view the historical subject he had so carefully arranged for his
purpose; all that first gives history its real life, the far-
spreading adjuncts, conditionally working up to the centre, he
was obliged, as he felt the pourtrayal of them indispensable, to
place in a perfectly independent and separate piece, complete in
itself, and resolve the drama into two dramas-a course far
otherwise significant in those dramas of Shakspere which are
composed of several constituent parts, because, in them, the
entire careers of persons subordinate to an historical centre are
classified according to their most important periods, while in
Wallenstein only one such period, comparatively by no means
over-rich in matter, is divided into more than one part, simply on
account of the long process requisite for explaining the motives
of an historical moment rendered so dim as to become obscure.
Shakspere would have given us, upon his stage, the entire
Thirty Years' War in three pieces.

Still this "dramatic poem"-as Schiller himself calls it—was
a most honest endeavour to obtain from history, as such, matter
for the drama.

LIKE Göthe, Schiller began with the dramatised romance, under
the influence of the Shaksperean drama. The domestic and political
romance found employment for his impulse towards dramatic
creation, until he reached its modern source, namely, naked
history itself, and endeavoured to construct the drama im-
mediately from it. The ungrateful nature of the historical sub-
ject, and its incapability of representation in a dramatic form,
were now manifest. Shakspere translated the dry but honest
historical chronicle into the living language of the drama. This
chronicle recorded, with faithful exactitude, and step for step,
the course of historical events and the acts of the persons taking
part in them; it was written without criticism or individual
views, and was thus a daguerreotype of the historical facts to
which we have alluded. All that Shakspere had to do was to
animate this daguerreotype into an oil painting; to borrow from
the events the motives necessarily apparent from the connection
between the former, and impress them on the flesh and blood of
the personages of the story. In other respects, he left the frame-
work of history completely untouched; his stage, as we have seen,
allowing him to do so. With the modern theatre, however, the
poet soon perceived the impossibility of arranging history for it
with Shakspere's chronicle-like truthfulness; he saw that the
romance alone-perfectly indifferent as to length or shortness—cial, thoughtful motive, peculiar to the general course of culture
could endow the chronicle with a living pourtrayal of the charac-
ters, and that, moreover, only Shakspere's stage could allow this
romance to be compressed into the proportions of the drama. If he
now sought matter for a drama in history itself, he did so with the
wish and endeavour so to master, from the very first, the histo-
rical subject by immediate poetical treatment, that it might be
produced in the form of the drama, which renders itself intelli-
gible only in the greatest possible unity. But it is in this very
wish and endeavour that the reason of the nullity of our histo-
rical drama lies. History is only history from the fact that, in
it, the naked actions of men are displayed with uncondi-
tional truthfulness. History does not furnish us with men's
inward sentiments, but merely enables us to deduce them from
their actions. If, now, we believe we have rightly guessed these
sentiments, and wish to represent history as justified by them,
we can only do so in purely historical description, or-with
the greatest artistic warmth attainable-in the historical ro-
mance, that is to say: in a form of art in which we are not
necessitated, through any outward constraint, to distort the plain
facts of naked history by arbitrary sifting or compression. We
cannot convey an intelligible notion of the sentiments which we
have gathered from the actions of historical personages, except
by a faithful pourtrayal of the actions from which we have
deduced the sentiments. But if, in order to illustrate the inward
motives giving rise to them, we would, to further the end of the
representation, change or distort into something or other the
actions proceeding from the said motives, this can, again, only be
effected by the distortion of the sentiments, and thus by the
complete denial of history itself. The poet who endeavours to
adapt historical subjects for the dramatic stage, and neglects
the accuracy of the chronicles, treating, in pursuance of his
object, the actual facts of history according to his own caprice
and artistically formal judgment, cannot produce either a
history or a drama.

If, in illustration of what we have said, we place Shakspere's historical dramas by the side of Schiller's Wallenstein, we cannot help perceiving, at the first glance, that, in the latter, the evasion of the outward historical truth is accompanied also by the distortion of the purport of history, while, in the former, with chronicle-like accuracy, the characteristic purport of history is indeed brought out most convincingly. But, without doubt, Schiller was a greater historian than Shakspere, and, in his purely historical works, fully exculpates himself for his treatment of history as a dramatic poet. But our especial object at

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In the further development of the drama, we perceive, from this moment, that Schiller abandons more and more his consideration for the historical story, in order, on the one hand, to employ this very historical story only as a covering for an espepursued by the poet, and, on the other hand, to give this motive in a more and more decided form of the drama, and one, which, from the nature of the subject, more especially since Göthe's varied attempts, had become an object of artistic speculation. In this purposed subordination and arbitrary destination of the subject-matter, Schiller fell more and more deeply into the necessary error of a merely reflecting and rhetorically-conducted representation of the subject, which he at last decided simply according to the form, that he took, as the most suitable, in a purely artistic light, from Greek tragedy. In his Braut von Messina he proceeded in his imitation of the Greek form even more decidedly than Göthe in Iphigenia. Göthe only reconstructed the form so far as to enable the plastic unity of the action to be displayed in it, but Schiller sought to fashion even the subject of the drama out of the form. In this he approached the course followed by the French tragic poets, from whom, however, he differed materially, inasmuch as he restored the Greek form to a far higher state of completeness than that in which it was known to them, and endeavoured to animate the spirit of it, of which they knew nothing, and impress it upon the subject itself. For this purpose, he borrowed from Greek tragedy the "Fatum"-although certainly only according to the comprehension of it possible for himself and constructed, out of it, an action, which, from its medieval costume, was to constitute a connecting link between the Antique and the comprehension of modern times. Never was anything so purposely created in a purely artistico-historic point of view as his Braut von Messina, what Göthe intimated, in the union of Faust and Helen, was, in this instance, to be realised by artistic speculation. This realisation was, however, most decidedly not successful; both the matter and the form were equally dulled, so that neither did the forciblyindicated, medieval romance, produce any result, nor was the antique form clearly seen. Who cannot gain real experience from this fruitless attempt of Schiller? It is true that Schiller turned again in despair from this form, and endeavoured in his last dramatic poem, Wilhelm Tell, by resuming the dramatic form of the romance, to save at least his poetic freshness, which had visibly declined during his æsthetical experimentalising.

Thus we see also Schiller's dramatico-artistic productivity hesitating between history and romance, the real poetical element of our age, on the one hand, and the perfect form of the Greek drama on the other. Schiller clung with all the fibres of his poetic life to the former, while his higher artistico-plastic bent drove him to the latter.

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What especially characterises Schiller is, that his impulse for the antique, pure form of art was, as a general rule, displayed as an impulse towards the Ideal. He was so painfully grieved at being unable artistically to fill this form with the substance of the element of our life, that he was at last disgusted even with the advantage taken of it by artistic representation. Göthe's practical sense was reconciled with this element by the abandonment of the perfect form of art and the further cultivation of the only one in which our life could be intelligibly expressed. Schiller never returned to the romance properly so-called; he made the Ideal of his higher views of art, as it struck him in antique form, the essence of true art itself; he only looked at this Ideal from the point of view of the poetical incapability of our life, and, confounding the conditions of the latter with human life generally, could, at last, only imagine art as something separate from life, and its highest fulness as something imagined, but only approximatively to be attained.

Thus did Schiller remain oscillating betwixt heaven and earth, and in this state of suspense is our entire dramatic poetry hanging after him. The heaven in question is really nothing but the antique form of art, and the earth, the practical romance of our own times. The most modern school of dramatic poetry, existing, as an art, solely upon the attempts of Göthe and Schiller, which have become literary monuments, has continued the oscillation between the opposite tendencies already mentioned until it has become perfectly giddy. Whenever, rising out of the mere literary drama, it gave promise of a representation of life, it has always, in order to be scenically intelligible and effective, fallen back into the insipidity of the dramatised domestic drama, or, if it desired to express a higher tenor of life, was obliged, gradually plucking off again its false garb of dramatic feathers, to present itself for silent perusal in the shape of a naked romance of six or nine volumes.

In order to bring the whole course of our artistic literary creation within the scope of a rapid survey, we will arrange the circumstances arising from it in the following order.

The romance alone is capable of artistically representing the element of our life in the most intelligible manner. In the endeavour to obtain a more effectual and more immediate representation of its subject, the romance becomes dramatised. From the acknowledged impossibility, experienced afresh by every poet, of doing this, the matter, which, from its multiplicity of action, exercises a disturbing influence, is degraded first to the untruthful and then the completely unsubstantial foundation of the modern stage piece, that is to say: of the "show play," which, in its turn, serves only the modern theatrical virtuoso as a foundation. From this kind of play, the poet, as soon as he perceives he is sinking into the routine of the coulisses, turns back again to the undisturbed rendering of the subject in the romance; the perfect dramatic form, however, which he has in vain endeavoured to attain, he causes to be represented to him, as something altogether foreign, by the actual production of the real Greek drama. In the literary lyric, however, he combats, ridícules, bewails, and finally weeps over the discrepancy of the circumstances of our life, a discrepancy which strikes him, with regard to art, as one between matter and form, and, with regard to life, as one between man and Nature.

It is a remarkable fact, that the most recent times should have demonstrated, in an artistico-historical manner, this profound and irreconcilable discrepancy so strikingly, that a continuation of the error respecting it must appear to every one, who can see only half clearly, impossible. While the romance, after its last illumination of history, devoted itself everywhere, especially among the French, to the most naked representation of the life of the present day, seized on this life in its most vicious social foundation, and, with its total want of beauty as a work of art, made the literary work of art of the romance itself a revolutionary weapon against this social foundation-while the romance, I say, became a summons to the revolutionary strength of the people that was to overthrow this vital foundation-a clever poet, who, as a creative artist, had never possessed the capability of mastering any subject for the real drama, succeeded in inducing an absolute prince to command that the intendant of his theatre should produce, with antiquarian truth, a real Greek

tragedy, for which a celebrated composer had to prepare the necessary music. This drama of Sophocles proved, with regard to our life, a coarse artistic lie, a lie produced by artistic necessity for the purpose of cloaking the untruth of our entire system of art; a lie which the real necessity of our age endeavoured to deny by all kinds of literary excuses. This tragedy, however, could not but disclose to us a well-defined truth-namely, that we possess no drama, and can possess no drama; that our literary drama is as far removed from the real drama as the piano is from the symphonic song of human voices; that, in the modern drama, we can only succeed in producing poetry by the most nicely calculated contrivances of literary mechanism, as on the piano we can only succeed in producing music by the complicated contrivances of technical mechanism-that is to say, in producing soulless poetry and tuneless music.

With this drama, true music, the loving woman, has certainly nothing to do. The coquet may approach the cold being in order to ensnare him in the net of her mania to please: the prude may attach herself to the impotent personage in order to walk with him in godliness; the strumpet allows him to pay her, and then laughs at him; but the woman really yearning for love turns away from him unmoved.

If we would investigate more nearly what rendered this drama impotent, we must examine accurately the matter on which it was nourished. This matter was, as we have seen, the romance, and we must, therefore, enter more decidedly upon the discussion of the constitution of romance.

CHAPTER III.

Man is a poet in a twofold manner: in his mode of looking at things and of communicating them.

The natural gift of poetry is the capability of condensing into an inward picture the phenomena presented to one's senses outwardly, and the artistic gift, that of outwardly communicating the picture.

Just as the eye can only receive objects according to a scale reduced in conformity to their increasing distance, the brain of man, which is the starting-point of the eye in an inward direction, and to whose agency, dependent on the entire inward vital organisation, the eye communicates the outward phenomena received, can in the first place only conceive them according to the reduced scale of human individuality. In this proportion the activity of the brain, however, is capable of fashioning the phenomena presented to it, and separated from their natural reality, into the most comprehensive new pictures, as they arise from the double endeavour to sift them, or produce them in connection with each other, and this activity of the brain is called imagination.

The unconscious effort of the brain now tends to become aware of the true proportions of the phenomena, and this effort impels it to re-communicate the picture outwardly, inasmuch as it endeavours to adapt it in a certain degree, to the reality, in order to compare it with the latter. The communication to without can, however, only be effected in a manner artificially brought about; the senses, which involuntarily received the outward phenomena, require, for the re-communication to themselves of the picture formed by the imagination, the training and employment of the organic external capabilities of man, which would communicate intelligibly with them-the senses. The picture formed by the imagination becomes intelligible in its outward expression only when it is re-communicated to the senses in the same proportions as those in which the phenomena were originally displayed to them, and by the effect of his communication, finally answering his wishes, man first becomes so far aware of the right proportions of the phenomena, as to recognise them as the true ones in which the latter are, as a rule, communicated to him. No one can communicate phenomena intelligibly but to those who see them in the same proportions as himself: these proportions are, however, as regards communication, the condensed picture of the phenomena themselves, in which the latter manifest themselves in a distinguishable manner to man. These proportions must, therefore, be founded upon a common view of things, for only what is distinguishable by this common view, can be re-communicated artistically to it; a man whose way of viewing mat

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