T H E LYRI C AL PO EMS O F H U GO

VO N H O FMANNST H AL

Translatedfrom tb e Qerman b it/o an I ntroduction

5} Cloarles Wharton Starla

NEW H AVEN Y ALE UNIVER SIT Y PRESS LO ND O N H UMPH R EY MILFO RD

O XFO R D UNIVERSIT Y PRESS 0 MDC C C C XVIII

To JK)’ Frien d D MA A A RI R . C L N E C . G

o Wloo I ntroduced W e to the i oetry H ofmannstlzal

Treface and d chno wledgments

T h e pre se n t v o lu m e o f tran slatio n s c omprise s all th e ’ co n e n s o f Ho m an n s h D ie e a m m te e i e t t f t al s G s e l G d cht , n se l a i sic 1 907 in m e di io n i th I Verl g, Le p , ( y t ), w th e

xc e io n o f D e r T o d de s Tiz ian a a . T is la e pt , p l y h p y, i T o r a n d T o d h as a a T e e w th , b e en tr n sl te d fo r h G rm a n ' lassic o l V I M C s . X I b r. o h n H a d r h a v e . o h s , , y J r , J , w al so do n e th e pro l o gu e o n the death o f Boc klin h e re in c de d An o e v sio n o f T o r a n d T o d b Elisa e h l u . th r er y b t a i T D ie Walter h as appe red w th h e G o rh am Press . H o ch z e it de r S o b e ide a o n e a h as e n do n fo r , l g r pl y, be e

as i s v o l. XX b o e sso a a d u in c th e C l s c , , y Pr f r B y r Q y ’ Mo a Ho m an n s h al s m o s am o u s a Ele ra n . kt rg f t t f p l y, , an s a e d b A u m o n s h as e e n o u o t b tr l t y rth r Sy , b br ght u y e n an o Br t . O f th e o e m s in c lu d d th e a llade o th e O u t p here e , B f w ard Life h as b e e n tran sl ate d b y M arg are te Miin ste rb e rg in h e r H arv e st o Ge rm an Ve rse A o n I Ge rm an f , pp let . n rists o T 0-da b D ais B ro i h e r El in Ma e w s Ly f y y y c , k th , Lo n do n a a Earl rin Th Fa ce an d Th e Tw o , ppe r y Sp g , y . An a ic l b E isa a e e n i d H u o fvo n H o rt e y l beth W lt r, t tle g f m a n n th al a n Ex o n e n t o M d rn i i m T s , p f o e Lyr c s , in h e C o lo n n ade m a a z in e fo r D ce m b e 1 91 6 Ne w Y o co n g e r, , rk, tain s ag ain the B a llade of th e O utw ard Life an d Th e Tw o w ith th e third o f th e Thre e Little So ngs an d a n u m s b e r o f fragm e n t . O f m o wn t an sla io O Mu tab ilit Trav e l o n y r t n s f y, S g I c a a d i Th e e m an C lassics an d nte rdepe nde n e ppe re n G r ,

o l. X VII an d are h e e e u is e d b th e c o u e s o f v , r r p bl h y rt y

th e ro ie o s th e G m an u b ica io n o cie . T h e p pr t r , er P l t S ty I n tro du ctio n h a s b e en gre atly e xp an de d fro m an artic l e in th e Ne w Y o rk Na tio n which c o n tain e d tran s l atio n s o f Th e Tw o A D re a m o the Hi h e r Ma ic an d th e i d , f g g th r f th T re e ittle o n s T are o du c d b o e h L S g . hey repr e here y i Th e atio n e v e al th e c o u rte sy o f th e pro pr eto rs o f N . S r vii ' o t e o e m s ac c e e d b Po e t o re are in c u d d b th e h r p , pt y L , l e y T h e n ti o u m e is kin d p e rm issio n o f th e p u bl ish e rs . e re v l b ro u ght o u t b y th e kin d p e rm issio n o f H e rr v o n H o f a th al t o u his u b is s th e n se e a m n n s hr gh p l her , I l V rl g , i i Le p s c . h ran s atio n s a im at e in a s tru e to th e S i i fl e se t l b g p r t,

m o a rtic u a th e m o o d o f th e o i in a s as o ssi e . re p l rly , r g l p bl T e a re ai i e a th e c an e s e in m ain in th e h y f rly l t r l , h g b g ly a r o asio n a o o rde r o f w o rds in a phr se . Ve y c c lly w h le T h l in e s h av e b e e n tran sp o se d . e m e tre s an d rhym e s e m e s a re w it s i e xc e tio n s a e ar id n i a a ch , h l ght p , s n ly e t c l s ’ ssi As Ho m an n s a s o e t r is so o ta m po ble . f th l p y n bly co pre sse d an d fu ll o f m e an inEit is ho p e d th at th e se tran s latio n s to e t e w it th e I n t ro du ctio n m a e n a e so m , g h r h , y bl e o f th o se wh o a lre ady kn o w h im in th e o rigin a l to se e v n m o in his w o r an t e av a e ad do n e e re k th h y h e lr y e .

C HARLES WHART ON ST O RK .

” irdw o o d i a d ia B , Ph l el ph . ma g ma s

In trodu ction

Hofmann sthal as a Lyric Poet

Pu rely Lyrical Pieces

Early Spring A Vi sion T ravel Son g

T h e T wo

Life -Song T hy Fac e W orld Se cret O f th e Outward Life O f Mutab ility D e ath

“ ' Such Stu fi as D ream s Interde p e nden c e A D re am of the Hi gh er Magi c T hre e Little Son gs

Fig u res

T h e Youn g Man in the Landscap e ’ T h e S ve s hip s C ook , a C apti , Sin g ’ An O ld Man s Lon gin g fo r Summer Lines to a Little C hild T h e Emp eror of C hina Sp eaks Grandmother and Grand son So c ie ty ix Prologu es a n d Addresses-ofl Mou rn ing “ ” Prolo gue to the Book Anatol Fo r a Similar Book

o f th e c itte rwu rz e r In Memory A tor, M

o f c H O n the D eath the A tor, ermann Muller For a C ommemoration on the D e ath o f Ar nold Bac klin

D ram a tic

Idyll : Afte r an Old Vase Paintin g

H an na/{mm Tia/14 en s V 4 gr og c P‘ Oe r

T he n ame of H ugo von Hofmann sth al is fairly well known to those who attempt to follow the s E cour e of modern literature in urope . Further all - s c c c more , opera goer have ome in onta t with it ’ from the acc ident that two of Hofmannsthal s

Ele k tra D e r R o se n kavalie r se t plays, and , were to

R c a s His Ele k tra w as mu sic by i hard Str us . also

M r Pa c b l acted in New York by s. tri k C amp el . It m ay nevertheless b e safely said that the peculiar genius of this author is but little apprec i ated in

c l s Ameri a, and that the genera impre sion among

s a a c tho e who h ve he rd of him is of a olorful , neo c ss s It is a s la ical dramati t . hoped th t the pre ent volume may serve to bring out another and deeper aspect of the poet . ’ b c Judged y bulk , the lyri s of Hofmannsthal s might well be neglected in a survey of his writings e s i c as a whole . H ha to h s redit some seven or

z eight long plays , a do en short plays and two vol s s se umes of p rose studies. Again t the e we can t only

s all l D ie e sam m e lte dichte a m vo ume entitled G Ge , c including , apparently , all the poems whi h the author c s c a s are to have preserved . It ont in but twenty cs c s s three lyri , the re st of the book on i ting of a s la l a hort p y , a dramatic idyl and sever l prologues s s as l s written for pecial occa ions . But the short p ay

c ar o s ex el the longer in concentrated t , s the lyric c ex el both . Out of this mere handful the most general German anthologies take some three or c four poems. In a colle tion of 536 poems covering a period of 700years Th e O xfo rd Bo o k o f Ge rm an Ve rse s includes three example of Hofmannsthal .

D ie Ern te , a similar anthology , published in Ger a 46 many, gives him four p ges out of 6 . T his is no mean proportion for a living poet born so late as c 1874. Besides , the level of thought and techni is so maintained throughout the small body of lyrics that ( with one exception ) the critic is hard put to s o it to decide which are the be t . An entire scho l of s younger poets is imitating Hofmannsthal , a art students may be seen copying the few authentic i r io n G o g es, Bellinis or Vermeers . I

’ But despite Hofmannsthal s high reputation in his own literature , we may as well admit at once that his poetry is confined to a field of interest far removed from the thoughts of the average American . We can hardly c ome into a receptive state of mind toward him without picturing to ourselves the environment which shaped his genius . ’ T he outward events of Hofmannsthal s life ap s He pear urprisingly normal . was born in Vienna 1 1 74 s c February , 8 , received the u ual broad edu a tion of the cultivated Austrian , traveled , married , a and settled at Rodaun , a quiet suburb of the capit l . Up to the time o f the war he was living the life of a secluded literary man with his wife an d chil e a c dren , sometimes gracing a sp ci l event in the ity and occasionally making an excursion to visit his friends in Paris or Italy . It is to Hofmannsthal ’s environment in Vienna

ar that the peculiar trend of his t may be traced . T here w as perh aps no city twenty-five years ago where a young man of mean s and birth c ould live a life so c ompletely detached from that of his - T he modern fellow men . repose of antiquity was p reserved there more completely even than in Paris " there was little intrusion of the Nineteenth C entury ’ business world on the traditions of Maria T heresa s c c a c ourt , little ferment of demo r ti ideals of any R c kind . Beautiful gardens , omanesque hurches, c c s l s pal a es ontemporary with Ver ai le , galleries rich — in Italian masterpieces these were the elements that c surrounded the minds o f young men . So ial and political questions were put to one side or cheerfully left to those whose concern they were supposed to

C a c s hO e be . ert in ondition were admitted to be p

ss an s f le ly bad , d, if so , why should one trouble one el " about them Grac e an d gaiety were the prevailing as characteristics of Viennese life , of its typical z expression , th e Viennese walt . T o the young man who was able to indulge his b taste art w as the chief end and purpo se of eing . Goethe had already se t the example of artistic aloof ness by retiring to his study to write the We st

O stlich e D van N i , while the battles of the apoleonic b Wars were eing fought around him . he connect 3 ing link between Goethe an d the Vienn a o f the

N s w as z l inetie the tradition of Fran Gril p arz er , ’ s a -cla s ca a m Austria gre t neo s i l dr matist , 18 72 . As Goethe introduced modern characte riz a

s z tion into the tory of Iphigenia , Grillpar er fo l

his a H an d a lowed with pl ys on ero Leander , S ppho , M . a a s s s c s Ra and edea Other dr m ti t , u h a imund

Wilb ran dt c c c u ltivat and , arried on the tenden y of ing a dram a far removed from the existenc e of those

b c b who witnessed it , the su je ts eing sometimes c ss s c l s s a la ic time fan ifu , ometime from medi

' val h T he influence of Shakespeare w as

c l turned same dire tion : name y , toward one

as a c or another ph e of rom nti ism . Beauty of pro c portion , deli ate fancy , and nobility of sentiment

c s s were the hief requirement of the drama , the mo t

l a c a a bril iant field of liter ry a tivity in Vienn . It ly ,

c s l cc ss the ideal home of roman e , w a easi y a e ible . P bl c ainters, with a few nota e ex eptions, turned their f c s M s a a a e thitherward . u ic and the b llet , lways

c are prominent in the Austrian apital , by their very

c a s T a n ature deta hed from re li m . hus the cultiv ted man of Vienna w as almost by comp ulsion an ae sthete . * Grillparz er thought the North Germans had c ultivated their understanding at the expense of their

l an ae s c fee ing , d had thereby impaired their theti “ a sense . But though the typical Austrian is man of ”‘ Q u o te d fro m the life o f G rill p arz e r b y Pro fe sso r

la ic l . . H a G e m a n C ss s v o . 23 3 W. G o d r . w r , , VI , p 4 w s feeling, the human mind every here mu t , it b l s so l c s s a . eem , h ve pro em to ve If the ontemporary s b s b world be shut out , the e pro lem will naturally e s as a s s a subjec tive . Al o , m ny ob erver h ve noted , listening to sweet music and looking on at a scene

a t c a l s b of continued gaiety are p to indu e p ea ura le ,

la c he so b u t often profound , mood of me n holy . T

o u rn e r l c l V j in Ita y , parti u arly in enice , may have c been stru k with a similar feeling .

m a We y seem to have wandered rather far afield , as c but a matter of fact I have tried , in the pre eding s part of thi introduction , to write the biography of Hugo von Hofmannsthal in the only way that came a T to h nd . here is no poem translated in this volume which will not be largely accounted for by the co n s s b s sideration that have j u t een pre ented . Instead of b eing a unique and totally unrelated personality

a H a s c s in liter ture , ofmannsth l was in many re pe t l c the norma produ t of these , to us, abnormal con di io n s t .

He had s al , however , a marked per on ity in addi s c b e c l tion . In the fir t pla e he may a led an ex trem ist of his kind : an extreme lover of ri ch and

s s al c remote beauty, an arti t unu u ly deta hed from e a s c a s veryd y exi ten e , geniu of oppressive melan cho l a y, magici an of startling power in the revelation s s l of human con ciou ness, an unequ a ed exponent of ll style . Furthe rmore , a these faculties appeared in him at so early an age as to m ake him a literary s s c a prodigy , in thi re pe t ( s in others to be noted bl R s a s s . his i l ter ) re em ing o etti In f rst short plays,

este rn T o d des Tiz ian G and , written at the ages an d c of seventeen eighteen respe tively, his style w as a s alre dy that of a mature ma ter . He has since ex i e d a l hib t greater variety , but h rd y greater power . As a boy of seventeen Hofmannsth al w as acclaimed by m any c ritics as technically the greatest Germ an s c poet in e Goethe . ’ T he b ent of Hofm annsthal s genius soon brought him into asso ciation with two similarly minded Ger

s : R M a R man poet Stefan George and ainer ari ilke .

' T hese three united in a publication c alled Blatt er fiir die Ku n st to combat the unmitigated realism o f c a s s ontemporary German liter ture , a repre ented by the plays o f Sudermann and the poetry of Lilien c T he ron . three young apostles of beauty main * “ tain e d a as th t the poet , in order to depict life life ll i ” ’ s s . s rea y , mu t take no part in it Of George work Hofm annsthal wrote in words th at m ay equ ally be applied to him selfzf H e so completely conquered life , so absolutely m astered it , that from

is c a l a s h poems the rare , indes rib b e pe ce and refre h f ing coolness of a still , dark temple are wa ted upon ” - c our noise ra ked senses . ss But Hofmannsth al did not , like his a ociates ,

* Q u o te d b y p e rm issio n fro m an a rtic le o n Ho fm an n s h al b E isa e h a i th e o lo n n ade D c m e t y l b t W lter n C , e e b r, N 1 1 6 e Y o . 9 , w rk ’ r Ib id. 6 te rial in O dipus u n d die Sphin n an d h as also trans o ’ l l Kon i di u l ated Sopho c es p ay as g O p s. T he influence of the English drama appears in ’ a recasting of O tw ay s Ve n ice Prese rve d as D as

e re tte te e n edi c G V g , in whi h far greater verisimili tude is given to the charac ters th an w as the fashion ’ a H s h as in O tw y s time . ofmann thal also handled

l Ev e r m an very free y the theme of the old morality y , giving a skilful German c oloring by infusing m a ld c his te rial from an o play of Han s Sa hs. In

l C hri tin as H e im re ise D e r R o se n last p ays, s and

alier s cc s s kav , we find the author u e s ful in his fir t

c w o Pro saisc he attempts at omedy . T volumes of

hr t n c s s Sc if e onsist of ubtle tudies in literature , in

c a ac s a religion , and in h r ter . Among the e the ess y ' Shak e sp eare s K6n ig e a n d Gro sse H e rre n may be noted . III

’ With some knowledge of Hofmannsthal s career

c m a c and literary pro livities , we y pro eed to examine the small b u t very important body of non -dramatic T e c b e poetry here to be presented . h prin iple to M ss has kep t in mind throughout is , as i Walter "6 “ ’ well phrased it : Every one of Hofmannsthal s poems expresses some c ondition of the soul in terms o n s f beauty , a d always the univer al behind the ” e - a is beautiful . T h well worn axiom th t beauty truth h as seldom been better exemplified since the

K a s time of e t .

f i i l n a i C . a c le th o o n ade ad d the rt n e C lre y c te . 8 ’ T he beauty of Hofmann sth al s poetry should c need little further omment , even when his work

sl M s al c s is given only in tran ation . i s W ter ite a “ c ritic ism on his poems T hey were not written to

s c a s s sa in tru t , but to rou e en tion , to awaken the

sc b ab s c inde ri le . We mu t not , however , lose tou h with the imaginative truth that underlies these “ ” “ s ’ ’ l c s s poem , the l ug y fa t repre ented in pretty ’ s T s s H s symbol . hat the ymbol of ofmann thal s

are far a a a c poetry from being mere pl y of f n y, the author indic ates in his prologue Fo r a Sim ilar B o o h For we have made a play from out the life c We live , and mingled with our omedy Our truth keeps ever gliding in and out

C tC .

It is in the interfusion of universal truth with b a l an d eauty of rhythm , with verb l me ody , with c s s s c olorful imagery that the magic of the poet on i t . In any given piece he at once creates the mood ap

r r i c l a p o p iate to h s entra idea , so that the re der ,

b art s delighted y the , soon give up any attempt at c T he is s old an alysis. thought fir t melted into a

b s c feeling such as might be in spired y mu i , then the feeling is defined by a succession of mental pic -J s c al l ture . A typi examp e of this is found in the l poem A Visio n . T he b ending of the theme , D c c eath , with the glowing pi ture and the deep ello

l l ss a s like music of the verse shou d , un e the tr n lation

f ar i in th e C o lo n n ade a re ad c i d. C . the t c le l y te

‘ ‘ “ ” An ato l f ro o u e to th e o o . l C . P l g B k is an a a a utter f ilure , be e sily app rent . But it is

s c c s a perhap in orre t to pe k of blending , where the "e so c o fm n poem is entirely an organi unit . H a n sthal “ ” “ deprecates the u se of the terms inward and out ” ar ward with reference to t and life , bec ause to

s c him they expres no real distin tion . Al though Hofmannsthal w as a product of his environment an d w as even part of a literary ten l ffi dene y , the forcefu ness of his genius was su cient

a s far i l to r i e him above h s possib e rivals. Neither the vaguely mystic al lyrics of Stefan George nor the wi stful reveries of Rilke can compare in ultimate T he importance with the work of their associate . intellec t of Hofmann sthal dominates the school to which he belongs and has alre ady called forth many s He is s l s follower . the one ymbo i t writing in Ger

s ab s c c man who ha an solutely ure tou h , a perfe t

b all s c sense of alance in that he doe . In this respe t also his plays seem to me to excel those of Maeter c lin k . T he English poets who most resemble Ho f m n n d c a n sthal are Vaughan , Blake , Rossetti a Fran is ’ s s a a T homp on . Vaughan bility to so r into a world of spiritu al exaltation is not unlike what we find in

A D ream o the H h er M a f ig g ic . Vaughan , however , takes his moral sense and his human feelings with

a s him , where s the d ae mon of Hofmannsthal survey e all things impersonally . T h splendor of their lan

’ C f. ro e sso Se ib e rth s i e o f Ho m an n s h a Ge r P f r L f f t l , m a la i n C ss cs v o l. X . 484 . , VII , p s a c guage and imagery is very imil r , ex ept th at the

l a E s o s a bril i nce of the ngli h p et hows in fl shes , th at

s an d c a l of the Au trian in a deep onst nt g ow . Blake is like Hofmannsthal in the ab strac tness of his poetic l i c wor d , and h s do trine th at the imagination is God comes very near th at pic tured in A D re am o f th e ’ h r M H ig e agic . But Blake s expression is simple

' his a e l s and intuitive " is ltogether a more a ria pirit . In their combination of somewhat heavily decora

e s R ss tive styl with my tic thought , o etti and T ho m p so n stand much nearer to Hofmann sthal than do “ ” a a the earlier poets Fund ment l brainwork , to ’ R ss s as i l l quote o etti s famou phr e , s a most equa ly evident in the three " the underlying plan of their is a si a de fin ite n e ss f poems l id with a mil r . Ho m an n sthal differs from Rossetti in that he gives c f c more general pictures , produ ing e fe ts more purely like those of music " whereas the pre-Raphaelite s l revel in sharp y drawn detail . Both Rossetti and T hompson seem much more passionate " Hofmanns ’ thal s e Q tio n is always sub dued M m ” a a - ture . he qu int , r ther self cons

” ’ W u m o de rn E l s s s s th ng i h poet contra t with thea ggrqg H s l diction of ofmann tha , whose mind moves in its dim spiritual world with the seemingly unconscious

fis grace of a golden h in shadowy depths .

IV

’ Because the quality of Hofmannsth al s mood is so all- c ff pervasive , we have spoken mu h of the e ects 1 1 c i c s whi h h s poetry produ e , without giving more th an t c a c c b e a hint of i s a tu l ontent . T his ontent might

a s a s b c as s defined s imper on lly u je tive , if the phr e doe

n s i a not seem to be a oxymoron . What i meant s th t H a c s s ss ofmannsth l writes of his own on ciou ne , or th at of others with whom he for the moment ide n ti fie s l a c s him e f , in a m nner whi h shows great power of divination but only the most remote shade of H e sympathy . does not wish human emotion to

is a c l disturb him in h ttempt to ontemp ate reality .

a c Th e T o s z s a l For inst n e , in w he ymboli e admir b y

s a se se x the my terious rel tion of x to , but we who

s read , instead of being tirred to a poignant feeling “ : Ho w of pity , are only impelled to murmur strange ” a O M u tab ilit is truth " Simil rly in the poem f y, when he says it is

A thing too dre adful for the trivi al tear

s c T hat all thing glide away from out our lasp , we are in no real d anger of a tear or even of a

T s shudder . his imp as ive atti tude toward the f ac ts of life gives a tone of fatalism to nearly every poem

h s a in the volume . T e interest hown in n ture and

a is c s a s an d s a hum nity ex lu ively rti tic pecul tive . T he earlier poems of this volume are purely ’ philosophical or symbolic of the poet s own sen sa

s T e Thre Little So n s tion . h e g are somewhat more person al than the pieces whi ch prec ede them " b u t

a s a c even the third , mo t delic te bit of lyri i sm , has not the ring of ordinary human feeling . In the 12 remarkable group of Fig u res the poet identifies his soul with tho se of such various persons as the ’ C c c a s c Emperor of hina , a hild , a ptive hip s ook , and the collec tive person ality of several interac ting

c s a c al c chara ter t a so i entertainment . Into ea h of these minds in turn we are made to enter b y the c l same exquisite art whi h , in the earlier yrics, ’ en ables u s to examine the intimacies of the poet s c c s he I d l own ons iousnes . T yl at the end is a n eo

s c cl assic study of the ame kind , ex ept that , instead

s h as a c s of being tatic , it dram ti motion , thu pointing ’ H a s a s a the reader on to ofm nn th l pl ys. We have still to mention the Pro lo g u es an d Ad d e e -o -M o rn n r ss s u i . T s g hese , though in a omewhat

f c di ferent vein , are wonderfully fas in ating poems. T he prologue to An ato l is a deli c ious piece of atmos

e re l e c s s ph . With the following pro ogu it on titute ,

c a s as we h ave indi ted , a good expo ition of the ’ s c s : a author s arti ti purpo e n mely , to present the

as truth , but only under the m k of beauty . In this

H s ff s c z point ofmann thal di er from Arthur S hnit ler , author of the short re alistic plays grouped under the

An o c z is title at l. S hnit ler , though he what we

ca s c l s s s se might ll a ele tive rea ist , let u at time e the ss c ugline of life pretty learly .

T c Mi e rz e r ributes to the two a tors , tt rw u and

Millle r a s a , show how intensely Hofm nn th l feels

is s the identity of soul and body . H e , to be ure ,

s ac s thinking only of the oul of the given tor , but thi soul has the gift of so informing an d transforming 13 the body it inhabits th at the two cannot be thought

s a l as l of as epar te , but on y ming ed in varying pro

s T h o n o s s portion . e poem B cklin i of cour e the as s s finest of the five , showing it doe how the pirit “ ” of a true artist c an adorn the image of the world for us and c an thus live in the added charm which it flin s s b g over the vi i le forms of nature .

V

"e “ Professor Se ib e rth w rite s : As a thinker H o f m an n sthal is not in any definite sense a did ac tic or c m e philosophi al poet . T he t ru e poet is te p ram e n tally incapable and impatient o f close systematic ” f c thinking . Without stopping urther to onfute the ab surdity of the second statement than by men

n n M tio i g the names of D ante , ilton , Shelley and a Goethe , we may well examine the v lidity of the

‘ s n o te d‘ P ss P s fir t . A l rofe or of hilo ophy , who is unusually well acquainted with modern literature , says that Hofmannsthal is the greatest living philo E T s sophic poet in urope . his raises a que tion we can not afford to p ass over . Of course it is possible for many readers not interested in pure philosophy to enjoy Hofm anns ’ a thal s poe try simply as poetry, but a little examin tion will convince most of them that the poet has a - c s remarkably well defin e d onception of the univer e . “ ” In the first place , he thinks unity very strongly, i Ge m an C lass cs v o l. X . 484. r , VII , p

Ed a in o f th e Un iv si o f e n n s lvan ia. TPro f . g r S ger er ty P y

We m ay here take it that the Adep t is none other ’ a s l as a l than m n s ou ( or , Bl ke wou d h ave said , a a s l l im gin tion ), the upposed y etern a power that c omes into the hum an mind and performs all m anner

a ls a of m rve , overle ping the material b ound aries of ” s c T s a s M a c a as time and pa e . hi Gre te t gi i n , or ( “ ” i c all b c o m he s later ed ) C heru , is the medium of i i n D l He m u n cat o between ivinity and Morta ity . may be an alyz ed after the Hegeli an fashion into the

c c s n a antitheti al oncepts of pirit a d m tter , with the understanding that these two are in re ality indi

s b H a a as vi i ly united . ofm nn sth l h also undertaken in this poem to solve the problems of time an d s c c pa e , and of appearan e an d reality by assuming all s b e c s c of the e to ondition of our thinking , whi h s therefore the mind , when stimulated by pecial

c n a c . s inspiration , a tr ns end From thi poem it would seem ( Professor Se ib e rth to the contrary n o tw ith standing) th at Hofmannsth al was in a very definite c sense a philo sophi al poet . Similar ideas to those just spoken of m ay be found c s throughout the poems in this volume . Of our e al s so c c an they can not way be learly perceived . I hardly h az ard a guess at what is me ant by Life

o rld- e re i a So ng . W S c t s evidently not me nt to c s u ch onvey more than an elu ive suggestion . S Stuflas D re am s would seem to express an idea

D e e similar to th at of A r am o f th H igh e r M agic . Perh aps the c hild is the link which b inds the dream an d a c c s the moon , s the herub is the link whi h bind 16 T he yon fires afar with mortal life . other poems be can , I think , enjoyed at least as well without the al intrusion of any further an ysis .

VI

In the spring o f 1908 I had the honor of calling

H H at his s R a on err von ofmannsthal hou e in od un .

i o f s H s way life appeared extremely imple , there being a notab le ab senc e of the paraphernalia of

saw lux ury in the rooms I . T here were none of the pic tures or other works o f art whic h a co n n o is sc ur of beauty might be supposed to revel in . It has sinc e occ urred to me that p robably the poet does not c are to have his eyes and mind distrac ted s c by numerou obj e ts . Herr von Hofmannsthal is a well -built man of s middle height with a high , quare forehead , rather e sensuous nos and lips , and very dark hair , m u s c taches and eyes . Without seeming se retive , he managed to reveal almost nothing of himself in our e talk , asking me questions most of th time about

E s a a e the old ngli h dr m . T h only remark he made on himself w as when , in answer to some tribute of “ i s : a z admiration on h s work , he aid I re li e that I write for only about five hundred people in Europe . ’ T hough some of Hofmannsthal s plays have b een very successful on the stage and have run to from c a his s ten to thirty editions, the fa t rem ins that be t i He as work s for the few . does not picture life 17 a m an s s e He the ordin ry ees it or can e it . general

z s a s a i es what he see in n ture and eliminate the det il , s - His like the designer of a tained glass window .

s a c a i intere t in a given ide , s ene or person lity s only for the purpose of arriving at some philosophical cl e l i con usion . T h resu t in h s art is arresting , both l s c ll b e inte lectually and ae theti a y , but cannot dis ’ so ciate d in the reader s mind from a feeling of O s s monotony and ppre sion , a if one were shut up in the darkly beautiful temple to which Hofmannsthal s a T compare the poetry of Stef n George . here is Hi a lack of free air and natural light . s thought ’ far M has , more than atthew Arnold s , the melan l cho y o f the pantheist . But what a master of imagery " Ho w wonder fully this young poet succeeds in conveying the deep dreams of his imagination " His figures of Speech c s show a parti ular fondne s for children , whose eyes seem to him to behold more of mystery than the s H e s power of language can expres . love the c s its stage , be ause there the oul can best show power to transform itself . His outdoor nature is never c Spe ified in any particular country, except that the

Trav l So n s a e g mu t refer to It ly , the favorite setting i c of h s early plays . But though ertain preferences c b are apparent in the figures of spee h , the memora le power and origin ality of the Hofmannsthal simile (which is also a symbol ) can be explained only by genius.

Imagery can always , in some sort , be translated " 18 f c s c verbal eli ity mu t of ourse be largely lost , or at b a re - best u t p rtly created , in a new medium of ex T H a s is s pression . hough ofm nn thal o often thought s s h a of as a tyli t , he s no obtrusive mannerism of H e l f form . obtains arge e fec ts by comparatively

n c s simple a d dire t mean . Style with him is not a

c s trick , but a gift " the mood lothes it elf with the

ss is c n fitting expre ion , that all one a say. As the o s mood is s often somber , the ound of the words is c s s l orre pondingly onorous and fu l of gloomy dignity .

L in es to a Little C hild In the , however , the tone i i o c e t c s na ve and gay , in S i y it is onfused and ani T he o f - i mated . variety verse form s likewise con

de r b e b si a l , marked preference eing given to the

rz r m a c c l a s Italian te a i , whi h is pe u i rly uited to the

a . complex , closely woven qu lity of the thought

c c c a s In on lusion , we must oncede th t Hofmann ’ thal s lyric poetry is a highly spec ial literary phe * “ n m e n o n P s r m m n n b c a o . rofe sor G u a o j e ts th t it is pervaded by an artistic atmosphere acquired by idling in art museums rather th an in immediate ” T o s a c ont act with life . thi we may answer th t there are two opposite definitions of what is meant i sc b by life . It s one thing to de ri e in the manner of an observant traveler the scenes and persons which meet the outward eye " it is another to reveal the soul T o s c o f s to itself . most person the se ond sort arti t l wi l mean very little , but to a few he will give a delight that is almost overpowering. Under the

- Ge a 89 90. rm la ic l X . 2 2 n C ss s, v o . VIII , pp 19 Spell of Hofmannsth al one feels as when listening to the And ante of a mighty symphony written in a

T he l a a his c s a minor key . poet , ike le der in or he tr l c a s his c s l eminen e , domin te audien e in ou , mind and

s c s s body . From u h moment we return to the use of ordin ary life in surprise at how deeply we were ’ c s rapt b y the poten y of the ma ter s art .

20

T he spring wind is gliding i M d boughs that are bare , In his heart hiding

an d Strange things rare .

T hrough the reviving Alleys an d meadows His breath is driving

- Wraith like shadows .

A scent without name He bears in his flight From whence he came

- Since yester night . Erl b n i A VISION [ e s". A Visio n

T he valley with a silver-grayish mist ’ m m Of twilight was o e rb ri e d, as when the moon

Filters through clouds . And yet it was not night . In the silver-grayish mist of yon dark valley My twilight-Shim mering thoughts were wholly blended " Softly I sank into the shifting depths

a e — s Of that transp rent s a and left thi life . What wondrous flowers bloomed about me there — With d arkly glowing chalices l dim thickets

s s s s s - T ran fu ed with tream of reddi h yellow light ,

z Warm as a glowing topa . And the vale Was filled with deep vibrating harmony

a c T Of mel ncholy musi . hen I knew T ho c — hough w , I omprehend not yet I knew T hat this w as D eath " D eath was transformed to c musi , M ightily yearning, sweet , and darkly glowing ,

Akin to deepest melancholy . Yet Ho w strange "a sort of homesickness for life

Wept silently within my soul , it wept A s one may weep when on a towering ship , T hat drives toward evening with gigantic sails he - Across t dark blue waves , he passes by He A town , his native town . sees before him T h s e street , he hears the fountains gush , he breathes The scent o f lil ac-bushes " on the bank A Visi o n H e sees himself a child with childish eyes

Anx ious and almost weeping , sees a light T hrough the wide window burning in his room . ss But the huge ve el bears him ever on , ’ Silently spee ding o er the dark-blue waves With giant sails of strangely T R E N AV L SO G .

a l W ter p unges to devour us , R c s c s o k would ru h with rolling leap , Strong-winged birds to overpower us H aunt our path with threatening sweep .

But beneath u s lies a land

a Where , in geless lakes reflected , R ipened fruits forever glow . Marble fount and statue stand l D eep in groves of b oom protected ,

z An d th e gentle bree e s blow. HE T T WO .

H e r hand bore well the cup to him — H e r cheek an d mouth were like its rim o S lightly , surely , too , she stepped ’ T r hat not a drop the rim o e lept .

As light and firm to o w as his hand " His fiery mount but fresh from pasture l a At one impu sive , e sy gesture

Stood quivering where he bade it stand .

Yet it b efell th at when his hand l Wou d take from hers the drink unwasted , T he fe at for both was overmuch o For both s trembled at the touch ,

T hat fingers failed , and on the sand c T he pre ious wine rolled down untasted . — N - LIFE SO G . Life So ng

c c On pea o k , lamb and eagle His youthful lordship brave May waste the ointment regal ’ l An o d dead woman gave . h u stre am e th T e dead , whose flight p ’ - le am e th And o er the tree tops g , s de em e Naught more are the e , he th , T ’ han dancers robes that wave .

He goes as if no j ustling ’ t r a e n e Behind e er h e t th . ’ He smiles whene er the rustling ’ Of Life s robe whispers : D eath " For every place delights him s And every door invite him , Each passion -wave inc ites him

AS lone he wandereth .

l - When wi d bee swarms are winging , His Soul pursues in play " T he dolphins with their singing his Upbear him on way . s All countries are hi dwelling , But soon with hand compelling s A dark stream , ever welling , ’ - da Will bound his shepherd s y.

c c On pea o k , lamb and eagle My lord with laughter brave Life -S071g May waste the ointment regal l An o d de ad woman gave , s s l On friend a mi e bestowing, ’ T hrough Life s fair garden going

T oward dim gulfs , all unknowing,

From which no can save .

- — EC RET Wo rld Se cre t WORLD S .

T he deep well knows it certainly " l s l Once a l things else were deep and ti l ,

And all then knew their fill .

’ - c Like master words a hild lisps o er , From mouth to mouth the tale doth flit

c m re h de t And no one o p e n h it .

T he deep well knows it certainly "

m a And leaning there a n would know , s o But ri ing up , would lose it s ,

a . Would wildly t lk , and make a song ’ a as c O er this d rk mirror , it hanced ,

A child leant down and w as entranced .

And grew , and knew itself no more , And was a woman " then lo ve came — And who the gifts of love can name , And all the knowledge love bestows In kisses was she deeply ware

- in Of dim div éd memories rare .

s Within our word it lieth hid , ’ ’ AS beggars feet o er sand might pace ’ s s - Above a jewel re ting place .

T he deep well knows it certainly " s Once in this lore were all men wi e , No w but a vague dream , circling , flies . 32 OF T HE OUT WARD LIFE [Ballade des

Au ssere n L e he n s"

z And children , that with deep unkn owing ga e

Look out upon the world , grow u p and die ,

And all men travel on their several ways .

And sweet fruits after bitter follow nigh , T ill like dead birds b y night they fall to ground w ax And in few days rotten where they lie .

l And still the wind b ows , and we hear the sound

Of words and utter them with idle breath , s And joy we feel and wearine s profound .

And roads there are where one e n co u n te re th l C ities, with trees and lights in g ittering range "

s a Some thre atening, some withered a in de th .

c Why are these built , ea h to the other strange

In form and fashion , though no few they be " An d why do tears and laughter interchange "

are c u s What these hildish toys to , since we

- a Are full grown men , who live ap rt each one And roam without a goal unceasingly "

What boots it much to have seen the while we roam

e E s . And yet he say th much , who vening aith A word whence deep an d so lemn meanings run

Like heavy honey from the hollow comb . M r n n M u tab ili ty OF UT ABILIT Y [ Te z i e I ".

Still , still upon my che c k I feel their breath Ho w c an it be th at days whic h se em so near " Are gone , forever gone , and lost in death

T s is a hi a thing th t none may rightly grasp , A thing too dreadful for the trivial tear : T hat all things glide away from out our cl asp

s And that thi I , unchecked by years, has come s Acros into me from a little child ,

ca c Like an un nny reature , strangely dumb "

s — T hat I existed centurie past somewhere , T hat ancestors on whom the earth is piled

a Are yet as close to me as my very h ir ,

As much a part of me as my very hair . T n D EAT H [ e rz i e n II ". D e ath

s " s What hours are tho e when , hiningly outspread ,

T he ocean lures us , and we lightly learn e s T h olemn lore of death , and feel no dread

A s S little girl , whose great eyes seem to yearn ,

e a c s - Girls that hav p llid heek and limbs a cold , Some evening look far out and do not turn

- z T heir feebly smiling ga e , for , loosing hold s - s e Upon their lumber drunken limb , th floo d Of life glides over into grass and wold "

Or as a saint pours out her martyr blood . “ Su c h Stuf SUC H ST UFF AS D REAMS [ T e rz in e n as D re a m s s a i i s a b e Such tuff s dream ng we mort ls , And every dream doth open wide its eyes

s a l c b Like a m l hild eneath a cherry tree ,

Above whose to p ac ross the deepening skies

T he l - i s pale fu l moon emerges for t flight .

No t s o a otherwi e than s our dreams rise .

T as c a s hey live a hild th t laughs , and to the ight Appear no smaller on their curving w ay - a T h an the full moon aw kening on the night .

i s Our inmost self s open to their way , As spirit hands in sealed chambers gleam

T hey dwell in us and have their life alway .

And three are one : the man , the thing , the dream . INT ERD EPEND ENC E [M an che Fre ilich

Many men no doub t must die b elow-decks Where the he avy o ars of the ship are plying " Others dwell ab ove b eside the tiller

K b s l s - now the flight of ird and the ore of tar lands .

Many with weighted limbs must lie forever At the roots of the labyrinthine life - tree " Others have their place appointed

b l s With the Si y s, the queens of vi ion , Where they b ide as in seats ac customed

Head untroubled and hand unburdened .

Yet from yonder lives a shadow falleth s On the h appier lives of the other , And the light unto the he avy AS to air an d earth are fettered

From the weariness of forgotten peoples

a l b a l s V inly wou d I li er te mine eye id , Or would keep my startled soul at distance l - From the si ent fall of far o ff planets.

Ma a s are ny f te with mine interwoven ,

S b l a s b u t y mingled flow the thre d of eing, And my share in it is more than merely ’ - One life s narrow flame or thin toned lyre . E M A D REAM OF T HE HIGH R AGIC .

l a s Far king ier th n a chain of pearls both eem , l - b And bo d as morning misted ocean lue ,

c — — as Su h as methought then w the mighty dream .

he s ass T door of gl were wide , the wind went

through .

c s a In a pavilion lo e to e rth I slept ,

z And through four open doors the bree es flew .

And first a troop of bridled horses swept

s c Before my bed , and hound too in a pa k . But with a sudden gesture the Adept

T s s — hat Greate t , Fir t Magician drew me back

U c nto a wall , between the whi h and me

S a wayed his proud head , the long h ir kingly black .

And straight no wall behind him seemed to be " But cliffs an d darkling ocean did uprear

his s a e e . Behind hand , and meadow f ir to s

H e D bent him down and drew the eep more near . e l H bent him lower , and a ong the ground H s i fingers played as though it water were .

O a a But the cle ar drops, to p ls l rge and round i a C hanging within h s hands, in m ny a ring

a Were Spilled again to e rth with tuneful sound .

T hen to the nearest c liff with easy swing 3 8

REE TT E N Li ttle T H LI L SO GS. So ngs I

’ He ard st not thou the m u 5 1c 5 tone " As around thy house it crept

N w as a ight heavy , no st r shone , ’ as Yet tw I that there alone ,

Singing soft , my vigil kept .

c What my tongue ould tell , I spoke “ T ” hou my All , my dearest , thou "

In the east the daylight broke , H ome my heavy way I took ,

And my lips are Silent now.

I I .

H s sk eavy wa the y and drear , an d Lonely we full of fear ,

Far apart were pining . ’ is But t now no longer so ,

z s Back and forth the bree e flow, And the whole wide earth is shining

Like to glass , below .

e Stars meanwhile have climb d aloft , s On our cheeks they parkle soft ,

Wise with sympathy .

Yet more glory heaven revealeth ,

T ill through u s deep longing stealeth , - cs Spell bound in an e tasy ,

Ea fe e e ch the breath of other l th . 40 II I .

: My mistress said I hold thee not , No promise hast thou sworn . e T h sons of men should not be bound , o f T aith they are not born .

T hen go what way thou wilt , my friend ,

a l Beholding many and , s And rest thy elf in many a bed , ’ s T ake many a woman hand .

“ b If itter wines no longer please , D rink thou of malmsey then " s And if my mouth eems yet more sweet , C ” ome back to me agen .

N MAN IN HE ND C T H E YOU G T LA S APE . M an in L an dscape Gardeners were laying out their plants in beds

And beggars, beggars wandered everywhere

c c s an d b c c With rut he , la k pat hes on their eyes " But some with harps too and with fresh -plucked

flo w e rs Ah the strong scent of the weak flowers in spring "

T he naked trees left all things in full View " T here was the riv er and the market-town c And many hildren playing by the ponds. ’ a c s Twas through this l nds ape that he lowly went , Feeling its power and knowing in himself ’ T hat he had part in the world s destiny .

e c — He sought thos hildren , strangers though they

vve re , Ready to bring the treasures of new life

l s c a s In wi ling ervi e to foreign thre hold . c c s his s He re koned not the ri he of oul ,

e c all he T h an ient p aths , and t memories Of vanished h ands an d spirits now transformed

l a As of more va ue th n an idle toy .

T he perfume of the flowers told him but — Of unknown Beauty , and he softly breathed T he his s April air , oul unvexed by longing : ’T was joy enough for him that he might serve . T HE H P ’ C K C PT E S I S OO , A A IV , SINGS

Many we ary weeks div ide me

- From my folk , unlucky sinner " ’ s s Wor e , howe er my foe deride me , S l s c ti l I needs mu t ook their dinner .

l - l a s Love y purple g e ming fi hes ,

Brought me living from the water , Stare with failing eyes reproachful " l l Gent e beasts, too , I must s aughter .

l s s Gent e beast , too , I mu t slaughter , s l c l Fruit mu t pee or u t in s ices, And for those who hate and scorn me

s s c " Mu t compound the fiery pi es.

a While I work bene th the lantern , M d s i the sweet , sharp odor reeling, T houghts of freedom rouse within me Mighty throb s of savage feeling "

M any weary weeks divide me — c " From my folk , unlu ky sinner ’ s Worse , howe er my foe deride me , c Still I need s must ook their dinner .

L o ngi ng I stroll across the churchyard and I se e T he s a la fo r Su m m e r flower w ving in the dim st light , No P s c O s other re en e there ppres es me .

Beneath the dusky haz el -branches near

b s an d l c A rooklet flow , ike a hild , I h ark , “ ” s c : s is a But no u h words as T hi vain I he r .

T hen hastily undressing , in I Spring .

I l a an d " has ift my he d , lo the moon come c ff While in the urrent I was bu eting .

E a ic - merging h lf from out the e cold Stream ,

a I choose a pebble , throw it landw rd far , ’ l b And stand there in the moonlight s pa lid eam .

Ac ro ss the moon -bathed summer-land doth fall My shadow " is it this that n o dde th here " So sad behind the pillow on the wall

s d an d So a dreary , he that in the dim

a a c c First light of d wn st nds rou hing , while he knows T hat Something lies in wait for me and him " — H e whom the rough wind never leaves at rest s c T his March , nor let him on e lie down at night c " In peace , his bla k hands folded on his breast

’ - Ah , where s July and where the summer land " E H D LINES T O A LIT T L C IL .

T hy pink little feet have been fashioned T o seek for the Kingdom of Sunshine :

are T he doors of that kingdom open . T he air these thousands of years - s On the silent tree top is hanging , The inexhaustible ocean

Forever and ever abides. By the rim of the ancient forest Wilt thou from thy wooden bowl give T he frog to drink of thy milk "

A merry meal that "yea , almost T he stars will fall into the bowl . By the rim of the anc ient ocean T hou soon wilt find thee a playmate , T he dolphin , friendly and good . ’ He ll spring on dry land at thy coming

And , if he be often away , T he ancient winds will attend thee T o quiet the rising tears . And still in the Kingdom of Sunshine T he golden heroic o ld days

Forever and ever abide . ’ T was the su n with his secret might He fashioned thy little pink feet T o enter his timeless dominions . T HE EMPEROR OF C HINA SPEAKS

In the very midst of all things

o n H Here dwell I , the S of eaven .

s a s s And my wive , my w ving fore t , All my beasts and pools unnumbered

s l n T hese the inmo t wa l e clo se th .

Underne ath , my ancestors

e n to m béd a s Lie with their we pon ,

s With their crown upon their foreheads,

c s l b e e e m e All and ea h a wel s th , So they dwell there in the vaults . Far into the world below me

R c ings the e ho of my footstep . Silent from the b anks of greensward Verd ant p illows for my feet Glide the well -apportioned rivers

E s a s an d a tw rd , we tward , south northward , T o refresh the thirsty garden

Water my wide realm , the Earth . ’ s s Fir t my bea ts dark eyes they mirror , ’ And reflec t the bird s bright pinions " T s c s hen out ide, the painted itie , s an l Gloomy wall d t ang ed forests,

Faces too of many peoples . l T hese my nobles , dwel ing round me — Like the stars, they all are known by

s c a Name whi h I myself h ve given , Names ac cording to the hour When each one drew near to me " 50 s a And their wive I lso gave them , c So that for their troops of hildren ,

ll a A the noblest of the e rth ,

a I c reated form and fe ture ,

is AS a gardener for h flowers . But between the walls beyond them

P l s l a are eop e dwe l th t my soldiers ,

l s a Peop e too th t are my farmers.

alls an d s T hen new w , after the e

an d ss s Yon subdued va al people , Other folk of blood more sluggish T o c s m the o ean , the la t ra part

T hat surrounds my realm and me . R ND M T HER AND R Gra n dm o the r G A O G AND SON. a n d F r i l a thy m nd , thy feet a one Gra n dso n E a m nter t y door . ’ a kn st a " S y, how o w thou th t so soon ” C s hild , I gue s at more .

“ What " Ho w sweetly she just now ” c Sho ked thy sweet repose .

" s Strange how like her elf wert thou ,

N - z odding, half a do e .

c Na On e . y, her I now, in truth ,

c Se e in happy tran e .

C b re athe s hild , thou t now my youth

c a c Ba k with word and gl n e .

Maidenhood with glowing tide l Wel s in me anew ,

T l s i l my Spirit open wide .

Y s e , I feel it , too .

’ I m by thee , and yet away On some distant star In a waking tranc e I sway

No w a far from ne r to .

When unto thy grandfather

All a my life I g ve , T houghts did not so wildly whir ” As e b side my grave . 52 " Grave "why speakest thou o f that Gran dm o the r Far the grave from thee " a n d s s c With thy grand on do t thou hat , Gra n dso n a ll Sitting pe cefu y .

C s lear thine eye and full of light , ’ F c s resh thy heek red hue . “ ’ lac s Saw st thou not where , b k a night , Something past us flew "”

’ Something tis that like a dream H as olds my loving bre t . Strangely too this room doth seem

Sultry and oppressed .

’ ’ e l st — tis Fe thou Yea , bright above , s Slower throb my heart .

ki e e When thou ss st thy tru love , a From the world ap rt ,

e Feel it still , and think th while , But without dismay : ’ With a young , young maiden s smile ” D ying here I lay . SOC IET Y .

Sin g e r

Listeners , if ye be but young , Mighty is the power of song "

can sad a It make you or g y, S wift it bears the soul away .

Stran g er

Peoples live both far and near "

a s Wh t I how , ye gladly hear No t the heart of many lands , ’ But , as twere , the play of hands .

Yo u n g M an Much that wakens joy in me T c hrough the fluttering s ene weaved , But so phantom-shadowy : ’ H a — m c ppy I as one de eived .

Po e t

What a soft reflec ted tone Glimmers here from guest to guest E c as a h one , feeling alone , s Feels his being in the re t .

Pain te r

As between the candles bright So between the faces white Se e the fluttering laughter play " 54

“ ” PROLOGUE T O T HE BOOK An atal

“ ANAT OL .

T s bo - relli ed gateways, x wood hedges ,

a a s C o ts of rm with gilding faded , Sphinxes glimmering through the thicket No w the grinding doors are opened . c s c With cas ade that no more tri kle , s s T riton weary of their pouting ,

c c c a All ro o o , dusty , h rming, ’ T is Vienna in the time of C - - analetto , Seventeen and Sixty . an d he Green brown t quiet pools are , t s Se in mooth white rims of marble , — And within these n 1x1e m i rrors P s s lay the fi he , gold and Silver On the turf so smoothly shaven sl Lie the ender , even shadows Of the graceful oleanders " c c Bran hes ar h to form a dome here , Branches b ending form a niche there stifll -c a For the y rven couples , s Loving heroine and heroes . T riple dolphins pour their murmuring Floods into a c onc h -shell b asin Scent-exhaling c hestnut blossoms

Whir and glimmer , downward gliding , are And drowned within the basin . From behind a box -woo d rampart s C Fiddle , larinets are sounding “ ” An ato l And the notes appear to gush from Yonder graceful cupid -figu re s

si ac As they t there on the terr e ,

iddlin - a F g , twining flower g rland s, T hey themselves enwre athed in flowers Which out -stream from marble vases

al - flo w e rs s an d l W l , j e samine ilacs On the terrac e too b etween them i c s S t the fine oquetti h ladies , And the purple Monsignori s l c In the grass, on i ken ushions s At their feet , and on the tairway Sit the gallants and abbati Others of them lift more ladies s From the depth of perfumed litters .

Lights are breaking through the branches , c l ss Fli kering on the go den tre es , - s Shining on the gay hued cu hions ,

Gliding over grass and pebbles , ’ Gliding o er the scaffold structure a We in haste h ve thrown together . Vines that clamb er upward on it C l s - b over al the fre h hewn tim er ,

b c c And etween them , ri h in olor ,

l c a F utter tapestries and rpets, Shepherd -sc enes right boldly woven ’ From Watte au s delicious patterns

With an arbor for our stage then ,

n - Summer su instead of fo ot lights ,

We are playing here at acting, 60 l a s P aying pl ys our elves have written , An ato l d Immature and sa and tender , ’ l s C omedies of our sou s pas ion ,

n Ebb a d flood of our emotions, s b s Ugly fact in pretty sym ol , l - s s l We l turned phra e , g owing pictures , H l idden fee ing half suggested , Episodes of tragic me aning ll Some , not a , are listening to them , Some are eating i ces many T o o are whispering choice gallé n trie s In the tepid b reez e are c radled

a s Whitely exquisite carn tion ,

Like white moths th at swarm and flutter , And a lap -dog of Bologna

s s s ac c Bark a toni hed at a pe o k . K FO R A SIMILAR BOO .

" T h s a Attend , attend e pre ent time is str nge ,

a c And str nge the hildren of the time : Ourselves . ’ H e th at s too muc h enamored of the sweet

E s u s b i w a ndure not , for itter s our y,

An d a odd the entert inment we afford . “ a a Se t up little st ge here in the room , H T h a e d ughter of the house would give a play . ’ T hink you she ll trip out as a little Muse

s c s c With loo e lo k and bare arms, in whi h will rest A not-too -heavy tinsel -gilded lyre "

s Or as a shepherde s , with a white lamb

On a blue silken cord , about her lips A smile as sweet- insipid as the rhymes " In pastoral plays T hen up " and get you gone " c D epart , I beg you , if you look for su h " ’ You ll not endure u s " we are otherwise . For we have made a play from out the life

l an d l c We ive , ming ed with our omedy Our truth keeps ever gliding in an d out ’ As with a cunning juggler s hollow c ups

T e a " h more you look t them , the more deceived We c u t o fflittle shreds of our own selves H o w T o dress the puppets. the inner meanings

n c an d s ar ( O whi h , it may be , smiles tear e hung Like dew- drops on a bush with shaggy leaves )

M s s z s u t hudder , when they recogni e them elves E l nwoven through this play of ours , ha f painted , s l s s And half ti l like themselves , but o e tranged

N M EM R T HE C T R Mitte rwur z e r I O Y OF A O , MIT T ERW RZER U .

’ H l a c a l all c e went out ike nd e at on e . We wore a pallor on our faces like he l - T hue reflected from a ightning flash .

H e an d all fell " with him the puppets fell , Into whose veins this m an had poured the blood his s l l Of own being " i ent y they died ,

la a c And where he y, heap of orpses lay , ’ Strewn in disorder : here a toper s knee ’ s D o n P l Pressing a king eye , yonder hi ippe

a as a his c With C alib n nightm re on ne k ,

D ead every one .

At last we knew him who was lost to us T he c l " onj urer , the mighty, mighty jugg er And from our houses then we sallied forth

a And all beg n to speak of who he w as. w " Ah , but who was he , and who as he not

as From one m k he would creep into another , ’ ’ a s s s Spring from the f ther body to the on ,

c . And , like to garments, hange the forms he wore

s c c s b a With words, whi h he ould wing a out so f st

a sa la s T h t no one w the glitter of their b de , H e cu t himself in pieces : T his one was

P a erhaps Iago , and the other h lf

Would take the part of some sweet fool or dreamer . i c For h s whole body was a magi veil , 64 Within the folds of which were dwelling all things : M itte rwur z e r H e could fetch beasts from out that self of his

a s s A lion , a sheep , devil of tupidne s ,

And one of horror , this and yonder man ,

s a And you and me . A ort of inw rd fate i l b Se t h s who e ody glowing through and through ,

c l an d s Like oa s it glowed , he dwelt in the mid t s And looked on us , who only live in hou es , With the impenetrable alien look

Of the salamander , he th at lives in fire .

is He w as a savage king . About h hips H e c arried like a string of colored shells

T he an d ll u truth lies of a s other folk . s his l s In those deep eye of were g as ed our dreams , T c ss as c s sh s hat flew a ro , flo k of y wild bird

a l Are im ged in the mirror of a ake .

H c s ere he would ome , even to this very pot ’ h an d as T s W ere I now Stand , in riton horn T he c c lamor of the ocean is ontained , So were in him the voices of all life H c ll he w as e be ame ta . T whole wood now he ,

H e w c s as the ountry that the road ran through . ’ With eyes like children s we would sit an d gaz e l In wonder up at him , as from the s ope Of a gigantic mountain " in his mouth T c here w as a gulf , wherein the o ean surged .

For there w as in him something that would open Many a door and fly through many a room : ‘ he c s M itte rwurz e r T for e of Life w a in him , this it was . And over him the force of D e ath prevailed " For D eath blew out the eyes whose inmost core c v s Was o ered with mysterious hieroglyph ,

s l a c s It trang ed in the throat a thous nd voi e , And killed the b ody whic h through every limb

l as Was aden down with life yet unborn .

’ i Twas here he stood . When will h s like stand here A spirit pe0p1ing all the labyrinth s s Of the human brea t with form it comprehends , s s And opening it anew to fear ome joy .

s a T ho e which he g ve we can no longer keep , We hear his name and stare with vague affright D own the abyss that swallowed them from sight . F HE C T R O N T HE D EAT H O T A O , M u lle r ER HERMANN MULL .

T his house and we are servants to an art

Whic h turns each griefto some refreshing draught ,

s And gives even D e ath a reli h .

l b s s And he whom we would ca l efore our oul , H e w as so strong "his body so endowed

a a as s With power of ch nge th t, it eemed , no net Was able to contain him " What a being "

e l s s H made himse f tran p arent , let the white O f his eye betray the utmost secrec ies

T hat Slumbered there within him , and he breathed T he Spirits of imaginary creatures Into himself like smoke an d sent them through d His pores again into the light O f ay. H e would transform himsel f , and out would well

b u so Strange beings , hardly human , t living he s s T eye aid ye to them , although before ’ It ne er had seen the like : one little twinkle , One fetc h of the breath would prove that such

things were , s l And ti l might steam from out our mother earth .

- And men " Ah , c lose your e ye lids and think back "

N l a ow sp endid b odies , where one l st least spark c Of soul gleams but in the orner of an eye , N s s s o w ouls that build a body round them elves,

l s a s : On y to erve them , transparent hrine C l c s ommonp a e men , and gloomy men , and king , Me n a c l a c Mu lle r th t ou d m ke you laugh , ould make yo u shudder

He l s wou d transform him elf , and there they stood .

But when the play was quenched and when the c urtain Silently like a p ainted eye -lid fell

a z a Across the cavern of de d wi rdry ,

a And he himself went forth , a st ge w as then Opened before him in such wise it seemed

l s s a A staring, ever s eeple s eye , a t ge On which no pitying c urtain ever sinks

he - s a R T terror striking t ge , eality . T here all his arts of transformation fell i Away from him , and h s poor spirit went

c Unveiled and ould but see through childish eyes .

a T here he , unknowing how it c me about , Was caught in an inexorable play "

E s a ach step entangled wor e than th t before , And each inanimate thing w as cruel toward him

he c l T countenan e of night conspired as we l ,

T h c s l s e wind on pired , the gent e wind of pring ,

ll a ain t " No c s s And a g s him t for ommon oul , For delicate souls it is th at darkling Fate

s c da Set nooses of this sort . T hen ame a y

H e s rai ed himself , and his tormented eye

W s a flooded with foreboding and with dream ,

' as he av c a And with firm gr p , like to a y lo k He threw life o ff from him and did not heed 68 ’ More than the dust upon his mantle s hem M u lle r

c T he forms that now were rumbled into n aught .

l s c T hink on y thu of him . Let reverent musi b s C all him efore you , dimly gue s his fate , c s c s And let me ea e , for I have rea hed the bound s Where awe hatters the word within my mouth . Bo ckli n FO R A C OMMEMORAT ION O N T HE D E T H F RN D K N A O A OL BOC LI .

[D u rin g the last b ars o f the m u sic the sp e ake r o fthe

lo u e advan c e h t rc h-he re n pro g s, is o a rs fo llo wi g . Th e

s eak e r is a o u th dr ssed n th n e tian t p y e i e Ve s yle , all

n b lack a a m o u rn e r i , s . "

M s " No w is usic, be ilent the scene mine ,

l s And now will I lament , as we l I hould " In these my years the sap of youth runs strong

Within , and he whose statue looks on me

s b e l véd Was to my pirit a o friend .

s c w s And of u h favor a I sore in need , For gloom oppresses much in these my years "

as s s c And the wan , a happy wimming reature , Kisses its nourishment from out the white

a s s o And dripping h nd of naiad , even s I bent me in dark hours above his hands

T o s a take the food my oul would h ve : deep dream . Shall I adorn thy statue but with flowers " ’ T hou did st adorn the image o f the world ’ c s c For me , and did st enhan e with u h a glow

e ss s s T h loveline of every blo soming pray ,

I threw myself all drunken on the earth , c I ried exultant , feeling how for me Shining-limbed Nature let her robe sink down " " Harken to me , my friend I will not bid Heralds go out and trumpet forth thy n ame

T o the four winds , as though a king were dead 70

Let now a play reveal T he o u a mirror of y d rk and anxious hour , And do ye learn from sh adowy lips wh at ’ Is the great master s melancholy dower "

ID YLL AFTER AN O LD VASE PAI NTI NG : A C ENTAU R ON T H E RR D ED M BANK O F A RIVER C A YI NG A WOU N WO AN .

t e n n c [ Th e sc e n e is in th e s yl o f a pai ti g by B o klin .

h n d th e o e n h e An o p e n villag e sm ithy . B e i h u s i t

e T e m th t h o r h b o n r m . h a ac kg r u d, a st a s i is is w k , is w ife lean s idly in th e do o rway which leads fro m th e

t n e h e o o e sm i hy i to th e h o us . O n t fl r a littl fair

e hair d c hild is playing with a tam e crab . I n a n ich e

is a kin o w n o m e resh s an d c es o s f i e , s f fig , sli f

m n e lo . "

TH E SMI TH

Where do your musing thoughts betake themselves ,

s al s While ilently , with hostile air mo t

c And lightly twit hing lips, you watch my toil "

THE WOMAN

sat s - I often in a garden , blo som white , ’ T z s urning my ga e upon my father work , ’ e c l s c s s T h ome y potter raft , a on the di k ,

T a l b l h t , humming , whir ed , a no e form would

In quiet growth like to a tender flower ,

c l s With the ool g int of ivory . T hen to thi

He se t a handle with acanthus leaves .

- a An olive or acanthus g rland too ,

- a D ark red , went round to orn ment the rim . T he body he enlivened with a row ’ H H - O the ours, the overing Life outpouring Ones.

e s P a H wrought the wondrou form of h ae dr , f aint

c a c c With longing , stret hed upon her roy l ou h "

E s a And ro fluttering bove her there ,

E s a ll s ro th t fi ed her limb with sweetest pain . H e loved to decorate a mighty j ug

a c c l With b c hi revelry , where purp e must ’ l s m n d s a Wou d purt beneath the m a n ked foot , And all the air w as filled with to ssing hair

s And waving of the thyrsu , held aloft . On mortuary urns Persephone

Was c s pi tured , with her reddened soulles eyes ,

s l s And poppie , flowers of forgetfu nes ,

T c ss s wined in her sa red tre es, while he trod T he - s life obliviou fields of asphodel . ’ all I d never end , were I to tell of

T he s godlike beings , in who e lovely life ,

— a c s w Living se ond time what there I a , In all their fear and hatred an d desire And strange adventures of whatever sort

had b c I also my Share , though u t a hild .

T h b o f s a e reath their emotion , h lf divined ,

T c s -s s ou hed on the deepe t harp tring of my soul , So that at times methought that I in sleep H ad wandered through the dark-hid mysteries

o s s . Of Jy and Grief with open , con ciou eye ’ Hence , though I m now returned to sunlight , still l My thoughts are mindful of that other ife , a Making of me a str nger , one Shut out

Here in the world of healthful living air . 76 TH E SMI TH

l s c s s Overmuc h id ene s onfu ed , methink , T he sen se of being in the fanciful - T ac s And dream delighted c hild . here l ked be ides T he high respec t whic h wisely separates T hings fit for gods alone from those which gods

l s s l A low to mortal . T hi did Seme e ,

she . H e r mad wish granted , feel as expired ’ a a c a Le arn to revere your husb nd s h ndi r ft , Born of the entrails of all-mothering Earth

a - Which , h ving first subdued the hundred armed s Unfettered fl ame , doe deft and mighty work .

TH E WOMAN

o c is T wat h the flame , that lure ever new ,

T he changeful , with its hot bewildering breath .

TH E SMI TH

Rather rejoice to gaz e upon the work " ’ T he s " s weapon , look the acred plough s hard blade , T his axe that shapes the tree trunks for our house .

o s s a c s s S doe the mith make th t whi h make all el e . Where pungent upturned furrows drink the seeds l s s And yel ow wheat against the ickle flow , Where through still branches toward the startled deer T he i s arrow whirs and strikes into t neck , s - Where the hard hor e hoofs, thudding , Spurn the dust s l b an d And rapid wheel ro l etween town town , And where with ringing blade the strife of men Reveals the manhood that should live in song : T hus I work on and hold the world thus b ound ’ b c s With tokens of my work , e au e tis good .

Pau [ se . "

TH E WOMAN

e I s e a centaur coming , young he is ,

A beauteous god , methinks , though half a beast " b H e leaves the wood and trots along the ank .

THE CENTAUR

H e has in his han d a s ear w hich h e ho lds [ p , to ward th e sm ith "

May my dull weapon here find remedy " And a new point to suit its weight Reply "

THE SMI TH

’

o u . I ve seen your like before , but never y

THE C ENTAUR

For the first time now has my course b een lured

Into your village b y the need you know of .

TH E SMI TH

’ D n T will soon be satisfied . o you , mea while , ’ r If you would win this woman s g atitude , 78

I dyll TH E SM I TH

T he - c a wood born reatures know not Sh me or faith ,

an d Which learn to long for to guard the house .

THE WOMAN

did c a " Say, you h nce to hear the flute of Pan

THE C ENTAUR

a a an In deep v lley it was gr ted me . ’ Borne from the cliff s edge on the sultry wind

s c Of evening , eerie note ame floating down , D eeply disturb i ng as the Stress comb ined Of all deep things th at tremb le through the soul " It w as as if my self w as whirled away

T a - hrough myri d Shifting moods of drunkenness .

THE SMI TH

Forbidden things leave rather undescribed "

THE WOMAN

N — a s " ay, let him Wh t more sweetly tirs the soul

THE SMI TH

’ i l s T s ife matures the pul ing of the heart ,

l la l l a As ripened fruit wi l g d y e ve the twig . And to no other shuddering are we born T han fate breathes o ’er the surface of our 80 TH E C ENTAUR Would you know nothing of the wondrous art

c s u se m an c Whi h the god , O beneath your ra e , Of mounting in the storm to other times " A l s dolphin sp ashing in the primal wet , Or c ircling through the air with eagle-joy " the Friend , you know little of world , methinks .

THE SMI TH

I know the whole , who know my proper sphere , s I hun the measureless , desiring not T o cu p the fleeting wave with hollow hand . Know first the brook that roc ked your c radle " know

su n s Yon tree , with fruit the make ripe for you , — Whence tepid perfume l aden sh adows pour " — T he ss as c . cool green gra , you trod it a hild c l Your sire walked there , with gently hil ing blood "

a s Your Sweetheart too , bene th whose tep welled up

T he scented violets, nestling at her feet . Know too the house where you shall live an d die "

T hen reverently know yourself , your work . l e c an In this there wi l be mor than you grasp . ’ ll c I not detain the wanderer , e x ept ’ e For a last polishing . T h file s not here " ’

all . I ll find it , so that may be complete

e [H e g o es in to th e h o u s . "

TH E WOMAN

Your way will never lead you here again " c e And , trampling through the hya inthin night , E a l s a I dyll nr ptured , you wi l oon , I fe r , forget l Me . , who , I fear , wi l not forget so soon

THE C ENTAUR

’ You re wrong. I were accurst in leaving you , As though behind me rumbling gates should close

Upon the perfumed garden of all love . ’ But tis my meaning you Should come with me " ’ ’ s as I d take along uch rapture today s, ’ Jo y that Q ueen Aphrodite ne er poured out , l Who quickens a l the ocean an d the plain .

THE WOMAN

c l c Ho w ou d I leave my husband , house and hild "

THE C ENTAUR

’ Ho w should you grieve for what you ll soon forget "

THE WOMAN

’ He s coming back " the dream is soon dissolved "

THE C ENTAUR

l c s an d . Never , while joy way are stil to hoo e

a cl T wine your firm fingers in my m ne and ing ,

b c a " Resting upon my ack , to ne k and rms

he s in s h er e l u o n his b ack an d he dashes [S w g s f p ,

do w n to the rive r with shrill cries, th e child b e co m es

r e e n f ight n ed an d b re aks in t o pitifu l w e pi g . The 82 sm ith ste ps o u t o f th e h o use . Just th e n the ce n tau r

n e n e ru s n e r o h e plu g s i to th hi g wat s f t e str am . H is b ro n z e b re ast an d th e fig ure o f the w o m an stan d o u t sharply again st th e su rfac e w hich is g ilded by th e

u n e m h e e h e m e s s t . The s it s s t " with th sp ear o f the

e t n d c n au r in his ha he ru n s do w n to th e b an k an d, b e n d n o r o r ard t h ear i g f f w , cas s t e sp . I t strik es an d re m ain s fo r a m o m e n t fixe d with q u ive rin g shaft in

e o m an ill with a i r n r h e the b ack o f th w , t p e ci g c y s lo o ses th e m an e o f th e c e n tau r an d with arm s o u t

e spread falls b ackw ard in to the w at r . The c e n taur

atc h e h r d in in his arm s a d li t n h e r n c s e , y g , n , f i g o

h b e r h r d n the r e r h le hig , a s e o w iv w i h e swim s

n to ward th e o pp o site b a k . "