Wordsworth Translated in Cottas Ausland 2015-10-11

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Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Dietrich H. Fischer 31 January 2015

Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 1. Introduction

This enquiry was motivated by an entry in Henry Crabb Robinson’s (HCR) diary, as excerpted by Edith J. Morley. In July 1837, on their way back from Italy HCR and William Wordsworth stayed for some days at Munich, where HCR visited the office of the publisher Cotta. HCR writes: ‘I looked over the translations from Wordsworth in the Ausland by Freiligrath. They seem in general done with feeling and talent. By the bye, Freiligrath has translated The Ancient Mariner. Wordsworth’s translations are anonymous. . . .’ (HCR/Morley, 531, mark of ellipsis by Morley). The short title Ausland is homonymous even in the context of Cotta’s business. In the year 1828 Cotta founded the journal Das Ausland. Ein Tag(e)blatt für Kunde des geis- tigen und sittlichen Lebens der Völker. Let us call it for now the General Ausland. In 1836 Cotta added to his portfolio a further journal dedicated to literature, which for the sub- scribers of the General Ausland in the first half of 1836 was a free supplement to it. Its title was Blätter zur Kunde der Literatur des Auslands. Let us call it for now the Literary Ausland. We may assume that HCR refers to the Literary Ausland, and this may be sup- ported by the fact that the translation of the ‘Ancient Mariner’, signed by Freiligrath, can be found in the first year’s volume of it, 1836. In the following, as HCR did, by Ausland we refer to the Literary Ausland, or shortly Ausland. My first simple question was: Which translations from Wordsworth did Henry Crab Robinson see in the journals accessible to him in the publisher Cotta’s office on 17 July 1837? My next questions are derived as well from this diary entry, because one may see an ambiguity in it or even a contradiction: On the one hand, HCR says that he looked over translations in the Ausland from Wordsworth by Freiligrath, on the other hand, HCR says that the translations from Wordsworth are anonymous. Can we now identify the author or authors of the translations, which HCR could have perused? Could there be among them translations from Wordsworth by Ferdinand Freiligrath (1810-1876), the poet, translator and prominent German Forty-Eighter? Especially in order to answer the first question it seems to be sufficient to exploit the journals of the year 1836 and 1837. However, we extend our search on all existing journals of the Ausland, which are available in digitalized form as Google Books on the Web in five yearly volumes from 1836 until 1840, the year, when the publication was stopped. In addition we present biographical notes on each identifiable author of the translations from Wordsworth. Finally we acquaint the reader with those Wordsworth- related articles in the journal, which are translated excerptions from English journals. We identify the exact source as well give information on their authors. Thus, confining to one journal, the Literary Ausland, we contribute to close a gap in the description of the reception of Wordsworth by German literary journals, which flourished in the first half of the 19th century1.

1 Sibylle Obenaus’ collection of 39 journals in Literarische und politische Zeitschriften 1830-1848 does not even mention the two journals of Cotta, referred to above. 1 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Technical notes: The perusal of the yearly volumes of the Ausland seems to be a trivial task, however, it requires some diligence for the following reasons: • On the Web the texts are searchable by a Google function, but the searches are not reliable with respect to completeness (recall). • When the book is downloaded as pdf, then the text is not automatically searchable at all as nor- mally by a search in pdf texts. • The yearly volumes themselves mostly have a yearly index, which was compiled by the original publisher; however, this is not reliable with respect to completeness (recall). • Neither the editor of the Ausland nor its authors cite the original English title of the poems and the source, from which the poems are taken. In case of translated articles only the name of the journal is given. Therefore identifying the sources sometimes requires some search. In addition we note that the volume 1839 on the Web had been a real fragment due to fundamental fail- ings of the Google copyist. The Bavarian State Library also had offered that faulty copy for online reading; therefore I asked them to re-digitalize this volume. This was meritoriously realized in October 2014. Af- terwards also the Google file on the Web was replaced.

2. Translations from Wordsworth in the Ausland 1836 and 1837

About the two travellers, William Wordsworth and Henry Crabb Robinson (HCR) and their days at Munich 17- 21 July 1837 on their way home from Italy, we are informed by HCR’s diary, accessible to us by Sadler’s and Morley’s different excerpts. They met the celebrities Clemens Brentano, Wilhelm von Kaulbach and Peter von Cornelius, the last two being painters. The brothers Brentano, Clemens and Christian, were friends of HCR since his first years in Germany, i.e. since 1802. With Christian Brentano he walked e.g. from Frankfurt/Main to Grimma in Saxony. Now Clemens Brentano gave HCR ‘a note to the ‘conductor’ of the publisher’s Cotta ‘business’ at Munich, that the conductor might show to HCR some German translations from Wordsworth. Unexpectedly, this conductor was ‘an old acquaintance’, Mr Oldenburg. Without getting further information by Morley or HCR on Mr Oldenburg, HCR says, ‘He speaks English, is very desirous to serve, and will be of great use to Wordsworth. . . .’ (HCR/Morley, 531, mark of ellipsis by Morley). Then the words already cited above follow. Now let us list the German translations from Wordsworth HCR could have seen, when he visited Cotta’s office 17 July 1837.

24 February 1836 (No. 5, 17-18): An anonymous article with the German title ‘James Hogg, der Ettrick-Schäfer’ in memory of James Hogg, who died 21 November 1835. The article ends with an untitled translation of Wordsworth’s poem ‘Extempore Effusion upon the Death of James Hogg’. The rhyme scheme abcb and more or less the iambic tetrameter are preserved, but the tenth

2 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 stanza, dedicated implicitly to Felicia Hemans, is omitted. Wordsworth’s poem had been published 12 December 1835 in the Athenaeum. In the same volume of the Ausland (dated 17 and 19 November 1836) another anonymous article is dedicated to James Hogg.

20 July 1836 (No. 45, 117):

A translation of the poem ‘To the Cuckoo’, Ger- man title ‘An den Kukuk’, subheading: ‘Nach Words- worth’ (after W.), same meter and rhyme scheme as original, yet omitting the second stanza without notice. Immediately following and concluding this issue of the journal are three other translations from English poems (by Burns, Shelley and E. L. Bulwer). Below the last and at the end of all these four consecutive translations, not separated by any demarcation lines, we find the name ‘Fr. Notter’, which stands for Friedrich Notter. So we may conclude that Notter is the author of all four translations. 2

6 August 1836 (No. 50, 197):

German title ‘An ein Kind am Abend des längsten Tags’, a translation of the poem ‘Addressed to ------, ON THE LONGEST DAY’, published by Wordsworth 1820, which with a few changes became in 1850 ‘The Longest Day – Addressed to my Daughter, Dora’; the translation is written in the same trochaic tetrameters and rhyme scheme abab, but omitting without notice four stanzas of the total nineteen. The poem is not signed, but on the next page (without a demarking line between the poems) follows another translation, this one is signed ‘Fr. Notter’, with title ‘Das erste Lied’, subheading – ‘Nach Burns’ in the same vain as it is said ‘Nach Wordsworth’ for the ‘Addressed to…’. So again we can attribute the author Notter to both these consecutive translations.

10 September 1836 (No. 60-62, 10–17 September): In three sequences an article ‘Die (englischen) Dichter unserer Zeit nach ihren philoso- phischen Richtungen betrachtet’. No introduction, as if being an original contribution, but at its end in No. 62 a simple name in parenthesis: ‘London and Westminster Re- view’. The exact origin is: ‘ART III. -The Poets of Our Age, Considered as to Their Philosophic Tendencies’ in the London and Westminster Review, April 1836 (33-39), also anonymous, but signed ‘D.’. The German version is nearly unabridged. The Wellesley Index to Victori- an Periodicals 1824-1900 (III (1979), 586-87) lifts for us the secret of the acronym ‘D.’: It was used at least two times by William Henry Smith (1808-1872), ‘philosopher, poet and miscellaneous writer’, especially known as author of Thorndale, or the Conflict of

2 In the anthology Blumen aus der Fremde (1862) we can find a slightly improved version of this translation (now with title “An den Kukkuk”), but clearly appointed to Friedrich Notter, thus confirming the above inference. 3 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Opinions (1857) and Gravenhurst, or Thoughts on Good and Evil’ (1861).3 In his youth Smith was strongly influenced by Wordsworth’s poetry, but I did not find reported that he once met Wordsworth, nor did HCR make any mention of him. Since 1839 Smith was connected as a frequent anonymous author and reviewer to Blackwoods Edinburgh Magazine, and in his article ‘Wordsworth’, published March1841 in that journal, he returns to his topic, also contrasting again Wordsworth and Shelley. Since 1849 he began (for parts of the years) to live at several places in the Lake District. In this article, translated for the Ausland, Smith authoritatively describes and con- trasts the essence of thoughts, which a philosophic mind may extract from some works of Wordsworth, Shelly and Coleridge, also taking Byron into consideration. 4 From Wordsworth he chooses The Excursion, from Shelly Prometheus Unbound. His characterizations and comparisons seem to me pointed, critical, but throughout fair. From The Excursion only a few lines are cited (and translated into German); without reference they are taken from Book 4. 491-93, Book 5. 480-85 and 494-49. They serve here to il- lustrate Wordsworth’s evading movement or his predicament, when the reader expects a rational answer to scepticism. It is obvious that the 28 years old Smith is showing sympathy for Shelley’s visionary ideas for/of a future society. As if he had to guard himself, Smith utters the following humorous or mocking sentence, not suppressed in the German translation: ‘We can as little expect that any political influence could emanate from the “Prometheus Unbound,” as that the honesty of times should be corrupted by Wordsworth’s panegyric upon Rob Roy’ (p. 39).

24 September 1836 (No. 64- 68, 24 Sept.-8 Oct.):

The journal starts with a preface and then presents in five continuations the translation of Coleridge’s ‘The An- cient Mariner’ with German title ‘Der alte Matrose’, subheading ‘Ein Romanzencyklus von S.T. Coleridge’.5 Freiligrath’s name is added as ‘F. Freiligrath’ only once under the last line of the last continuation on page 272. It is his translation in the version without the marginal notes of Coleridge, first published by Freiligrath 1831.6 Because of its flow-

3 http://en.wikisource.org/wiki/Smith,_William_Henry_%281808-1872%29_%28DNB00%29 Wikisource , 29 Dec. 2012. Web. 22 Nov. 2014. Already from life dates we can infer that this William (Henry) Smith is not identical with that William Smith, Esq. M.P., to whom Robert Southey had addressed his Letter in 1817, in defence of an attack of the former on Southey in the House of Commons (see also HCR/Morley, 550 n). 4 William Henry Smith’s article was reprinted in Caroline Franklin (ed.). British Romantic Poets, (London: Routledge/Thoemmes, 1998), vol I, pp. 138-46. 5 Exceptionally, this important translation from Coleridge (among others in the Ausland) is protocoled here by me, because HCR had mentioned it. 6 In Allgemeine Unterhaltungsblätter, Minden, Hamm., see Fleischhack 242. Price is wrong, when he says that Freiligrath did ‘not have it [his translation] ready for print until 1836’ (Price (English), 317, Price (German) 311), and he is also wrong , when he refers there for his information to Sigman (31), because Sigman reports there that the Mindener Sontagsblatt in 1830 informed their readers, that they have re- 4 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 ery style, not well tolerable to a modern reader, I think that the preface was not written by Freiligrath, but by the editor Pfizer, although he uses the phrase ‘We let it to the readers of our translation…’. There is evidence that the writer of the preface has used the notes on Coleridge and Wordsworth in the preface of the book The British Poets of the Nineteenth Century, printed 1828 at Frankfurt/Main.7 Here and there we find quite similar sentences, speaking among others of the ‘Lake-School’ (‘See-Schule’), of which Wordsworth is the head and Coleridge, Southey and Wilson its most important devotees or fellows. Later in No. 13, 9 February 1837, by introducing a short article, entitled ‘Die englische Seeschule’ and translated from French, the editor tries to differentiate his primitive categorizations.

8 April 1837 (No. 32, 125-26):

German title ‘Wir sind zu sieben’, subheading ‘Von Wordsworth’ (by W.), a translation of ‘We are Seven’, in the same meter and rhyme scheme, but without notice omitting the first stanza. Immediately followed without a separating line by a translation ‘Der Bund’, subheading ‘Von Shelly’, signed ‘Fr. Notter’.

3. Intermediate result and further questions

Because there are no further translations from Wordsworth in the Ausland until the end of the year 1837 we can give an intermediate summary: There are only four translations from Wordsworth, which HCR could have seen printed in the Ausland: ‘Extempore Effu- sion upon the Death of James Hogg,’ ‘To the Cuckoo’, ‘Addressed to ------, ON THE LONGEST DAY’ and ‚We are Seven’, and in addition a few lines from The Excursion.8 There is good evidence that three of the translations (‘To the Cuckoo’, ‘Addressed to ------, ON THE LON- GEST DAY and ‘We are Seven’) are not anonymous, but signed by its author, Friedrich Not- ter. So far my first question ‘Which translations from Wordsworth did HCR see in the journals accessible to him in the publisher Cotta’s office on 17. July 1837?’ has been an- swered. What about the conjecture of HCR that he saw or would see translations from Wordsworth by Freiligrath? Perhaps HCR had nourished some expectations from Clem- ens Brentano’s words. Brentano, in a long and memorable letter to Freiligrath (dated ‘May / 3 Sept. 1839’, Buchner, I. 356-62) expresses his great admirations for some of Freiligrath’s poems, e.g. the ‘Sandlieder’. Brentano says (Buchner I. 358) that he has read them in the Morgenblatt; they were published 1835 in Cotta’s Morgenblatt für gebildete Stände (Fleischhack, No. 902). Furthermore, perhaps one may as well guess that HCR got some further information about authorships from his acquaintance Mr Olden- burg as an insider in Cotta’s office, or that he could see further unprinted manuscripts. With respect to the latter argument, we should know that at the end of each issue the possible contributors are admonished to send their manuscripts to Gustav Pfizer at Stuttgart, about 250 km NW of the office of Cotta at Munich. In this article I present a complete list of translations from Wordsworth in all volumes of the Ausland. There we ceived from ‘Herr Freitigtag (sic!)’ the translation of Coleridge’s ‘Ancient Mariner’, but could not print it because its length. 7 Karl Ludwig Kannegießer cited this book as his source in the Ausland 1840, see below. 8 One may doubt whether HCR took notice of Willliam Henry Smith’s translated article, which contained these lines. I did not find any traces of this Smith in HCR’s documented life. 5 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 do find further anonymous translations from Wordsworth as well as some signed with names other than that of Freiligrath, as we will see in the following. However, first I will give strong circumstantial evidence that Freiligrath did not contribute to the Ausland translations from Wordsworth, not even anonymously.

4. The profile of contributions to the Ausland, signed by F. Freiligrath, and all his known translations from Wordsworth

In a letter of 15th November 1835 Freiligrath’s mentor, the German writer Gustav Schwab (1792-1850), invites Freiligrath to contribute to the forthcoming journal Lit- erarisches Ausland of the publisher Cotta under the editorship of Gustav Pfizer and re- quests him to send soon translations from Burns for selection. On 10th of December Freiligrath gladly responds with thanks and says that he has sent in a hurry a quarter of hundred poems, and that he thinks that the new ‘institution’ will flourish under Gustav Pfizer, who recently has shown his ability for such an enterprise by his translations from Byron (Buchner I. 162). Because there is no index of contributors to the Ausland, and its digitalized files on the Web are not reliable for complete results by computer based text search, I compiled manually a list of signed contributions from Freiligrath and some others to all volumes of the Ausland. From this follows that he did not contribute any of his few known translations from Wordsworth to the Ausland. In order to fulfil the limits of this paper, I confine here to the list of authors and number of poems, which Freiligrath translated and which can be found in the Ausland 1836-1837: 1. 1836: Robert Burns (8), Alfred de Musset (2), Charles Lamb (1), Thomas Moore (25), S.T. Coleridge (1, The Ancient Mariner), Walter Scott (9), 2. 1837: Thomas Campbell (1), Robert Southey (12).

All these signed contributions of the years 1836 and 1837 were published in the year 1838 in Freiligrath’s book Gedichte, except that his translations from Southey’s ‘Thalaba’ were published 1846 in his book Englische Gedichte aus neuerer Zeit. In addition all his signed contributions to the Ausland volumes 1838-1840, with five exceptions only, were published in these two books. What about Freiligrath’s habit to publish anonymously or using a pseudonym? Wilhelm Buchner, in his commented two volume edition of Freiligrath’s letters, informs us of a translation from Wordsworth: ‘Des ewigen Juden Lied’ (‘Song for the Wander- ing Jew’), published 1830 in No. 46 of the Mindener Sonntagsblatt, eine vaterländische Zeitschrift zur Belehrung und Unterhaltung aus dem Gebiet des Schönen und Nützlichen, a journal from the town of Minden (Buchner I. 60). Never republished by Freiligrath himself, the text was reprinted 1908 by Erbach (110-11). Buchner says that Freiligrath’s contributions to that journal were marked by his name, so they could easily be identi- fied, while those, especially earlier ones, to the journal of his second home town Soest, the Soester Wochenblatt were unsigned, but could later be attributed to him. Perhaps from the beginning of the 1830s, at least when he came back from his two years’ stay in Amsterdam in 1832, he was interested to be visible in the German public and literary scene. Freiligrath, when collecting his early poems, was critical to them (Buchner I. 54- 55, II. 347), and made careful selections for later publications although friends and scholars were eager to collect all of them for their editions of Freiligrath’s works. In Erbach’s dissertation (1908) and in Fleischhack’s comprising bibliography of Freiligrath’s works we find the text, respectively the reference to another early transla- 6 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 tion from Wordsworth: ‘Wir sind unserer sieben’ (‘We are seven’). It was not yet explic- itly known to Buchner (I. 68-69), and is different from those translations of the same poem, which were published in the Ausland, authors being Notter,Adolphi and Kanne- gießer (see also below). Freiligrath’s translation of ‘We are seven’ was published only once by Freiligrath, and this was in Allgemeine Unterhaltungsblätter, Münster/Hamm, vol. 11, 1832, No. 9, 155 (Fleischhack, No. 1100). There is no Wordsworth poem in Freiligrath’s first book, entitled Gedichte, where Freiligrath published in 1838 his poems, including his many translations, especially those from the English. It contains translations from S.T. Coleridge (‘The Ancient Mari- ner’), Robert Southey (2), Charles Lamb (1), John Keats (1), Thomas Campbell (2), Felicia Hemans (1), Walter Scott (10), Thomas Moore (26), and Robert Burns (13), numbers of translated poems given in parenthesis. Eight years later, 1846, Freiligrath published in a separate volume his not yet published former and new translations from the English with title: Englische Gedichte aus neuerer Zeit nach Felicia Hemans, L.E. Landon, Robert Southey, Alfred Tennyson, Henry W. Longfellow und Anderen. This book contains two translations from Wordsworth, but in the title he is among the others (‘Anderen’).9 The two poems are ‘Die einsame Schnit- terin’ (‘The Solitary Reaper’) and ‘Eibenbäume’ (‘Yew-Trees’). Again, three years later 1849, Freiligrath publishes his own poems and translations in a book entitled Zwischen den Garben (Between the Bundles). It contains Words- worth’s ‘Der Dänenknabe – Fragment’ (‘The Danish Boy – A Fragment’) in the five- stanza version after 1800. There are further later publications of Freiligrath, which contain translations from English or American authors, but no one from Wordsworth. However, for his anthology The Rose, Thistle and Shamrock – A Book of English Poetry he included the following 19 items (in English) from Wordsworth, about 5% of all in this book: ‘If thou indeed derive thy light from Heaven’, ‘Resolution and Independence’, ‘Scorn not the Sonnet’, ‘Remembrance of Collins’, ‘To the Sons of Burns’, ‘Sonnet. Composed upon Westminster Bridge’, three excerpts from The Excursion, ‘The Rainbow’, Wordsworth’s ‘modernisa- tion’ of Chaucer’s ‘The Cuckow and the Nightingale’, ‘She was a Phantom of Delight’, ‘We are Seven’, ‘A Night-Piece’, ‘Written in March’, ‘I wandered lonely as a cloud’, ‘To the Cuckoo’, ‘The solitary Reaper’, ‘The Sailor’s Mother’. From letters of Freiligrath we know that he had a high esteem of the ‘Lake Poets’ and of Wordsworth and that he would like to translate more works of them, if ‘his wings would be bound less’ (Buchner I. 161, also 289). Therefore one might suggest that among his manuscripts or in scattered journals one might unearth further translations from Wordsworth, but obviously much scholarly work has been already done in that respect. Freiligrath signed his works from 1830, except for some articles he wrote after 1851 in his second exile in London for the Athenaeum about German literature (Buchner II. 291-92, 300-01). Rosemary Ashton’s book Little Germany – Exile and Asylum in Victo- rian England (1986) gives us a lively account of this time of exile and Freiligrath’s work on Coleridge.

9 Also among the others are: Mary Howitt, William Cowper, John Wilson, Barry Cornwall, Thoma Moore, Richard Monckton Milnes, Ebenezer Elliot. 7 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

5. Translations from Wordsworth in the Ausland 1838 until 1840

Next we list the translations from Wordsworth in the following years 1838 until 1840, the last year of publication of the Ausland. The years 1838 and 1839 contain the bulk of translations from Wordsworth:

1838: In No. 46, 26 May (181) starts in several continuations until No. 52 (208) an article entitled ‘William Wordsworth’, containing several translated selections from his poems. In the beginning, the anonymous German author says that he wants to communicate to his readers the essential content of a longer article from the Quarterly Review, which was occasioned by a recent publication (‘not long ago’) of the poems of Wordsworth in Four Volumes; no further bibliographic references are given. In addition the anonymous author says that probes of translated poems will be presented. A search in the internet leads us to the likewise anonymous English source of this translated article in the Quarterly Review, Volume LII August & November 1834, No. 104, 317-58: This English article exhibits profound knowledge of Wordsworth’s works and their hostile reception history, for which he presents some excuse, but it culminates in a convincing laudation on some of Wordsworth’s essential poems, i.e. ‘The Fountain’, ‘Lines left on a Seat in a Yew-Tree’, ‘Tintern Abbey’, ‘Old Cumberland Beggar’, ‘Michael’, ‘Female Vagrant’, and some of Wordsworth’s sonnets. From Morley’s extract of HCR’s diary (452) we learn that the anonymous author is known to HCR as Henry Taylor (1800-1886), a man of letters, especially known as the author of Philip Van Artevelde; a Dramatic Romance (1834).10 On 11th December 1834, having read only the end of Taylor’s article HCR critically says that it ‘…is written with more good-will than ability and with more labour than felicity; but it is still an article that one is glad to read.’ Fifteen years later in 1849, Henry Taylor republished his essay and another one on Words- worth’s sonnets in his book Notes from Books, and now (24 July 1854, HCR/Morley, 741) HCR was much more enthusiastic: ‘They [the two essays] do Wordsworth full justice, and his moral power as well as his power and success are by the critic fully felt and acknowledged. Henry Taylor is an elegant scholar and a man of thought…’. Wordsworth was several times a guest at Taylor’s break- fast parties in London, and a first cousin of Henry Taylor’s step-mother was Isa- bella Fenwick. The German translator of the above article from the Quarterly Review takes the freedom to shorten Taylor’s essay by about 45%, skipping e.g. Taylor’s long citations from The Female Vagrant (165 from 234 lines). The following translations of Taylor’s citations from Wordsworth’s poems are unabridged and in this order interspersed in the German article: • Without title 8 of the 17 stanzas of ‘The Fountain. A Conversation’

10 ‘D.’ ( = William Henry Smith, see above) signed a review of it in the London and Westminster Review, April 1836, 92-98. 8 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

• Without title the last paragraph (19 lines of 64) from ‘Lines Left upon a Seat in a Yew-Tree’ • 55 lines (of 159) from ‘Verse vom Jahre 1798, einige Meilen über Tintern Abbey’ • Two times two lines from “Betrachtungen über Unsterblichkeit” (‘Ode: Intimations…’) • 129 lines (of 197 = 65%) from “Der alte Cumberländer Bettler” (‘The Old Cumberland Beggar’) • 115 lines (of 482 = 24%) from ‘Michael’ • The sonnet ‘Gedanken eines Engländers bei Unterwerfung der Schweiz’ (‘Thought of a Briton on the Subjugation of Switzerland’)

At the end of his selective translation the anonymous German author promises soon to return to the ‘great poem’ The Excursion (‘Der Spaziergang’), cites Bulwer (‘Wordsworths Genius ist ausgezeichnet deutsch’)11, expresses his hope that the German public by the presented examples will find an interest in Wordsworth stronger than before, and then adds two additional translations, which are not part of Taylors’s essay: • The sonnet ‘S’ gibt eine Knechtschaft, schlimmer zu ertragen’ (‘There is a bondage which is worth to bear’). • ‘Märzlied’ (‘Written in March’)

In the following I print here Wordsworth’s sonnet ‘There is a bondage which is worth to bear’ in its version of 1807, which later became ‘There is a bondage worse, far worse to bear’, in parallel to its anonymous German translation, now in modern orthog- raphy and in accordance with Wordsworth’s Miltonic format. The German translation is introduced in the journal by noting that the sonnet is directed against Napoleon’s sup- pression of freedom of mind.

There is a bondage which is worse to bear S’gibt eine Knechtschaft schlimmer zu ertragen Than his who breathes, by roof, and floor, and wall, Als die des Sklaven, welchen der Tyrann Pent in, a Tyrant’s solitary Thrall: Hält unterm Schloss, in Kerkerhaft, im Bann: ’Tis his who walks about in the open air, Der trägt sie, der, in Eisen nicht geschlagen, One of a Nation who, henceforth, must wear Frei wandelnd, angehört dem Volk, das Ketten Their fetters in their Souls. For who could be, Im Geist muss tragen. Wer, wie rein er sei, Who, even the best, in such condition, free Bleibt unter solchem Zwang vom Vorwurf frei, From self-reproach, reproach which he must share Vor dem die menschliche Natur sich retten With Human Nature? Never be it ours Dann nicht mehr kann? O bleib uns fern das Los, To see the Sun how brightly it will shine, dass je die Sonn’ wir golden sähen scheinen, And know that noble Feelings, manly Powers, Und müssten schaun, wie Geister rein und groß, Instead of gathering strength must droop and pine, Statt froh zu blühn, erstickte Tränen weinen. And Earth with all her pleasant fruits and flowers Wie selbst die Erde schließt den fruchtbarn Schoß, Fade, and participate in Man’s decline. Ihr Elend dem des Menschen zu vereinen!

In No. 98+99, 3 November 1838 (396) after a translation of a ballad of Thomas Moore, signed ‘L.G.’, we find again an anonymous translation from Wordsworth, entitled ‘Das Wasserhuhn’, - subheading: ‘B. W. Wordsworth’ (sic!), which are the translated blank verses of ‘Water Fowl’. The German title (in singular!) seems erroneously to assume that Wordsworth describes the behaviour of coots instead of ducks or mergansers.

11 A further reference is not given, but it is a translation from Bulwer-Lytton, England and the English, II. 67: ‘Wordsworth genius is peculiarly German’. A longer translated citation from that essay on Words- worth 9 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

In the same year in No. 106+107, 24 November 1838 (421-22 under the title ‘Aus Wordsworth Sonetten auf die Freiheit’ ensue these five sonnets (not having been suggested by citation in Henry Taylor’s essay): • ‘Gedichtet am Meer, bei Calais, im August 1802’ (‘Composed by the Sea- side, near Calais, August, 1802’) • ‘Gedichtet in London im September’ 1802 (‘Written in London, Sep- tember 1802’) • ‘London, 1802’ (‘London, 1802’) • ‘Man möchte wähnen, Ungunst der Natur’ (‘October, 1803: One might believe that natural miseries’) • ‘Rückkehr nach England, am Tag der Landung’ (‘Composed in the Valley near Dover, on the day of Landing’)

Immediately following (422) is ‘Das Nuß- brechen’ (translation of ‘Nutting’), signed ‘W. Wordsworth’.

Finally, Journal No. 121+122, 30 De- cember 1838 (481-85) contains an article, which is taken from a lecture, which Ebenezer Elliot held at Hull. To Elliott’s name in the subheading is added his English nickname in parentheses ‘dem Corn-law- Rhymer’, which HCR also used (HCR/Morley 710). The German title of the article is ‘Urt- heile über englische Dichter’ (Judgements on English Poets). It contains among others the following citations from Wordsworth’s poems, translated into German: The first eight lines of the sonnet ‘It is a beauteous evening, calm and free’ and twelve (in German 10) lines from ‘A Night-Piece’, beginning where ‘the clouds are split asunder’, according to a version of the poem I cannot date. No further reference for the source of the article is given; by an Internet search I could find it: Tait’s Magazine, De- cember 1837, 757- 63 (Volume IV for the year 1837):

Here Ebenezer Elliott’s main question and argument is: ‘ … for what is poetry – what can it be – but the heart speaking to itself? This principle of – earnest self-communion – on which all composition purporting to be poetry must stand, or wanting it, fall – I now purpose to elucidate and confirm by examples …’ (757). Among these examples are those selections referenced above ‘from the most thoughtful of poets – Wordsworth’, also characterized as the ‘“mighty” poet, who, like the ocean he describes speaketh “ev- erlastingly”’ (762). Perhaps more interesting than the corresponding German translations is it to remind of the remarks of Wordsworth himself, which HCR had protocoled about ‘the author of the Corn Law Rhymes’, dated 29 January 1836, and occasioned by ‘A chat on poetry, our usual object’. According to HCR Wordsworth says: ‘None of 10 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

us have done better than he has done in his best, though there is a deal of stuff arising from his hatred of subsisting things. Like Byron, Shelley etc., he looks on all things with an evil eye.’ After having explained this by Elliot’s personal experi- ences in life, HCR continues: ‘The great merit of Elliot says Wordsworth is his in- dustry: he has laboured intensely and, like the Glastonbury thorn12, has flowered in winter; his later writings are the best. I asked for the name of some poems. Wordsworth says The Ranter contains some fine passages.’ And again cited di- rectly from Wordsworth: ‘Elliot has a fine eye for nature; he is a very extraordi- nary man.’ (HCR/Morley, 485).

1839: Eventually this volume in an uncorrupted state was available for online reading from the Bayerische Staatsbibliothek Mün- chen. It contains the following translations from Wordsworth: • The sonnet ‘Im September’ (‘Septem- ber, 1815’), signed Adolph Fürsten- haupt in No. 8+9, 20 January (36).

• An anonymous translation13, entitled ‘Der blöde Knab’, of ‘The Idiot Boy’ in three continuations from No. 63+64, 1 June (253-55) until No 66+67, 9 June (267-68). Exceptionally, in this case the translation is shortly prefaced by first reminding of the credo of the Lake Poets as manifested in their devotion to simple objects of the everyday and of the corresponding reactions of the critics or readers by epithets such as ‘erkünstelt- natürlich’(factitiously natural), ‘maniriert’ (mannered), ‘gesucht’ (laboured), ‘trivial’ (trivial) or ‘läppisch’ (jejeune/silly). But then closing with these eulogistic sentences (in my translation):

[...] on the other hand, it is obvious that Wordsworth has deserved well of the poetry of the humble, modest and plain domesticity, the unadorned reality, the most unpretentious, but not less deep feelings, - that with the divining-rod of poetry he has discovered hidden sources and pure gold on the seemingly most unproductive soil. Motherly love in its purity, without any addition of pride and vanity, certainly seldom in its humble sincerity and loyalty is more movingly portrayed than in the above narration, which we try here to translate, although we do not undervalue the difficulties to render the language of the original in its as well popular as ingenious tone.

Unfortunately, this German Idiot Boy contains by far too many violations of the iambic rhythm, and indisputably one can witness here, how the constraints to

12 See http://en.wikipedia.org/wiki/Glastonbury_Thorn 13 In Die Aufnahme Englischer Literatur in Deutschland 1500-1960 Lawrence Marsden Price wrongly main- tains on page 318 that Freiligrath once translated the ‘Idiot Boy’. This assertion in the form of a short ap- position to the unspecified sentence ‘Erst übersetzte er [Freiligrath] einige Wordsworth-Gedichte’ (He [Freiligrath] first translated some of the poems of Wordsworth) is not contained in Price’s The English Literature in Germany (311), and it is not at all backed by Price’s reference to Sigmann, 23. 11 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

rhyme within the limits of meter produce results, which are unattractive or even forbidding at least to a modern reader.

• Without any reference to the previous promise in Novem- ber 1838, which was given after the translated article from the Quarterly Review, follows the first book of The Excur- sion. ‘The Wanderer’ in five sequences No. 89+90, 7 Au- gust (353-55) until No.95, 22 August (379-80). The German title, not mentioning any reference to the comprising work The Excursion, is ‘Der Wanderer’, subheading ‘Eine Erzählung von Wordsworth’. This is obviously the first and until now the last German translation of the first book of The Excursion. It is anonymous.14

• Not indexed, but existing in No. 111, 5 October (441-42) another (the second one in the Ausland!) translation of We are Seven, signed Felix Adolphi.

• Also not indexed, in No. 120, 31 October (477) with one title ‘Auf einen Schmet- terling’, numbered 1. and 2. the translations of the two poems To a Butterfly (‘Stay near me’ and ‘I’ve watched you now’), signed Julius Krais.

1840: Although the index of this volume does not contain any entry for Wordsworth, we can find nine translations added to an article in No. 70, 10 June (277) entitled ‘Die britti- schen Dichter des neunzehnten Jahrhunderts’ (The British Poets of the 19th Century), subheading ‘In Auszügen übersetzt von K. L. Kannegießer’ (In Excerpts Translated by …). The author, Karl Ludwig Kannegießer, in his introduction reminds with praise of Frie- drich Jacobsen’s Briefe an eine deutsche Edelfrau über die neuesten englischen Dichter, and complains that it has not yet been reprinted or replaced by another German book. It is the first and last time that a translator in the Ausland refers the exact source from which he translated: ‘the british poets of the nineteenth century etc. Frankfurt a. M. Brönner 1828’. Kannegießer now wants to present to the readers lyrical (‘metrische’) translations instead of Jacobsen’s prose. His list of translations, added to his introducto- ry notes, which contain also some details of Wordsworth’s life and works, perhaps taken from O.L.B. Wolff (344), includes translations of the following shorter poems from Wordsworth: 1. ‘Sieben sind wir’ (‘We are Seven’). This is the third translation of this poem in the Ausland, and including that of Freiligrath (1832) mentioned above it is the fourth German adoption. From the same year 1832 is known a fifth one by O.LB. Wolff (336-50).

14 Below in section 7 (by Enno Ruges findings) we add that the translation of ‘The Wanderer’ as well as that of ‘The Idiot Boy’ with high probability can be ascribed to the editor Gustav Pfizer. 12 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

2. ‘An den Kuckuck’ (‘To the Cuckoo’). This is the second translation of this poem in the Ausland. 3. ‘Des wandernden Juden Gesang’ (‘The Song for the Wandering Jew’) 4. ‘Thal Alain oder das enge Thal’ (‘Glen-almain, or the Narrow Glen’) 5. ‘Die einsame Schnitterin’ (‘The Solitary Reaper’) 6. ‘Das vollkommene Weib’ (‘She was a Phantom of delight’)15 7. ‘Luise (‘Louisa’) 8. ‘Aufruf’ (‘Lines Written at a Small Distance from my House…’ or ‘To my Sis- ter’) 9. ‘Spinnerlied – Gegründet auf einen in den Hirtentälern von Westmoreland herr- schenden Glauben’ (‘Song for the Spinning Wheel – Founded upon a Belief Prevalent among the Pastoral Vales of Westmoreland’) The items 1.-4. are in No. 70 (278-79), the items 5.-9. in No.72+73, 13 June (287-88). The article promises implicitly a continuation of it, devoted to other British poets, however, that volume of 1840 was the last one of the Ausland, although – without reference to the previous promise - it contains another article in six sequences, beginning No. 124, 29 October (493) with the title: ‘Der englische didaktische Dichter Cowper und sein Hauptwerk “die Aufgabe (the task)”’, and this is signed at the end (No. 132, 528) by ‘K.L.Kannegießer’.

Another speech of Ebenezer Elliot (with German epithet ‘Korngesetzdichter’) on poetry, shortened and translated into German, is printed in No. 147+148, 17 December, (585-86) and continued in No. 149+150, 20 December 1840 (595-98). The German title is ‘Eine Verteidigung der modernen Poesie’.16 Again this article is without any reference taken from Tait’s Edinburgh Magazine (now May, 1840, 309-14):

This fervent, au- thoritative speech of Elliott17 deals with ‘Crabbe, Southey, Wordsworth, Scott, Byron, and our minor modern poets. if a minor poet ever existed’. In fact, he also enclosed John Keats, John Wilson, Robert Nicoll, Samuel Bamford and Felicia Hemans in his eulogy, and ends by reciting one poem each of Nicoll, Bamford and Hemans. The German article presents only a translation of Heman’s poem ‘The Coronation of Inez de Castro’. Without any reference to one of his poems, Wordsworth is treated here by El- liott only very indirectly by devoting one and a half page ‘to the injustice of the attacks which have been made on modern poetry by’ the Edinburgh Reviewers, and these at-

15 Kannegießer simply translates the English title he had found in his source: ‘The perfect Women’. Where does it come from? The poem had no such title, when first published by Wordsworth 1807. John Williams is obviously wrong, when he assumes that v. Ploenies 1843 for her anthology Britannia had created the titles ‘The perfect Women’ (for ‘She was a Phantom of delight’) and ‘Nature’s Favourite’ (for ‘Three years she grew in sun and shower ’) (100). Both titles have already been used in the anthology The British Poets of the Nineteenth Century, Frankfurt, 1828, a repository of 788 pages, which may have served as a source for more than one German translator. 16 The English title A Defence of Modern Poetry may remind us of Shelley’s ‘A Defence of Poetry’, published posthumously also in 1840, however, Shelley is not among the poets mentioned by Elliott here. 17 The German author calls them ‘Herzensergießungen des poetischen Radikalen’, i.e. effluents from the heart of the poetic radical, which to modern ears has a tone of mockery. 13 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 tacks, as far as cited by Elliot (the source unknown to me) are not Wordsworth-specific.

6. Biographical notes on the identifiable German authors

We have already seen that three of the four translated poems of Wordsworth in the Ausland in its first volume 1836 and its follower in 1837 could be taken as signed by Fr. Notter. All 15 translations in 1838 were anonymous. The volume 1839 contains five translations, of which three are signed by Adolph Fürstenhaupt, Felix Adolphi and Julius Krais, respectively. The journal’s last volume 1840 contained nine translations, all from Karl Ludwig Kannegießer, who on that occasion contributed to the Ausland for the first time. If not otherwise referenced the following biographical information on these authors (and in addition Gustav Pfizer) are taken from various sources on the Web.

Friedrich Notter (1801 -1884) was a writer, translator and politician of the na- tional liberal democrats. After his successful study in medicine he became in 1829 a second editor of the General Ausland at Munich. Soon he left this job to become a freelance, living at or near Stuttgart. After 1848 he at first was a member of regional parliaments, at last of the Reichstag 1871-1873. Together with Gustav Pfizer he translated a bulk of Edward George Bulwer-Lytton’s works for the publisher Metzler at Stuttgart. It was the German writer Karl Gutzkow (1811-1878), who angrily on a group of German publish- ers, who too readily followed the public appetite for foreign literature irrespective of the quality of the translations they got, once called Gustav Pfizer and Friedrich Notter ‘Über- setzungsmaschinen’, i.e. translation machines.18 Partly together with Adalbert von Kel- ler, Notter translated Cervantes and with Eduard Möricke Theocritos Bion and Moschos. Notter’s translation of Dante’s Divina Commedia in terza rima pentameter with alternat- ing male and female line ends (1871) was called his main work. Notter wrote biographical studies on Uhland, Möricke and other Swabian poets, his own poems and a stage- play. A selection of Notter’s poems by Kraus (1893) does not contain translated poems, but at least many of these are included in the anthology Blumen aus der Fremde (1862). It does only contain only one poem of Wordsworth: A partly improved version of Not- ters ‘An den Kukkuk’, first published in the Ausland 1836, thus clearly confirming Not- ter’s authorship of this item. As is also visible in Blumen aus der Fremde there is a con- siderable diversity in Notter’s contributions to the literary Ausland: It comprises (in addition to translations from Wordsworth mentioned above) among others from the following English authors: Marlowe, Moore, Burns, Southey, Shelley, E. L. Bulwer, Camp- bell, (Geraldine?, Maria Jane?) Jewsbury, James Edmeston, (George?) Herbert, and writers, who seem to be not known today to the English Wikipedia: Miss Bowles, Henry Thomson. With respect to many signed contributions of Notter to all volumes of the Ausland one cannot see any reason why Notter should not add his name, if he would have been an author of any of the anonymous translations from Wordsworth.

On the Web I cannot find any life dates of Adolph Fürstenhaupt . Since 1838 he was a prolific contributor to the Ausland with translations from Thomas Moore, and some from Hemans, Coleridge, Southey, L.E. Landon, but only one from Wordsworth. To the German Wikipedia Adolph Fürstenhaupt is known as author of a book with title Georg Sabinus, der Sänger der Hohenzoller'schen Dynastie : eine litterargeschichtliche Skizze im Rahmen des Sechszehnten Jahrhunderts. Berlin : Gebauer, 1849. From a data-

18 Editionsprojekt Karl Gutzkow, see http://projects.exeter.ac.uk/gutzkow/Gutzneu/gesamtausgabe/index.htm 14 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 base of the Library of the University of Frankfurt/Main, storing flyers from the 1848 revolution in Germany, one can download a poem of Dr. Ad. Fürstenhaupt, dated 1850 and entitled Die Macht des Königs. This is mildly characterized as a poem of six stanzas honouring King Friedrich Wilhelm IV with an ‘unbroken pre-parliamentary mind’, i.e. Fürstenhaupt was at least an implicit political antagonist of Freiligrath; there is a poem of Felicia Hemans, which both Fürstenhaupt and Ida Freiligrath, wife of Ferndinand Freiligrath, have translated.

According to the German Wikipedia Julius Krais was a Swabian parson and poet, living 1807-1878. From 1839 he contributed to the Ausland translated poems from Thomas Campbell, Thomas Moore, Thomas Gray, William Cowper and Wordsworth.

Karl Ludwig Kannegießer (or Kannegiesser) (1781-1881) as well was a produc- tive writer, translator, a teacher and a scholar. He was the first who translated into Ger- man Dante’s Divina Comedia in terza rima. The volume 1840 of the Ausland, beginning No. 24, 29 October, contains in several sequences an article of Kannegießer with the title ‘Der englische Dichter Cowper und sein Hauptwerk „die Aufgabe“ (the task)’, including translated passages from William Cowper’s The Task. Kannegießer’s other contributions to the Ausland were some translations from Thomas Moore, and from Norwegian and Danish; furthermore a translation from Leopardi was reviewed 1837.

In the Ausland Felix Adolphi had only a few contributions: In volume 1836 two short poems translated from Percy Bysshe Shelley (‘Good Night’, no. 46, 23 July, and ‘Ozymandias’, no. 49, 3 August) and (in no. 56, 27 August) translations of six poems of the Spanish Juan Melendez Valdes (1754-1817), probably (not signed) another three of the same Spanish author in the forgoing issue 54, 20 August; furthermore, as protocoled above, in volume 1839 a translation from Wordsworth’s ‘We are seven’. These are all contributions of Felix Adolphi to the Ausland. Volume 1837, 2 August, No. 68, in several consecutive issues, presents an anonymous first article on Shelley, and starts with a reference to a recent translation of the tragedy The Cenci by Shelley. Adolphi had published this translation as a book in 1837, prefacing it self-confidently and learned, furthermore adding a well-written biographical sketch (64 pages) of Shelley, giving his English sources. Because of the content of the drama the book got an unfavourable review in the Literatur-Blatt, No. 124, 8 December 1837 (495-96); Wolfgang Menzel, adversary of Heinrich Heine, edited this adjunct to the Morgenblatt. On the other hand, the Repertori- um der gesammten deutschen Literatur, 1837 (entry no. 1229, pp. 90-91) praises and welcomes Adolphi’s work, i.e. his translation and the biographical information on Shel- ley. The same is true for this anonymous article19 in the Ausland, but only a footnote referring to the bibliographical entry drops the name: Felix Adolphi, while great parts of the article admit that they are based on the work of the translator of The Cenci and his sketch of Shelley’s life. In the following year 1838 the anonymous author launches a second article on Shelley in the Ausland (No. 4, 13 January, etc.). This contains one page of translated selected passages from the second volume of Edward Bulwer-Lytton’s book England and the English, which bear the running header ‘Wordsworth and Shelley’, con- trastively comparing these two poets (II. 66-71). In 1841 Freiligrath in a letter to Künzel (Project Briefrepertorium Ferdinand Frei- ligrath, letter dated 1841/8/18) for his planned, but in the end not realized journal Bri-

19 According to Ruge (see below section 7) the author of the articles on Shelley is the editor Gustav Pfizer. We came across a citation from the same work of Bulwer already above at the end of the translation of Henry Taylor’s article May 1838. This observation backs Pfizer’s authorship also for this translation. 15 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 tannia expects contributions among others from Felix Adolphi. When I looked for life data of Adolphi, at first I had to rely on hits on the Web, which simply state that Felix Adolphi is a pseudonym of Adolf Friedrich Graf von Schack (1815-1894). However, when I searched for a substantiation of this fact, it was in vain, or I came across discrepancies and oddities, which made me doubt the equality of both persons. On the other hand, it is true!

The official reasons, perhaps given by Hans von Schack or another author in an unspecified volume of the multi-volume Beiträge zur Geschichte der Grafen und Herren von Schack, were not yet completely accessible to me.20 Adolf Friedrich Graf von Schack wanted to keep the secret of the pseudonyms of his youth21, and this secret seemed not yet lifted or a point of interest until the beginning of the 20th century (see Walter and Krause). However, in the following I can present a proof I have detected: In the internet I retrieved an autograph of Felix Adolphi, which was published by the Staatsbibliothek Berlin as part of the literary bequest of Adelbert von Chamisso (1781-1838). Its title there is ‘Schack, Adolf Friedrich von: Brief von Adolf Friedrich von Schack an Adelbert von Chamisso’. This title does not give the proof to me, but probably one can get it from a comparison of the handwriting, and in any case one can get it from the content: The autograph is no letter, but on twelve handwritten pages a copy of four poems, which at the first page are headed by the title: ‘Gedichte / von ‘ Felix Adolphi’, and on the twelfth and last are subcribed by a handwritten ‘Felix Adolphi’. The circumstance that this autograph was in the bequest Adelbert vonChamisso is implicitly explained to us by Schack’s memoirs of 1888, last edition 1894, Ein halbes Jahrhun- dert, I. 114-15, where Schack speaks about his acquaintance with Adelbert von Chamisso, one of the editors of Deutscher Musenalmanach from 1833 until 1838: It happened that the young student Schack became a friend of v. Chamisso in Ber- lin 1835, and Schack says, that Chamisso published some of his poems in his Musenalmanach under a pseudonym, which he, Schack, does not want to tell. In fact, we can find in that journal exactly two poems under the name of Felix Adol- phi: “Mein Amt” and “Alpenidylle” in the Deutscher Musenalmanach 1835 and 1836 (editors Chamisso and Gustav Schwab). No one of the four poems of the autograph of the Staatsbibliothek Berlin was printed there between 1833 and 1838. The salient point of my proof is that only one poem, the third one on Adolphi’s autograph, entitled ‘An eine Alpenrose’, was later published by Schack himself with a few corrections in his book Gedichte in 1867 (361), and it is also contained (a bit further edited, at one word even re-edited) in the second volume of Schack’s ‘Gesammelte Werke’ of 1897 (II. 203-04).

I add some facts and material, which shed light on the translator(s) Adolphi / Schack and their relationship to Wordsworth: In 1893 Adolf Friedrich Graf von Schack published the book Anthologie abendländischer und morgenländischer Dichtungen in deutschen Nachbildungen in two volumes, and none is included in his Gesammelte Werke. This anthology contains only translations by Schack., and from Wordsworth we find in the first volume: ‘The Solitary Reaper’ (‘Die einsame Mähderin’, already published 1846 by Freiligrath), ‘Poor Susan’ (‘Die arme Susanne’), ‘We are Seven’ (‘Wir sind sieben’, already translated in the Ausland

20 see Billeter, 198; Pophanken, 217 21 Ein halbes Jahrhundert, I. 114. With respect to his early youth as a pupil at Frankfurt Schack speaks of three pseudonyms (Perspektiven, I. 141-42). 16 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 by Notter, Adolphi and Kannegießer), ‘Lucy Gray’, ‘Daffodils’ (‘Die Narzissen’). ‘To the Cuckoo’ (‘An den Kuckuck’, already translated by Notter and Kannegießer in the Ausland), ‘My heart leaps up’ (‘Der Regenbogen’), ‘Hofer’. ‘Laodamia’, and ‘Michael’. An astonishing fact is that at the beginning of his preface Schack claims that the poems in his anthology had not been translated into German before. However, in a footnote to this assertion Schack adds: ‘During the printing I have got notice that Coleridge’s hymn to the Mont Blanc and a few other items have already been translated.’ The attentive reader will have noticed that it seems that Schack did forget that he already had translated ‘We are Seven’ as young Felix Adolphi. So he/she may be curious to compare the two versions of the poem:

Translation by Translation by Felix Adolphi Adolf Friedrich Graf von Schack In Blätter zur Kunde der Literatur des Auslands, In A.F.Graf v. Schack. Anthologie. Vol 1, 210-12 1839, No. 111, 5 October (441-42) Cotta: Stuttgart, 1893 Wir sind sieben Wir sind sieben

— — — Ein einfach Kind, . . . . ein einfach Kind Dem durch die Wange rot, Mit Wangen frisch und rot, Durch jedes Glied das Leben rinnt, Dem leicht das Blut wallt durch die Adern, Was wüßte das vom Tod? Was wüßte das vom Tod?

Ich traf im wald’gen Tal Im Dorf ein Mädchen fand ich jüngst, Ein Mädchen, sieben Jahre alt; Acht Jahre war sie alt, In Ringeln war das Lockenhaar Von dichtem Lockenhaare war Ihr um das Haupt gewallt. Der Kleinen Stirn umwallt.

Es war ein Kind der Bergeshöhn Ihr Kleid war bäurisch, ihr Gesicht Und trug ein bäurisch Kleid; Durch Wind und Wetter braun, Ich freute mich, denn sie war schön, Froh macht’ es mich, dem hübschen Kind Von seltner Lieblichkeit. Ins Angesicht zu schaun.

„Wie viel Geschwister seid ihr, Kind?“ Sag’ an, wie viel du Brüder hast, So sprach ich zu der Lieben. Und wie viel Schwestern, Kind?” Sie sah mich an,: „wie viel wir sind? „Herr, sieben sind im Ganzen wir!“ In Allem sind wir sieben.“ Gab Antwort sie geschwind.

„Wo sind sie denn? Erzähl mir mehr!“ „Und der Geschwister, sage mir, Sie sagte: „wir sind sieben; Wo ihrer jedes ist?“ Und zwei von uns sind auf dem Meer „Im Dorf sind zwei,“ gab Antwort sie, Und zwei in Conway drüben. Zwei auf dem Meere, wisst!

Zwei andre auf dem Kirchhof ruhn, Im Kirchhof schläft ein Bruder schon, Die Schwester und der Bruder mein, Sowie ein Schwesterlein. Und nah bei ihnen wohn’ ich nun Und nah dem Kirchhof wohn ich selbst Mit meinem Mütterlein.“ Sowie die Mutter mein.“

„Du sagst, dass zwei in Conway sind, „Im Dorfe, sagst du wohnen zwei, Und auf dem Meere zwei; Und zwei sind auf dem Meer, Und dennoch seid ihr sieben? Kind! Und sieben dennoch sollt ihr sein?

17 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Sprich, wie das möglich sei.“ Zu fassen ist das schwer.“

Da nahm die kleine Maid das Wort: Antwort gab die Kleine so: „Versteht mich, wir sind sieben! „Geschwister sind wir sieben, Zwei ruhen auf dem Kirchhof dort — Und zwei von ihnen, wisst das Herr, Seht ihr den Baum da drüben?“ ruh’n auf dem Kirchhof drüben.“

„Du springst umher, du kleine Maid, „Dem, was du meinst, mein liebes Kind, So hurtig und geschwind; Nicht komm ich auf die Spur, Klar ist es, dass ihr fünf nur seid, Wenn zwei von euch im Kirchhof ruh’n, Wenn zwei gestorben sind.“ Dann seid ihr fünf doch nur.“

Da sprach das Kind: „Die Gräber sind Das Kind gab Antwort: „Grün sind, Herr, Mit Gras bewachsen für und für; Die Gräber alle zwei. Und Seit’ an Seit’ — es ist nicht weit Der Bruder und die Schwester ruh’n Von meiner Mutter Tür. Dort seht ihr nahebei.

Oft säum ich meine Tücher dort, Oft dort beim Stricken und beim Nähen Und setz mich leise nieder, Schon bin ich morgens früh, Und strick und nähe immerfort Und setze auf den Hügel mich Und singe ihnen Lieder. Und sing ein Lied für sie.

Oft hüpf’ ich hin mit hurt’gem Schritt Und oft noch, wenn der Himmel schon Beim hellen Abendrot Erglänzt im Abendrot, Und nehme meine Schüssel mit Aus meiner kleinen Schüssel dort Und esse dort mein Abenbrot. Ess ich mein Vesperbrot.

Zuerst starb Jane, mein Schwesterlein; Die kleine Jane, mein Schwesterlein, Sie litt an schweren Wehn; War’s die zuerst entschlief. Da löste Gott sie aus der Pein Im Krankenbette litt sie viel, Und ließ sie von uns gehn. Bis Gott sie zu sich rief.

Da legte man sie tief hinab — Begraben ward im Kirchhof sie, Das Gras war trocken schon, Ein Jahr wohl ist es schon, Und häufig spielt’ ich um ihr Grab An ihrem Grab oft spielten wir, Mit meinem Bruder John. Ich und mein Bruder John.

Und als der Schnee am Boden lag, Und als beschneit der Boden war, Damit man glitsch’ und gleite, Von hinnen rief der Herr Da folgte Bruder John ihr nach — Auch meinen kleinen Bruder John Er liegt an ihrer Seite.“ Und neben ihr ruht er.“

„Wie viele seid ihr denn, mein Kind? „Und wie viel seid ihr denn, mein Kind, Zwei sind ja tot geblieben:“ Da zwei doch tot geblieben?“ Das kleine Mädchen sprach geschwind: Und schnell darauf gab Antwort mir „O Herr, wir sind ja sieben.“ Die Kleine: „Wir sind sieben.“

„Doch sie sind tot, die zwei sind tot; Doch sie sind tot; zwei sind ja tot, Sie sind im Himmel drüben.“ Sie ruh’n im Kirchhof drüben, Es war vergebens, dass ich sprach; Im Himmel aber ist ihr Geist.“

18 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Das kleine Mädchen ließ nicht nach Doch immer bleib das kleine Kind Und sagte: Wir sind sieben.“ Dabei: „Herr, wir sind sieben.“

When we look at the first stanza in both texts, it seems unquestionable that - by two identical lines - there is a great resemblance between the two translations, but in the following stanzas more and more the second version does not look like a correction activity. We notice that Schack has given up the rhyme scheme abab of the original, which Adolphi also had used, instead Schack applied the scheme abcb. I do not see that by this greater freedom Schack has gained a better German poem. It seems that he has lost his early manuscript and publication, they may have been among the burnt papers he mentions in ‘Meine Erstlingsdichtung’ (Perspektiven, I. 141). He was such a versatile and prolific author that he may have even forgotten the existence of some of his earlier efforts. He started with a new translation according to his words in his preface to his Anthologie that a too rigid fidelity concerning the form may lead to ugly poems. If we compare the many German translations of ‘We are Seven’ in parallel, we would see similar similari- ties of versions, and this is caused by the plain language and content of the original, which does not allow too many variations for the translator.

Finally, I give notice of another link of Schack to the Lake Poets, based on his memoirs (Ein halbes Jahrhundert, I. 239-41): In late summer of 1847, on the way to Scotland via London (meeting George Henry Lewis, George Eliot, Thomas Carlyle, Leigh Hunt) Schack visited the Lake District, for a week making excur- sions from a country residence of English friends near Kendal. He is aware of the residences of the so-called ‘Seeschule, Coleridge, Wordsworth und Southey’, but obviously is he not so much impressed by the landscape’s beauties; he compares them with those of his native lakes at Eutin and Schwerin. On the other hand he adds one and a half page critically praising Wordsworth and Coleridge, defending them against Byron’s ‘invectives’. Von Schack does not spent a word there on his personal relationship as a translator of some works of these poets he had then been there so near to, and this habit corresponds to the narration of Schack in his memoirs (I. 81-83) about his adventure on ship and land 1835, very close to the place, where Percy Bysshe Shelley died in a storm thirteen years before. We remind: Felix Adolphi’s translation of Shelley’s The Cenci was published 1837. Until now I did not yet detect the word ‘Shelley’ in a text with Schack as the author’s name, and in his essay ‘Aphorismen über das Drama’ (Perspektiven, I.1-109) one may have expected that.

What about Gustav Pfizer? Friedrich Notter as well was connected with Gustav Pfizer’s brother Paul Achati- us Pfizer (1801-1867) by a book published in 1831 together with the title Briefwechsel zweier Deutschen, which caused some furore in the public. Before Gustav Pfizer (1807- 1890) took over at least the factual editorship of the new journal Ausland he already had acquired a name as writer and translator. In 1831 he published a biography of Martin Luther and his own poems Gedichte, 1835 also own poems in Gedichte - Neue Sammlung, in 1836 translations from Byron (400 pp.) and in 1839 a second tranche of them (500 pp.). We already mentioned his other big translation work in collaboration with Notter on Bulwer. In later years he took over the editorship of the Literarisches Morgenblatt and continued to translate bestsellers such as James Fennimore Cooper’s Deerslayer, as did Notter with Bulwer’s The Last Days of Pompeii. While G. Pfizer was a freelance writer, he published his signed poems in Cotta’s journal Morgenblatt für gebildete Stände in

19 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 the years 1833 and 1834, but later, when he was editor of the Ausland, I did not find in this journal any contribution with his name. This habit seems to me very natural and usual for a prolific writer, i.e. not to leave marks of personal perfume in his own house. Therefore, one may guess that he has contributed translations from Wordsworth to the Ausland in the years 1838 and 1839, although I cannot present any direct or indirect link from G. Pfizer to Wordsworth, and we have to be aware that there are a lot of other anonymous translations or articles in that journal. Gustav Pfizer’s name is as well notable by Heinrich Heine’s Schwabenspiegel (Swabian Mirror), in which Heine ridicules Pfizer and calls him a ‘Dichterling’ of bad poems. This is a response by Heine to heavy attacks by Pfizer on Heine, while Heine’s publications were already officially banned in 1835. It is said that this ban was induced by earlier accusations from Pfizer’s literary friend or mentor Wolfgang Menzel. After Freiligrath’s plan to publish his own Journal Britannia (together with Johann Heinrich Künzel) had broke down, Freiligrath continued to publish in advance to his later book on translations from the English in Cotta’s Morgenblatt für gebildete Leser, formerly . . . für gebildete Stände), and Pfizer was also responsible for poetry in that journal before and after the Ausland had finished in 1840.

7. Enno Ruge’s research results on the Ausland and on Gustav Pfizer

This article seemed to be already finished by me, as the reader reads it above, when via Susanne Schmid’s article and her book I got notice of Enno Ruges dissertation entitled The Trumpet of a Prophesy?, published 1996. As its subtitle ‘Studien zur Rezeption Percy Bysshe Shelleys im Vormärz’ says, it is devoted to the reception of Shelley in the German Confederation until 1848. In the book’s third and last part Ruge treats ‘Shelley in den Blättern zur Kunde der Literatur des Auslands’, and there it contains very valuable information about that journal itself and its editor Gustav Pfizer (129-228). These are based on sources Ruge could study at the Schiller-Nationalmuseum / Deutsches Litera- turarchiv at Marbach/Neckar and the Cotta-Archiv. Where we overlap in presenting factual material, we agree, but Ruge is not only dedicated to Shelley, but in accordance to his motto from John Updike ‘The challenge is, to the historian, to love the unlovable’ sheds also intensive light on the personality, points of views and political influence of the editor Gustav Pfizer. In the following I will report just the relevant new facts and some of Ruge’s well founded assumptions, which really complement the factual content of my article. The idea of a literary journal, dedicated to the foreign literature, was, mediated by Gustav Schwab, suggested to the publisher Cotta by its later editor Gustav Pfizer. We get to know from Ruge that the Ausland started with 2000 copies, a number which de- creased within a year to 700 (137). While lists of payment to the contributors did not show names of anonymous authors, there exists an exemplar of the General Ausland as well of the Literary Ausland of the volume 1839 from the editor’s office. In that volume ‘with few exceptions’ Pfizer’s name is inserted from an unknown hand, where an author is missing (Ruge 133). From this fact Ruge can ascribe the translation of The Wanderer and The Idiot Boy to Gustav Pfizer. Furthermore Ruge assumes and gives evidence that Pfizer was a main author of most of the anonymous translations and articles in the Ausland, and accordingly Ruge gives Pfizer a leading role in his interpretations of the German reception history of Shelley until 1848. With respect to Wordsworth, Pfizer’s role is confined to select and translate articles from English journals and contribute translations of poems or parts of them in the

20 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 translated English articles, i.e. there is no original article of German origin in the Ausland dedicated to Wordsworth. Beside the main article by Henry Taylor on Wordsworth we can find in many other articles translated from English references to Wordsworth, en- wrapped in more or less short remarks on him or his work in comparison to other Eng- lish or German poets.22 In general I do not deal with them in this article.

8. Gustav Pfizer revisited

When Ruge praises Pfizer’s role as a mediator of literature, I would like to call attention to two articles in the Ausland, which Ruge merely references (131n8) as examples, which inform on the reception of German poetry in England: 1. ‘Englische Urteile über deutsche Literatur’, in Ausland 1836, No. 8f. 2. ‘Die deutsche Romantik und der englische Geschmack’23 in Ausland 1837, No. 95f. The anonymous translator (we assume in the following that he is Pfizer) notes that these articles are excerpted from The Foreign Quarterly Review of the same years respectively. I could find the originals, but was astonished at what Pfizer had made of the second. The first one is a review of Wolfgang Menzel’s work, the second one a review of three works of Ludwig Uland, one of Justinus Kerner, one of Gustav Schwab and one of Heinrich Heine (‘Die Romantische Schule’). The titles of the original articles in the For- eign Quarterly Review are given by Roman numbers, followed by the list of the reviewed works, but their running headers can be taken for their titles, also because they denomi- nate their content more exactly than Pfizer’s tendentiously translated titles: 1. ‘Menzel on German Literature’ in in Vol. XVI, October 1835 and January 1836, No. XXXI, 1-25 2. ‘Ludwig Uhland and the Swabian Poets’ in VOL. XIX, April and July, 1837, No. XXXVIII, 293-337 So Pfizer was faced with the task to present a foreign review on works of his peer group. This was easy with respect to the first article, which is a wild eulogy on Wolfgang Men- zel. However, the second article, at first beginning with saying that Heine’s book is su- perfluous, in the course of its harangue more and more approaches Heine’s spirit and wit. A comparison of both articles does show that Pfizer strives especially by his omissions to harmonize or even disarm the English article as if to prevent that it is used by his German adversaries. In contrast to his usual practice (and a fair citation style) he even does not mark his omissions, but gives the reader the wrong impression of an unin- terrupted text by correctly saying (383) that he did not interrupt the text by his com- ments, complaining then that the English author often looks through the spectacles of Heine, whom he is praising too much. Of course, he does not mention that the English author presents an English translation of the famous, devastating letter of Goethe to Zelter about Pfizer’s ‘Gedichte’ and the Swabian poets, dated 4 October 1831, also printed and commented by Ruge at page 146. I could also spot the English author of both articles: John Stuart Blackie (1809- 1895), “a Scottish scholar and man of letters”24, who had studied at the universities of

22 In the essay on Thomas Moore (No. 5/6 and 7, 1840) I could find some Pfizers’s own words (but a kind of commonplace in the Ausland) about Wordsworth, e.g. that Wordsworth as well as Byron, Coleridge and Shelly are philosophical poets, each in different sense and direction. 23 Ruge cites wrongly: ‘Die deutsche Romantik und die englische Romantik’ (131n8). Pfizer by his title downplays the relevance of the English article to subjectivity of a foreign taste. 24 http://en.wikipedia.org/wiki/John_Stuart_Blackie 21 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Göttingen and Berlin 1829-1830 and translated Goethe’s ‘Faust I’, published 1834 and welcomed by Carlyle (Stoddart, I.147ff.). My key for finding the English author was the fact that the second English article towards its end presents English translations of 17 poems from Ludwig Uhland, and the name of their author is given by Waterman T. Hewett, page 336 and in the biography of John Stuart Blackie by Anna M. Stoddart (I. 157, 19625). For somebody who is pondering to find words and concepts for the difference between Swabian or German and English romanticism, Blackie’s article is a rich, at least remarkable source.

9. Some remarks on the quality of he translations from Wordsworth in the Ausland

Detailed assessments of the listed translations are beyond the limit of this paper. We would have to assess 29 poems and 9 excerptions, and this should be done with a parallel presentation of the texts and then stanza-by-stanza or even line-by-line inspection. We want to speak here only about some principles, and add some general remarks and observations. An assessment of the translations should be based on the examination, compara- tive to the original, of • formal properties, i.e. metrics and rhymes, • faithfulness, i.e. omissions, changes and additions, adequacy of words.

An essential further question is whether the translation results in a poem of the target language, which may as well stand for itself (whether today or in their time), and is able to represent the quality or rank of the original, if we judge from an assessment of Wordsworth’s poems today. With respect to the formal properties we can state that all translations try to follow (more or less successfully) the given meter and rhyme scheme of the original de- spite of the essential difficulties that stem from the fact of the greater compactness of the source language English. The criterion of faithfulness needs a point-to-point comparison of original and translation. I think it should be commonplace that selecting only one stanza and com- menting this to characterize the translation is an insufficient anecdotal method. My general impression with respect to the translations in the Ausland is that a detailed examination would result in long lists of critical points. Notter adds to his translations of ‘To the Cuckoo’ and ‘The Longest Day’ the subheading ‘Nach Wordsworth’ (After W.), while he adds ‘Von Wordsworth’ (By W.) to ‘We are seven’. This may seem to be meaningful, because at least the former two translations invent too many expressions in order to fulfil the rhyme scheme and meter. However, the result may seem unsatisfactory. Throughout all these translations of the rhymed poems the high priority of the fulfilment of rhyme scheme and meter more or less inevita- bly must lead to deviations from faithfulness, a destruction or omission of phrases in the original, which one wishes to be preserved in a translation, – or they lead to alterations or additions, which do not really contribute to a congenial variation of the original, but may be felt to exhibit some near at hand poetical fancy of the translator. In the preface of his Anthology (1893) Graf v. Schack said:

25 Stoddart gives here the wrong date 1841, instead of 1837. 22 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

According to my opinion, the principle, for a long time ruling in Germany, to render foreign poetry with highest fidelity and with the same meter as the original, has populated our literature with many translations, which are distorted pictures of the original and cannot be enjoyed.

Being conscious of the seductions and pains of translating, I also feel that a detailed criticism is not constructive, at least boring for an English reader, who does not have enough knowledge of the German language, and it would be unfair, not being able to abstract from my innate modern sense of language. Instead, I present or would like to present an alternative translation, adequate for modern ears, trying to give honour to Wordsworth words and feelings, as I can grasp them today. Of course, when blank verse is translated, it is easier to give honour to Words- worth. The blank verse poems, which are published in the Ausland in full length and not only by selections, are: ‘Water Fowl’, ‘Nutting’ and the first book of The Excursion, all in volume 1838. In a forthcoming essay on rules of Wordsworth’s blank verse and their transposition into German translations I will treat these texts in more detail in comparison to other German blank verse. Based on a metrical analysis one may derive that the translator(s) had somehow acquired some expertise in the set of licences Wordsworth also used for his blank verse according to Derek Attridge’s terminology and Brennan O’Donnell’s inquiry. This I did not expect. One licence especially stands out in number of occurrences from the others: the initial inversion, which realizes a trochaic line begin, but does preserve the rest of the line to be iambic. Especially this finding, but also the other licence patterns (stress initial pairing and stress final pairing) may indicate that the anonymous translations of Wordsworth’s blank verse in the Ausland have one translator. This is in accordance to Ruge’s assumption of Gustav Pfizer’s authorship. With respect to the criterion of adequacy, one can observe that the translations make use of expressions, which to modern ears sound obsolete or even not tolerable because of the changes in connotations of the expressions in the language in the course of time. That does not so much affect the blank verse translations in the Ausland. They will have had their merit for the reception of Wordsworth in Germany, clearly superior to prose translations, but this is an assumption, not a fact, as long as we do not know more about the reception of these translations by the readers of these journals. A modern reader may abstract from some odd or obsolete words; but the point is, this way, the poems get some layer of dust from the past on it, which the original text does not seem to have, or where the original text to the native hearer may sound classical - in the same way as we now may read Schiller or Goethe with delight. On the other hand, the German text by such expressions may become even not acceptable or not reasonable for a modern reader. We get a first impression of this, when we read the translated titles, which are not really adequate, at least for modern ears: ‘Das Nußbrechen’ (‘Nutting’), ‘Das Wasserhuhn’ (Water Fowl), ‘Der blöde Knab’ (‘The Idiot Boy’), “Die Vagabundin” (‘The Female Vagrant’), ‘Der Spaziergang’ (The Excursion). Another example could be ‘… noch glühend wallen / Am Sonnenlicht die Fluren weit umher./…’ from A. Fürstenghaupt’s translation of ‘… while the fields,/ [...] /In brightest sunshine bask [...]’ (see above!). After his perusal of the translations (all being no blank verse poems) HCR said: ‘They seem in general done with feeling and talent.’ However, I would say, this a very mild or rash judgement, I would not take literally or put weight on it; today it might be adequate for pupils who need encouragement.

In order to sum up my subjective and overall impressions: Except for the translation of the sonnet ‘There is a bondage which is worth to bear’ reprinted above, I would not recommend to include any of the translations from Wordsworth found in the 23 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

Ausland in a modern selection of translations from Wordsworth. They all suffer from some defects, and cannot cope with the original or cannot give us today an adequate impression of the rank of the poet Wordsworth. This my harsh judgement does not ap- ply to the blank verse translations. Of course, for the modern reader they also suffer from occasional obsolete words, and partly also from an excess of usage of metrical li- censes deviating from the regular iambic pentameter or from even being irregular.

The same question concerning the relevance for contemporary interpreters of Wordsworth’s work I would like to pose with respect to the four articles, which were taken over from the English journals, the London and Westminster Review, the Quarterly Review and Tait’s Edinburgh Magazine. They would of course need more characterizations and interpretations as given here, thus linking them to the works of their authors, William Henry Smith, Henry Taylor and Ebenezer El- liott, all three poets too, and linking them to the reception history of Wordsworth in Britain. Smith (especially 1841 in his article in Blackwood’s Magazine) and even Taylor still pay tribute to the common dichotomy of Wordsworth into a blameworthy simple and an earnest philosophic poet.

10. Related works

A description of the reception of Wordsworth by the German literary world in the first half of the 19th century was delivered in 1918 by Luise Sigmann on 14 pages in her book Die englische Literatur von 1800-1850 im Urteil der zeitgenössischen deutschen Kri- tik, an extension of her dissertation of 1912. She exploits also German literary maga- zines, five ‘critical’ and four ‘belletristic’ journals. Being able only to rely on Sadler’s edition of HCR’s diaries she does not know of that event at Munich 1837. On the other hand, she considers the Ausland 1836-1839, but not the year 1840, and her reading of the Ausland is more than fragmentary: She speaks of Freiligrath’s influence on and contributions to that journal without referring to any title. Furthermore she just mentions the translated article in No. 60 of the volume 1836, which deals with philosophical aspects of Wordsworth’s philosophy, but does not cite the referred work, The Excursion. She mentions only one translation in the Ausland: ‘The Idiot Boy’ in the volume of 1839, and cites the passage from the introduction of the anonymous translator, which I have presented (translated into English) above (Sigmann, 22).

Lawrence Marsden Price’s ‘Standardwerk’26 English Literature in Germany could not contribute new facts to my special aspects, but with respect to them contained two errors, already dealt with above. On the other hand, in Susanne Schmid’s contribution to Norbert Bachleitner’s anthology I could find a parallel investigation. It character- izes with a more general intention on reception history the content of the German literary journal Magazin für die Literatur des Auslandes 1832-1848 with respect to all its articles devoted to England and English literature. Exemplarily two and a half pages de- scribe the treatment of Shelley in the magazine during the years covered. Based on Schmid’s (in Schmid, Shelleys German Afterlives, pp. 178-79) list of anthologies, which contain some texts of Shelley, I perused all those seven anthologies in the interval from 1843 until 1885 (except 1881), which contain German translations; I looked for translations from Wordsworth, which had been anonymous in the Ausland - in order that I

26 Bachleitner, VII 24 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 might find some author’s name. However, I could only find some reprints, which already had assigned their author’s name in the Ausland. By Schmid’s presentation of the current state of research I got notice of Enno Ruge’ dissertation The Trumpet of Prophesy – Studien zur Rezeption Percy Bysshe Shelleys im “Vormärz” (1996). By this I could add valuable information on the Ausland and its editor Gustav Pfizer. This is presented already above in section 7. Ruge and Schmid deal with Adolphi’s work and equate him with Graf v. Schack. Ruge does it “with all probability” (94n), and seems to back this by reference to Schack’s ‘responsibility’ for the Anthologie abendländischer und morgenländischer Dichtungen in deutschen Nachbildungen, Cotta 1893, which in volume 1, as Ruge adds, also contains poems of Coleridge and Wordsworth. However, Ruge does not ask, whether poems translated by Felix Adolphi had been included in the anthology. In Jutta Ernst’s paper of 1996 (the same year as Ruge’s dissertation) on Schack as translator and mediator of literature the name ‘Adolphi’ does not occur, although she mentions Schack’s activity in his time as a student and refers to anonymous poems from his pen in Deutscher Musenal- manach 1836 according to Schack’s hint in his memoirs. She deals detailed with his anthology of 1893 and his principles of translation, and also notes that Schack did not fully realize, that some of his translations into German (including that of ‘We are seven’) are not the first, which have been published.

John Williams in his book Wordsworth Translated – A Case Study in the Reception of British Romantic Poetry in Germany 1804-1914 does neither exploit nor cite the journal Ausland as a source, and does not refer to Sigmann. By Williams’ sections on Freiligrath one may get the impression that Freiligrath was a kind of champion in the reception of Wordsworth in Germany. However, when we look at the number of Freiligrath’s known translations from Wordsworth in comparison to his many other translations from English poets, and in addition, when we consider which poems of Wordsworth he translated, then Freiligrath’s role in propagating Wordsworth’s poetry in Germany is small. To give further evidence for such a conjecture one should know more about the reception of the work of the translator Freiligrath in the public literary environment. By Luise Sigmann (23) we get an interesting hint to that: A German reviewer ‘E.Fiedler’ of Freiligrath’s Englische Gedichte aus neuerer Zeit judges in plain terms and without giving any further arguments in the Blätter für Literarische Unterhal- tung, 1847, second volume July-December, No. 219, 875-76:

Die beiden Gedichte von Wordsworth sind unbedeutend; trefflich sind dagegen John Wilson’s ‘Begräb- nisplatz auf Schottlands Nordküste’ und Procter’s ‘Letzter Tag von Tippo Saib’. [The two poems of Wordsworth are insignificant/negligible; but excellent are John Wilson’s ‘Lines Written in a Burial-Ground on the Northern Coast of the Highland’ and Procter’s ‘The Last Day of Tippoo Saib’.]

Bryan Waller Procter is Barry Cornwall, this pseudonym of Procter was used by Freiligrath. The two translated poems from Wordsworth in that publication of Freiligrath are ‘The Solitary Reaper’ and ‘Yew-Trees’ (Sigmann, 23; Blätter für Literari- sche Unterhaltung No. 219, 7. August 1847, 875-76). I refuse to believe that Freiligrath by his three translations from Wordsworth, published in his later books of poems among his many other translations from English poetry, could effectively make visible to the general German public his personal esteem of Wordsworth’s verses. I think he did more for that by his anthology The Rose, Thistle and Shamrock, which from its first publication 1853 until 1990 had seven editions, or

25 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 even eight27, if we add the German translation by Seeliger 1863. The reception histori- ans should take a further step by perusing the school-books of that age: Which of the poems of Wordsworth, translated or not, had found their way into them? Sigmann remarks that ‘We are seven‘ had been included in many German textbooks (20-21). This corresponds to six published translations of this poem by Wolff, Freiligrath, Notter, Adolphi, Kannegießer and v. Ploennies between 1832 and 1843.

In order to prevent the transmission of legends concerning Freiligrath and Wordsworth I add the following observations:

On page 100 Williams says: ‘“Song for the Wandering Jew” is not overtly a political poem, and though for Freiligrath it reflected his own experience of exile, at the time he translated it his melancholy was the result of domestic, not political circumstances.’ The poem was published 1830, and around that time Freiligrath lived and worked at Soest, his second home town. What does Williams tell us about Freiligrath’s domestic circumstances, which suffice for speculating about the cause of a translation of the ‘Wandering Jew’, which its author never republished, although Williams sees Freiligrath’s later experience of exile in it reflected. John Williams writes on page 111 the following, related to the second exile of Freiligrath in England, which began in May 1851: ‘The family arrived in London in 1851, and stayed for 16 years, during which time he finally managed to meet Wordsworth (Bömig 1906, 79).’ My comment: This is not only impossible, because Wordsworth died in 1850, but also Williams’ cited source Bömig does not at all maintain anything about such a meeting. Freiligrath did not even visit the Lake District; once, in July 1854, he was happy to evade his duties in London to travel to Scotland (via ship along the eastern coast of England and back via train), and to meet a still living younger sister of Robert Burns at Burns’ place of birth in Ayrshire (Buchner II. 284-85). Another sentence of Williams (110) goes far beyond its cited German source, and treats it uncritically:

We know, for example, that he [Freiligrath] was translating the Evening Voluntaries of 1835, and sonnets from the River Duddon series through the 1840s; ‘The Danish Boy’, ‘Written in March’ and ‘Tables Turned’ were also among the poems on his work-bench around this time (Spink 1925,25, 30).

In fact, we know that Freiligrath translated ‘The Danish Boy’, but for the other translations from Wordsworth mentioned here by Williams I cannot find any reliable evidence, not even in the work of Spink cited here by Williams, because Spink does nothing at these pages but speculating that specific poems of Freiligrath were influenced by poems of Wordsworth. These are Spink’s words at his page 30-31:

Vielleicht dachte Freiligrath an Wordsworths Stück ‘Written in March’ oder ans Gedicht ‘The Ta bles Turned’; in diesen beiden Dichtungen beschreibt Wordsworth die Schönheit des Frühlings. [Perhaps Freiligrath thought of Wordsworth poem ‘Written in March’ or ‘The Tables Turned’; in these Wordsworth describes the beauty of spring.

Such vague associations of Spink, not substantiated by any further evidence, should not be taken as a base for ‘knowing’, what was on Freiligrath’s ‘work-bench’.

27 Fleischhack No. 1445 (p. 199) and Web search. 26 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840

On the page 25, referenced also by Williams (see above), Spink sees great similar- ities of the poem ‘Nebel (‘Sea-Fog’28) of Freiligrath, written 1836, to Wordsworth’s poem ‘On a high part of the coast of Cumberland’, published 1835 as a part of the ‘Evening Voluntaries’. These are Spink’s words: Freiligraths 1836 geschriebenes Stück ‘Nebel’ gleicht [equals, is very similar to] Wordsworth schon 1835 veröffentlichtem Gedicht ‘On a high part of the coast of Cumberland’. In jedem Stücke befindet sich eine Schilderung des ruhigen Sonnenuntergangs und der Meeresstille; auch beschreibt jeder Dichter das Ausbrechen eines unerwarteten Sturms; auch endet sich jedes Gedicht sanft und still. Auch sind beide Stücke in Fünffüßen mit Reimen geschrieben. [My translation of the last sentence: Each poem contains a description of a calm sunset and the calm at sea; each poet describes the outbreak of an unexpected storm, each poem also ends placidly and still. In addition both poems are written in rhymed pentameters.]

I object that the content description of the turning points in both poems is not adequate, and that it might at most be possible that Freiligrath was inspired by Words- worth and by an evening at the seaside near Amsterdam to write his own quite different poem. Williams is making facts from Spink’s speculative associations, based on a too primitive, and thus misleading description of the poems and not based on a reading list of Freiligrath. Even the metrical properties of both poems are made equal by Spink: While Wordsworth writes couplets with a clear content related grouping in two sections of 12 and 14 lines, Freiligrath presents his poem ‘Nebel’ with four stanzas of six lines each, and each with its own rhyme pattern a a b c c b.

11. Conclusion

In the year 1996 Enno Ruge writes that the Ausland (his abbreviation: Blätter) is a rich source for early translations from the English and French, but also Italian, Modern Greek and several Slavonian languages. ‘Astonishingly, until now nearly no one was interested in the translations or critical literary essays, although the existence of the journal was always known, and the resources easily accessible’.29 Now, focused on William Wordsworth only, I have protocoled and more or less commented all essential traces of his poems in Cotta’s journal Blätter zur Kunde der Lit- eratur des Auslands during the lifetime of this magazine from 1836 until 1840, leaving aside those contributions, where Wordsworth was only shortly made mention of. Thus not aiming at an interpretative reception history of Wordsworth but gathering bare facts. We could find 29 translated poems and nine shorter or longer translated excerpts from Wordsworth. The most remarkable translation is that of the first book of The Ex- cursion ‘Der Wanderer’, presented anonymously in volume 1839 of the Ausland, and according to Enno Ruge’s research to be ascribed to the editor Gustav Pfizer. Extrapolating Ruge’s finding from the volume 1839 to the other volumes of the journal we can with him assume that Pfizer was also responsible for most of the other anonymous contributions to the Ausland. Six authors of the translations have revealed their names: Friedrich Notter, Adolph Fürstenhaupt, Julius Krais, Felix Adolphi alias Adolf Friedrich Graf von Schack, and Karl-Ludwig Kannegießer. Partly, the translations are embedded into anonymous articles, which are taken over in a more or less abridged form as translations

28 This is the English title of the translation of the poem ‘Nebel’ into English by W. Nind in Kate Freiligrath- Kroeker’s edition of Poems from the German of Ferdinand Freiligrath, Edited by His Daughter. 29 Ruge, 131, my translation. Unfortunately, this was not true for me in the year 2001: The librarian at service for me at Deutsches Literaturarchiv at Marbach/Neckar (!) could not at all help me, when I asked him for the full title and any further information on that journal ‘Ausland’, which Henry Crabb Robinson had mentioned in this abbreviated form in his diary; see the beginning of this article. 27 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 from an English journal. Owing to Google scans on the Internet I could spot here exact sources in the London and Westminster Review, the Quarterly Review, Tait’s Edinburgh Magazine and the Foreign Quarterly Review, and also, where missing, their authors. It is in these articles that the German reader could find some substantial reflections on Wordsworth’s poetry. The main article, giving the most comprehensive overview un- derpinned with selections from some of Wordsworth’s essential poems, is Henry Tay- lor’s essay on Wordsworth in the Quarterly Review 1834, published in the Ausland in abridged form 1838. In July 1837 Henry Crabb Robinson could have seen not more than four translations of poems from Wordsworth printed in the Ausland, three of them can be taken as signed by Friedrich Notter. Insofar Henry Crabb Robinson was wrong in believing that they were all anonymous. He could have read Ferdinand Freiligrath’s translation of the Ancient Mariner. In addition, by circumstantial evidence from the life and works of Freiligrath it can be maintained that not any translations from Wordsworth in the volumes of the Ausland 1836-1840 should be attributed to Freiligrath.

12. Bibliography

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Freiligrath, Ferdinand. Ferdinand Freiligraths sämtliche Werke in zehn Bänden. ed. by Ludwig Schröder. 10 vols (Leipzig Max Hesse, 1906)

Robinson, Henry Crabb. Henry Crabb Robinson on Books and their Writers, ed. by Edith J. Morley, 3 vols (London: Dent, 1938) [In this article referenced ‘HCR/Morley’.]

Wordsworth, William. The Poems. 2 vols ed. by John O. Hayden (London: Penguin, 1990) — The Poems of William Wordsworth. Collected Reading Texts from the Cornell Wordsworth. 3 vols ed. by Jared Curtis.(Penrith: Humanities-EBooks, 2009)

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Acknowledgement The author expresses his thanks to Mrs Claudia Dahl, Literaturarchiv der Lippischen Landesbibliothek Detmold, for her valuable hints and services concerning his questions related to Ferdinand Freiligrath. I am also grateful and indebted to Mrs Teiko Hatsui,

31 This book is - contrary to the German publisher’s note on the backside of the title page - obviously not just the translation of the former title, but of another version of Price’s work, entitled The Reception of English Literature in Germany, published 1932 by University of California Press, and reprinted 1968 by Blom, New York. 32 © Dietrich Fischer 2015, last update 11.10.2015, www.william-wordsworth.de Dietrich H. Fischer: Wordsworth in Cotta’s Literary Journal Blätter zur Kunde der Literatur des Auslands, 1836 – 1840 who carefully read the manuscript in different versions and accessed the Wellesley Index to Victorian Periodicals. This article would not have been possible without free access via the Internet to many sources scanned by Google. Author’s address: Dietrich H. Fischer, Bahnstr. 26, 63329 Egelsbach, Germany [email protected], www.william-wordsworth.de