Translations Of German Poetry In American Magazines 1741-1810 Part 2

may be a mistake.[27] This second group has been cla.s.sed with the translations of German poetry (Part II); while the first group from the French belongs to Part III.

[Footnote 26: The British Museum catalogue mentions "_Fables et Contes_ [trans. princ.i.p.ally from the German of C. F.

Gellert, etc.], 1754."]

[Footnote 27: Cf. _The Earth's Division_, "Trans. from Goethe [sic], by L. E. L." _Waldie's Port Folio_, Part I-123, Apr.

11, 1835, Phila.

Also, _Benevolence_, "A Fable from the German of Galleret"

[sic], 1802.]

No attempt is here made to discuss the critical estimate that the Americans of this period placed upon German literature. This would require a consideration of all the prose articles, whereas the present study has been devoted entirely to the poetry. It is hoped that, from the list given in Part IV, such information may be obtained. Besides the several paragraphs on German literati, the individual poems are often preceded by an introductory note praising the original of the translation. Even back in the eighteenth century, people were considering the utility of the modern languages as opposed to the cla.s.sics. The _American Museum_, for example, published a _Speech on the learned languages_, by the Hon. Francis Hopkinson, which concludes with the remark that the "languages most in use are, in truth, the most useful to be known."[28]

[Footnote 28: _Amer. Mus._, III, Jan.-June, 1788, p. 539. Cf.

Part IV, p. 194; also the remark of W. E. Channing, Part I, p. 1.]

On the other hand there were unsympathetic writers who ridiculed the Germans and their literature. The _Monthly Magazine_ published a letter ent.i.tled _Literary Industry of the Germans_, which decried their pedantic scholars.h.i.+p in unprofitable directions.[29] This attack is also expressed in the form of parodies, of which the following were found: _The Wolf King_, a satire on _The Water King_, _The Fire King_, etc. (1802), _The Paint King_, a burlesque on _The Cloud King_, _The Fire King_ and others (1809, 1833), _Against Faustus_ (1804), _The Squeaking Ghost_, "a tale imitated from the German, according to the true and genuine principles of the horrifick" (1808, 1809, 1810), _Parody on Burger's Earl Walter_ (1807), _Ode to the German Drama_, "Parody of Gray's Ode to Adversity" (1806), and _Burlesque on the style in which most of the German romantic ballads are written_ (1799, 1801). In some of these instances the parodies may denote no real hostility but merely a rhymester's attempt to be clever.

[Footnote 29: "A German writer, L. W. Bruggeman, has published, at Stettin, in Pomerania, a Prussian province, a work, in English, on which he has laboured twenty-five years.

It contains _a view of all the English editions, translations and ill.u.s.trations of the ancient Greek and Latin authors_. In the execution of this work, he has been at great expense, being obliged to purchase and import a great number of English books. This is a very curious specimen of learned perseverance and labour. That a man should spend his life in recounting the translations of ancient authors into a language foreign to his own! It is one of the most difficult, tiresome, unpopular, and unprofitable branches of the trade.

Germany, however, affords innumerable instances of this kind of literary diligence. There is a press at Leipsic abundantly supplied with editions and interpretations of Chinese, Abyssinian, Coptic and Syriac productions."

_Mo. Mag. and Amer. Rev._, II-8, 1800, N. Y.]

It is worthy of note that several of the poems in these magazines may be grouped together, thus indicating particular interest in certain subjects. Each group forms, as it were, a cycle, though the individual poems were usually written by different persons. One of these groups attests the popularity of Frederick the Great, even before the American Revolution. The translations from his poetry are: _Relaxation of War_ (1758, 1795, 1798), _The King of Prussia's Ode imitated in rhime_ (1758), _A literal translation of the King of Prussia's Ode_ (1758), _Translation of an Epistle from the King of Prussia to Monsieur Voltaire_ (1759), _Ode to Death_ (1786, 1806), _Prayer of Frederick II in Behalf of Poets_ (1805), and _A Song_ (1811). The original poems about Frederick are: _Winter_, a poem, containing a reference to "great Frederick's n.o.ble feats" (1758), _On the compleat Victory ..._ (1758), _Ode on the late Victory obtained by the King of Prussia_ (1758), _On the glorious Victory ..._ (1758), _The Third Psalm paraphrased_, "Alluding to his Prussian Majesty" (1758), _On reading in the publick Papers ..._ (1758), _The Royal Comet_, referring to "Prussia's great Frederick" (1758), and _Mr. Voltaire's letter to his Prussian Majesty, Translated_ (1758).

Another group treats the kings of the natural elements, so common in German literature: _The Erl King_ (1798, July 1833, Sept. 1833, 1835, 1836, 1838, 1839), _The Erl King's Daughter_ (1798), _The Water King_, a Danish Ballad (1798), _The Wolf King_, a parody on _The Water King_, _The Fire King_, etc. (1802), _Hrim Thor, or the Winter King_ (1802), _Grim, King of the Ghosts_ (1802) and _The Paint King_, a burlesque on _The Cloud King_, _The Fire King_, etc. (1809, 1810, 1833). This interest in the weird element explains the popularity of Burger's _Lenore_, which appears in translation in 1798, 1801, 1804, 1823, 1836, 1839, 1840.

Switzerland is described in a variety of poems, treating all phases of the life and scenery. The most prominent among them is the Swiss song, which is variously translated as the _Ranz des Vaches_, the _Cow Boy's Chant_, and _The Song of the Swiss in a Strange Land_ (1805, Oct. 15, Oct. 29, Nov. 1, Nov. 8, Dec. 17, 1808, June, June 3, 1809, twice in 1833 and once in 1835). In addition to the translations, there are four imitations of the same poem: _The Swiss Exiles' Song_ (1835), _The Switzer's Return_ [from America] (1836), _The Switzer's Song of Home_ (1837, 1838), and _The Swiss Emigrant's Dream of Home_ (1840).[30]

[Footnote 30: A translation of Schiller's _Ranz des Vaches in "William Tell"_ is given in _The Constellation_, III-266, July 7, 1832, N. Y.]

The last group of poems to be mentioned refers to Goethe's novel, _Die Leiden des jungen Werthers_. This was evidently popular in America, though by no means causing the widespread delirium and sentimentality that had been rife in Germany. During our period the book was published here six times in translation, and an English imitation, _The Letters of Charlotte, during her Connexion with Werter_, had three American reprints.[31] These, together with translations imported from England, must have made Werter well known in this country. It is not surprising, therefore, to find in the magazines eight poems on the subject: _Narcissa_, containing a reference to Werter in the third stanza (1787), _Charlotte's Soliloquy--to the Manes of Werter_ (1787), _Death of Werter_ (1787), _Werter's Epitaph_ (1787, 1791, 1805), _On Reading the Sorrows of Werter_ (1790), _Letter LXI of the Sorrows of Werter, Versified_ (1791), _Werter's Farewell to Charlotte_ (1798) and _Charlotte at the Tomb of Werter_ (1809).

[Footnote 31: Wilkens, _op. cit._, p. 164 seq.]

The early American magazines, then, were instrumental in making German literature and especially German poetry known in America. It was possible for them to print translations of individual poems of an author long before there was a demand for them in book form. Gessner, Burger, Gellert, Lessing and others have already been mentioned in this connection. It is interesting to note just what poets were introduced to the American public by means of the magazines. Gessner and Burger were the most popular, the former appearing twenty-five times and the latter ten times before 1811. Gessner was perhaps the German poet best known in America. During this period his _Death of Abel_ had no less than sixteen American imprints and four imitations, while translations of his _Idyls_ appeared in book form twice in 1802 and once in 1807.[32] Burger, on the other hand, was known only through these poems in the magazines, or perhaps through imported books. No volume of translations of his poems belongs to this period of American printing.

[Footnote 32: Wilkens, _op. cit._, p. 108 seq. and 164 seq.

In England, likewise, the _Idyls_ were constantly on the book-market and _The Death of Abel_ had 20 editions before 1800. Cf. Herzfeld, _op. cit._, p. 6.]

After these, Gellert, Lessing and Haller had some share of recognition both by translation and criticism. Goethe, as has been shown, was known as the author of _Werter_. As for his lyrical productions, only two appeared, _The Erl-King_ (1798) and _Frederick and Alice_, "Imitated rather than translated from a fragment introduced in Goethe's _Claudine von Villa Bella_" (1807). Other poets, like Jacobi, Klopstock, Matthisson, Kotzebue, Patzke or Burde, found an occasional admirer, but not enough was done to bring their characteristics plainly before the public. In addition to these, there were numerous parodies and original poems, which helped to emphasize the importance of things German. This influence, moreover, was aided by the translations of prose works and by articles on German literature, history and biography, which are scattered through the pages of these periodicals. The American magazines accomplished considerable for German in this country. The movement here treated grew until it a.s.sumed a widespread importance a few decades later, but the period to the end of 1810 is interesting as marking the beginning. It was the first epoch of this type of literary activity in America.

II.

TRANSLATIONS OF GERMAN POETRY.

THE OLD MAN.

From Gesner.

From the London Magazine, Oct. 1773.

[Prose translation.]

_Royal Amer. Mag._, p. 14, Jan. 1774, Boston.

[Reprint from the _London Mag._, p. 437, Sept. 1773, London. Preceding the t.i.tle: "For the London Magazine."

Salomon Gessner, _Palemon_, Idyllen, Erste Folge. Concerning the prose translations from Gessner, cf. p. 16.]

For the Pennsylvania Magazine.

MIRTIL AND THIRSIS.

A PASTORAL.

From the German.

[Prose translation.]

_Penna. Mag._, I-359, Aug. 1775, Phila.

[S. Gessner, _Myrtil. Thyrsis_. Idyllen, Erste Folge.]

Description (with an elegant Engraving) of the celebrated Tomb of Madame Langhans, executed by Mr. John Augustus Nahl, late Sculptor to the King of Prussia, and which is to be seen in the choir of the parish church of Hindlebanck, two leagues from Berne.

As the inscription and verses of the Tombstone, which were written by the celebrated M. de Haller, could not with propriety be introduced in the engraving, we insert them here, in a free translation from the original German.

Hark! the majestic sound! the trumpet hear!

See the astonish'd tombs give up their prey!

Oh G.o.d! my Savior! 'tis thy voice I hear!

And with my child, I come t'eternal day, Awake my infant; open now thine eyes, Leave the corruption of thy mortal birth, Arise my child, to thy Redeemer rise, And taste at length the joy denied on earth, Before his face death must yield to life; Hope to real joy ... there, purged from sins, Serenety succeeds to grief and strife, Time flies...

Eternity begins.

In this blessed hope Sure that her Saviour will fulfill his promise, Reposes in this Tomb, Guarded by a tender and sorrowful husband, Mary Magdalen Waber, Born 8th August, 1723; And who departed this life on Easter-Eve 1751, The wife of George Langhans, Preacher of the gospel at Hindelbanck.

_Boston Mag._, I-56, Dec. 1783, Boston.

THE BACCHa.n.a.lIAN.

(Translated from the German.)

The thunder rolls dreadfully through the dark sky, To the cellar I quickly retire; Think not that I wish from the thunder to fly; No--'tis for the best wine to enquire.

_Universal Asylum and Columbian Mag._, IV-253, Apr. 1790, Phila.