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326 THE LEADESi [JSfo. 506. Dec. 3, 1859
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IJUNYAN'S PILGRIM'S. PROGRESS. With Illu...
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house of one Simon Hawthorne, under tho ...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Schiller's Life And Works. By Emil Palle...
Juliet , ' have in reality no connexion with the nation , are their , artistic productions to be compared with ours ? Are their actors more celebrated than our Ekhpf , Schroder , Fleck , and Devrient ? The Stage alone , has not the power to create a nation , but its co-6 peration cannot be valued too highly , nor its influence in penetrating on every side into the souls of the people . In many momentous points , the German stage offers in its past history , a most admirable example . Even with the talents displayed in the ' Forty Years / much more might be accomplished , if Schiller ' s idea were steadily and unremittingly striven after , instead of being wasted in one-sided theories , or on frivolities . "
prove in all respects satisfactory , whether' as biography or criticism . It is excellently translated by Lady Wallace , and worthily dedicated to the Queen . )
The relation of the stage with the nationality of a people would prove a fruitful subject were the argument to be , as it mi g ht be , thoroughly worked . The Mannheim theatrical board saw , however , but a short , a very short way into this relation , and Schiller proposed ah Ideal which they were never prepared to realise . In fact , the record of the poet ' s life is that pf a complete struggle with the theatrical powers , and a perpetual conflict with managerial incompetency . Each piece was retarded by doubt and delay , as if the author were yet untried . Nay , he seems to have had less trouble with " The Eobbers " than with
" Fiesco" or " I > on Carlos . " Yet ; perhaps , Schiller was well situated in regard to the stage , which was then in its infancy , and more plastic than it has been since . In a more advanced period of its development he would have found it almost impossible to have planted the poetic drama on the boards , as is now the case in England . Drama in Germany had its peculiar development . Shakspeare predominated in the highest minds ; but , strange to say , the doubtful plays of our great poet bad at least as much , influence as his acknowledged performances . " Arden of Feversharn" had as much influence as " Romeo , " " Coriolanus" " Hamlet , " . « Lear . " The
example of Lillo was most potent . Even , as it was , Schiller himself was early smitten with the mania , and , iii his " Cabal and Love , " showed what he could ' do in the manner of these apocryphal models . Tn a word , in Germany , as in all other countries , drama had a tendency to gravitate towards the domestic . In Germany there were also special reasons for the tendency . From the want of a definite jurisdiction , the oppression which the higher classes exercised over the middle ones was only too palpable . The drama , therefore , naturally represented the interests of the middle classes . Lessing and Schiller endeavoured to elevate the relative subjects by artistic treatment . Such was the natural course of the stage under the given
circumstances . At a later period of his career we have to consider Schiller in his relations with Goethe , and and particularly in regard to the all-famous " Xenien . " The reader will find particulars in Palleske ' s work . The friendship of the poet , as lovely as that of David and Jonathan , is beautifully painted . This portion of tho work will give unalloyed pleasure to the intelligent reader . . The reflections made by the present biographer
on " Wallenstein " and on Tieck's suggestion , that Schiller should have written a cyclus of such dramas , describing the guilt of the Emperor , the intrigues of the Jesuits , the unmitig ated hatred , existing between the Lutherans and the Reformed , and the employment of Wallenstein in services which were criminal , serve to show us still more intensely than ever the marvellous nature of the Shakespearian historical dramas , to which "Richard
HI , " serves as the keystone— " the distorted offspring and scourge of a barbarous race and their bloody deeds . " Schiller meditated the subject for seven years . " Was this a less tender friendship for his hero than ho had experienced in former days for Don Carlos when at Bauerbach ? Assuredly not ; and so surely as Shakspearo cherished his Richard , with no lees love in his great heart than . the fascinating
Borneo , just as surely did Schiller , from the same impulse , incessantly strive to inspire the spectators ¦ wi th his own interest in his hero . He repeatedly analysed the character . A realist like Wallenatoin seemed unsuitable for tragedy , but in this character Schiller in truth loved the realist Goethe . Ho thoroughly scanned Wallenetein ' s passions . Ambition and revenge are cold and repulsive influences , for they are entirely qgotletical . Even jealousy is not 00 ropuiaivef an egotist as revongo , for it is kindled ftitfie flame of love " Wo now dismiss tho reader to a book which will
326 The Leadesi [Jsfo. 506. Dec. 3, 1859
326 THE LEADESi [ JSfo . 506 . Dec . 3 , 1859
Ijunyan's Pilgrim's. Progress. With Illu...
IJUNYAN'S PILGRIM'S . PROGRESS . With Illustrations by Charles Bennett-, and a Preface by the Rev . Charles Kingsley . —Lougnian , Green , Longman , aiid Roberts . The illustrations of this work are numerous , consisting , however , not of scenes but of characterheads , which arc in most instances admirably significant . For this peculiarity Mr . Kingsley has given his reasons in the preface . Uunyan ' s men , he tells us , are not merely life-poi'traits but
English portraits—men of the solid , practical , unimpassioned , Midland race . Mysticism was unknown to Bunyan ; he is wholly Midland English ; and as the character of Midland men lias undergone little change since his time , the truest types of his creations are still to be looked for in the country where lie wrote . Mr . Bennett has , therefore , chosen the manner of Durer and Holbein rather than of more classical models . The nude is altogether excluded . But there is another reason for the method of
illustration adopted . Landscape painting would have been improper . No pictures of scenery appear to have presented themselves to Iiunyan's mind , such as the general illustrator would delight in . Mr . Kingsley detects no " word-painting .. 1 in Bunyan ' s descriptions . Born and . bred in the monotonous Midland , he has no natural images beyond the pastures and brooks , the towns and country houses which he saw about him . He is as thoroughly " naturalist "in them as in his characters ; but when he requires images of a grander kind he goes to Scripture for them ; and his " Delectable Mountains " — " beautiful with woods , vineyards , fruits of all kinds , flowers also "—are merely formed from the common repertory of the Puritans , without individuality of any kind .
Such is Mr . Kingsley ' s statement of the limitations of the Bunyan mind . We think he has overmuch narrowed them ; nevertheless , there , can be no doubt that Bunyan dealt with man rather than with nature . Though not a mystical , he was decidedly a subjective writer . Mr . Kingsley is therefore correct in saying that in his Valley of the Shadow of Death , Bunyan " describes , not objectively , for the sake of the grand and terrible , but subjectively for the sake of the man who passes through it , naming merely , and that without an epithet , all its satyrs and hobgoblins , snares , sius , and pitfalls . "
In Mr . Kingsley ' s opinion , "the samo insensibility to the beautiful and awful in nature , which is noticeable in the early Christians , the mediaeval monks , and perhaps in all persons under strong religious excitement , " pertains also to honest John Bunyan , converted from blackguardism to Puritanism . " Where , " he adds , u the unseen world is all in all , the visible world is only important in as far as it bears on the soul within . " In all this , as we have said , Mr . Kingsley has , in our op inion , taken too contracted a view , and sacrificed much
to a favourite theory . Bunyan , certainly , was not a Spenser ; nevertheless , ho was a poet , and frequently the verses that he scatters up and down his book arc musical and sweet . We should be sony , therefore , that landscape scenery should be altogether ignored in all Bunyan ' s illustrations ; but we admit that a certain conventional severity is proper , and should in any future' attempt bo observed . We could'ha , ye wished that Mr . Bennett had allowed himself larger range and scope ; but what he lias done he has done finely and well .
House Of One Simon Hawthorne, Under Tho ...
house of one Simon Hawthorne , under tho care of whose only daughter , Mary , he soon recovered but not until he had fallen in love with his nurse ' Simon , proud of the idea of his daughter becoming a titled lady , makes no objection to the marriage " which shortly after takes place , " privately " ° in the village church , after which they go direct abroad on the honeymoon trip , and no more is heard of them for a time . Some months after , on a bitter cold winter's night , when old Simon is smoking his eveninw pipe , lie hears a knock at his door , and on opening
it his daughter falls fainting with exhaustion at his feet . From her he . gleans that Sir Philip had been married before he married her , though the marriage had been dissolved soon after it took place , and while he and his first wife were hving abroad . This explanation , however did not satisfy poor Mary , who , thinking that those whom God hath put together no man should put asunder , leaves him , and tramps all the way back to her father ' s house , jn the course of time she becomes the mother of twin children , the difference in whose natures furnish the writer with
the groundwork of her story . Both the boys bore a great likeness to their father . In character they were very different : Cyrus inherited all the " blood " and haughty bearing of his father , while Robert , on the other hand , was the very counterpart of his mother . Cyrus was , his mother ' s favourite , and , indeed , . everybody's . Robert , though a boy of good solid worth and sense , is completely thrown in the background whenever they appeared together . Cyrus was what is termed a " high-souled " youth ; his soul revolts at the idea of becoininir a farmer
or varnish maker ; he is always talking of what he intends to do and the position he will win , while Robert is perfectly content to . follow the calling his mother has in view for him . So Cyrus goes to his father , and Robert to the varnish manufactory . Cyrus receives a good education , . and writes poetry ; Robert settles down into ; i steady , hardworking varnish maker . Both , however , have their share of troubles , which brings out most forcibly the contrast in the two characters . Cyrus becomes infatuated with a shallow beauty of fashion , whom his father afterwards wins—not knowing his son loved her . Cyrus on leaving goes to Paris , where he lives a life of debauchery , and runs into debt , from which his father then
three times sets him free . lie comes to London , and writes infidel poetry , joins some democrats — advocates their cause , till one night , being left to write an article in accordance with the principles of the paper upon which he is engaged , he writes instead one advocating the views of the opposition party . From journalism he turns to lecturing on strikes , and uses his education to iucitc the poor to destroy their masters' property , for which he is sentenced to two years imprisonment . This seem 3 the best thing that could have happened to him , for on getting free he resolves to earn his own living and to refuse any aid from cither father or brother . For a long time his continued efforts are of no avail , and he sinks into the deepest
poverty . Soon after Robert was Installed at the factory he received a visit from Liuly Leigh , who wished to adopt him ; Robert however , politely though firmly refused . Lady Leigh , it should be said , ' had adopted tliroo or iour children and got them married oil" woll , and at the time she asked Robert to go and livo under her whom she baa
care , she had two girls , one of settled to her own satisfaction as exactly suitable for tho wife of Cyrus , who was then a' great favoui'ito with her . In tho course of time , when Cyrus is in Paris , she became tho wife oi' Robert , and' a good loving little wife she proved , much to the old lady ' s annoyunce . Sue did not livo to enjoy her wedded life long , for inheriting iron * her mother that loll disease , consumption , she died shortly after her marriage tne
AGAINST WIND AND TIDE . My Holme I-oo , autliQr of Sylvan Holt ' s Daughter , " " Kftttlo Brandu , " < Ssc . & c . ~ Smith , Elder , and Co . If " Against Wind and Tide " docs not become as popular as " Sylvan Holt ' s Daughter , " it will not be that it is a less able work of fiction , but because the writer has been less fortunate in the choice of her subject . There is no such angelic character in this work as Margaret Holt ; the diameters are far loss pleasant personages to read about , and perhaps for this roason are more true to nature An outline of the book will give the reader a pretty good idea of its morit . It appeal's that , shortly before tho time tho history commences , Sir Philip Nugent ' a yacht was wrecked ou tho coast of Chinolyn , and some lives were , lost , bat Sir Philip reached the shore , though much bruised and oxhuuated . Ho was taken to the
Her character is the moat finished of any m work , and tho enrly mention that shu is consumptive , and that her health is giving way , is beautifully conceived . It is hardly waid , yet tho reader fools what the author moans . 11 or death was ft great blow to poor Robert , but ho strugg led on manfully , never once thinking that his lot is harder to bear than that of other people . This given tue writer the opportunity of showing— -which she aooa most forcibly — the difForonoo between tu
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Citation
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Leader (1850-1860), Dec. 3, 1859, page 18, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_03121859/page/18/
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