No More Learning

He took his degree in 1607.
After his college days, Hobbes became tutor to the eldest son of
William Cavendish, later Earl of Devonshire, and was attached to
this family for many years, teaching the Cavendishes, father and son,
traveling with them abroad, and being pensioned by them in his old
age. This life brought him into contact with people of gifts and
station, both in England and on the Continent; and gradually Hobbes,
by study and conversation with leaders of thought, developed his
theory of psychology and of the State. He lived for years at a time
in Paris, when he feared to remain in his own land because of the
hostility excited by his works on 'Human Nature' and 'De Corpore
Politico. In 1661, at the age of seventy-three, he returned to Eng-
land and made his headquarters at the Cavendishes' town and country
houses, rounding out his philosophical system, and enjoying the friend-
ship of such men as Selden of 'Table Talk' fame, and Harvey the
scholar. Always a controversialist, seldom free from an intellectual
quarrel with members of the Royal Society, his last days were no
exception; and he no doubt wasted much time, better spent upon his
main philosophical treatises, in bickerings about mathematics and
other abstruse matters, keeping this up until his death at the rare
old age of ninety-one. He died December 4th, 1679, at Hardwicke
Hall.


## p. 7382 (#180) ###########################################

7382
THOMAS HOBBES
Hobbes maintained his intellectual and physical powers to the
very end. His health was poor in his youth, but improved in middle
life. He wrote his autobiography at eighty-four, and when eighty-six
translated Homer. In person he is described as over six feet in
height, erect, keen-eyed, with black hair. He had a contempt for
physicians, was regular in his dietary and other habits; used tobacco,
and states gravely that during his long life he calculated he had
been drunk one hundred times. After he was sixty he took no wine.
At seventy-five he played tennis. Intellectually audacious, he had
personal timidity; charges of time-serving made against him have not
been substantiated, however, as even so harsh a critic as Cunning-
ham confesses. That Hobbes was a man of marked social attraction
can be inferred easily. His friendships with Descartes, Bacon, Lord
Herbert, Ben Jonson, and many other typical great men of his day,
indicate it, and there was much in his experience to develop that side
of his character.
Hobbes's fame as thinker and writer rests solidly on two great
works: Human Nature: or, The Fundamental Principles of Policy
concerning the Faculties and Passions of the Human Soul' (1650);
and Leviathan: or, The Matter, Forme, and Power of a Common-
wealth, Ecclesiastical and Civil' (1651). The former states his philo-
sophical, the latter his political views. In the Human Nature' his
materialistic conception of the origin of man's faculties is developed:
he regarded matter in motion as an ultimate fact, and upon it built
up his psychology, deriving all the higher faculties from the senses.
"There is no conception in a man's mind," said he, "which hath not
at first, totally or by parts, been begotten upon the organ of sense. "
And he assumed selfishness as the motor power of human conduct,
and made his explanation of right and wrong to rest upon purely
utilitarian reasons. The modernness of this position may be seen
at a glance. It anticipates nineteenth-century psychology and the
tenets of a Spencer. In one passage where he speaks of the incom-
prehensibility of God to a human faculty, latter-day agnosticism is
foreshadowed. In the 'Leviathan' we get his equally radical views
of the State. He conceives that in a state of nature, men war upon
each other without restraint. For mutual benefit and protection in
the pursuit of their own interests, the social compact is made, and
the powers of rule relegated to some one best fitted to exercise it.
That some one, in Hobbes's opinion, should be and is the king as an
embodiment of the State; hence he preaches an absolute monarchy
as the ideal form of government, the leviathan of the human deep.
And he would have ecclesiastical as well as other authority subserv-
ient to the State. Very briefly stated, these are the cardinal points
of his two great works.


## p. 7383 (#181) ###########################################

THOMAS HOBBES
7383
Of course, Hobbes's theories were bitterly assailed. Because of
his ethics he was dubbed "atheist "; and his opponents included
thinkers like Clarendon, Cudworth, Henry More, and Samuel Clarke.
He was one of the best hated men of his time. His teaching in the
'Leviathan' naturally brought the clergy about his ears, and the
work was burned at Oxford after his death. But his principles made
much stir, especially abroad; and looking back upon Hobbes from the
present vantage-point, it is plain that he is part of the great move-
ment for thought expansion in which Bacon, Galileo, Kepler, Harvey,
and Descartes are other parts. Locke probably was little influenced
by Hobbes; but the Dutch Spinoza and the German Leibnitz were,
and in France, Diderot, Rousseau, and De Maistre felt his thought.
Comparing his two main works, Hobbes is most satisfactory in his
political philosophy. His psychology is deduced, rather than estab-
lished by the Baconian method of induction, and his reading was not
wide enough for such an inquiry. As an explanation of man, his
philosophy is too fragmentary and too subjective, though brilliant,
original, often logical. But the 'Leviathan' is a complete exposition
from certain premises, and a wonderful example of philosophic think-
ing. Moreover, it is by far the most attractive of his writings as
literature. Its style is terse, weighty, at times scintillating with sar-
castic humor, again impressive with stately eloquence. Among works.
in its field it is remarkable for these qualities. Hobbes's style, says
Cunningham, who abhorred the other's views, "is perhaps the finest
model of philosophical composition;" and the praise hardly seems
excessive.
Thomas Hobbes overthrew scholasticism, showed the error in the
argument for innate ideas, prepared the way for Locke.
He was a
pioneer of thought in the seventeenth century; a liberalizing influ-
ence, however much it is necessary to modify his notions concerning
human nature and the State. The standard edition of his works is
that by Sir William Molesworth (1839-45), in sixteen volumes, five of
them in Latin.
OF LOVE
From Human Nature>
L
OVE, by which is understood the joy man taketh in the frui-
tion of any present good, hath been already spoken of in
the first section, chapter seven, under which is contained
the love men bear to one another or pleasure they take in one
another's company; and by which nature men are said to be
sociable. But there is another kind of love which the Greeks


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7384
THOMAS HOBBES
call Eros, and is that which we mean when we say that a man
is in love: forasmuch as this passion cannot be without diversity
of sex, it cannot be denied but that it participateth of that indefi-
nite love mentioned in the former section. But there is a great
difference betwixt the desire of a man indefinite and the same
desire limited ad hunc: and this is that love which is the great
theme of poets; but notwithstanding their praises, it must be
defined by the word need, for it is a conception a man hath of
his need of that one person desired. The cause of this passion
is not always nor for the most part beauty, or other quality in
the beloved, unless there be withal hope in the person that loveth;
which may be gathered from this, that in great difference of per-
sons the greater have often fallen in love with the meaner, but
not contrary. And from hence it is that for the most part they
have much better fortune in love whose hopes are built on some-
thing in their person than those that trust to their expressions
and service; and they that care less than they that care more:
which not perceiving, many men cast away their services as one
arrow after another, till in the end, together with their hopes
they lose their wits.
CERTAIN QUALITIES IN MEN
From 'Leviathan >
Hˆ
AVING showed in the precedent chapters that sense proceedeth
from the action of external objects upon the brain, or some
internal substance of the head; and that the passions pro-
ceed from the alterations there made, and continued to the heart:
it is consequent in the next place (seeing the diversity of degrees
of knowledge in divers men to be greater than may be ascribed
to the divers tempers of their brain) to declare what other causes
may produce such odds and excess of capacity as we daily ob-
serve in one man above another. As for that difference which
ariseth from sickness, and such accidental distempers, I omit the
same, as impertinent to this place; and consider it only in such
as have their health, and organs well disposed. If the differ-
ence were in the natural temper of the brain, I can imagine no
reason why the same should not appear first and most of all in
the senses; which being equal both in the wise and less wise,
infer an equal temper in the common organ (namely the brain)
of all the senses.


## p. 7385 (#183) ###########################################

THOMAS HOBBES
7385
But we see by experience that joy and grief proceed not in
all men from the same causes, and that men differ very much
in the constitution of the body; whereby that which helpeth and
furthereth vital constitution in one, and is therefore delightful,
hindereth it and crosseth it in another, and therefore causeth
grief. The difference therefore of wits hath its original from the
different passions, and from the ends to which the appetite lead-
eth them.
And first, those men whose ends are sensual delight, and gen-
erally are addicted to ease, food, onerations and exonerations of
the body, must needs be the less thereby delighted with those
imaginations that conduce not to those ends; such as are imagi-
nations of honor and glory, which, as I have said before, have
respect to the future. For sensuality consisteth in the pleasure
of the senses, which please only for the present, and take away
the inclination to observe such things as conduce to honor;
and consequently maketh men less curious and less ambitious,
whereby they less consider the way either to knowledge or other
power: in which two consisteth all the excellency of power cog-
nitive. And this is it which men call dullness; and proceedeth
from the appetite of sensual or bodily delight. And it may well
be conjectured that such passion hath its beginning from a gross-
ness and difficulty of the motion of the spirit about the heart.
The contrary hereunto is that quick ranging of mind de-
scribed Chap. iv. , Sect. 3, which is joined with curiosity of com-
paring the things that come into the mind, one with another: in
which comparison a man delighteth himself either with finding
unexpected similitude of things otherwise much unlike (in which
men place the excellency of fancy, and from whence proceed
those grateful similes, metaphors, and other tropes, by which both
poets and orators have it in their power to make things please
and displease, and show well or ill to others, as they like them-
selves), or else in discerning suddenly dissimilitude in things that
otherwise appear the same. And this virtue of the mind is that
by which men attain to exact and perfect knowledge; and the
pleasure thereof consisteth in continual instruction, and in distinc-
tion of places, persons, and seasons, and is commonly termed by
the name of judgment: for to judge is nothing else but to dis-
tinguish or discern; and both fancy and judgment are commonly
comprehended under the name of wit, which seemeth to be a
tenuity and agility of spirits, contrary to that restiness of the
spirits supposed in those that are dull.


## p. 7386 (#184) ###########################################

7386
THOMAS HOBBES
There is another defect of the mind, which men call levity,
which betrayeth also mobility in the spirits, but in excess. An
example whereof is in them that in the midst of any serious dis-
course have their minds diverted to every little jest or witty
observation; which maketh them depart from their discourse by
a parenthesis, and from that parenthesis by another, till at length
they either lose themselves, or make their narration like a dream,
or some studied nonsense. The passion from whence this pro-
ceedeth is curiosity, but with too much equality and indifference;
for when all things make equal impression and delight, they
equally throng to be expressed.
The virtue opposite to this defect is gravity, or steadiness; in
which the end being the great and master delight, directeth and
keepeth in the way thereto all other thoughts.
The extremity of dullness is that natural folly which may be
called stolidity; but the extreme of levity, though it be natural
folly distinct from the other, and obvious to every man's observa-
tion, I know not how to call it.
There is a fault of the mind called by the Greeks amathia,
which is indocibility, or difficulty in being taught; the which
must needs arise from a false opinion that they know already the
truth of what is called in question: for certainly men are not
otherwise so unequal in capacity, as the evidence is unequal
between what is taught by the mathematicians and what is com-
monly discoursed of in other books; and therefore if the minds
of men were all of white paper, they would almost equally be
disposed to acknowledge whatsoever should be in right method
and by right ratiocination delivered to them. But when men
have once acquiesced in untrue opinions, and registered them as
authentical records in their minds, it is no less impossible to
speak intelligibly to such men than to write legibly upon a
paper already scribbled over. The immediate cause therefore of
indocibility is prejudice; and of prejudice, false opinion of our
own knowledge. ·
Another and a principal defect of the mind is that which men
call madness; which appeareth to be nothing else but some imagi-
nation of some such predominacy above the rest, that we have
no passion but from it: and this conception is nothing else but
excessive vain-glory, or vain dejection; which is most probable
by these examples following, which proceed in appearance every
one of them from pride, or some dejection of mind. As first, we
have had the example of one that preached in Cheapside from a


## p. 7387 (#185) ###########################################

THOMAS HOBBES
7387
cart there, instead of a pulpit, that he himself was Christ, which
was spiritual pride or madness. We have had also divers exam-
ples of learned madness, in which men have manifestly been dis-
tracted upon any occasion that hath put them in remembrance of
their own ability. Amongst the learned men may be remembered
(I think also) those that determine of the time of the world's
end, and other such the points of prophecy. And the gallant
madness of Don Quixote is nothing else but an expression of
such
height of vain-glory as reading of romance may produce
in pusillanimous men. Also rage, and madness of love, are but
great indignations of them in whose brains is predominant con-
tempt from their enemies or their mistresses. And the pride
taken in form and behavior hath made divers men run mad, and
to be
so accounted, under the name of fantastic.
And as these are the examples of extremities, so also are there
examples too many of the degrees, which may therefore be well
accounted follies: as it is a degree of the first for a man, with-
out certain evidence, to think himself to be inspired, or to have
any other effect of God's holy spirit than other godly men have;
of the second, for a man continually to speak his mind in a cento
of other men's Greek or Latin sentences; of the third, much of
the present gallantry in love and duel. Of rage, a degree is
malice; and of fantastic madness, affectation.
As the former examples exhibit to us madness and the degrees
thereof, proceeding from the excess of self-opinion, so also there
be other examples of madness and the degrees thereof, proceed-
ing from too much vain fear and dejection; as in those melan-
choly men that have imagined themselves brittle as glass, or have
had some other like imagination: and degrees hereof are all those
exorbitant and causeless fears which we commonly observe in
melancholy persons.
OF ALMIGHTY GOD
From 'Leviathan'
H
ITHERTO of the knowledge of things natural, and of the
passions that arise naturally from them. Now forasmuch
as we give names not only to things natural but also to
supernatural, and by all names we ought to have some meaning
conception, it followeth in the next place to consider what
thoughts and imaginations of the mind we have, when we take
and


## p. 7388 (#186) ###########################################

7388
THOMAS HOBBES
into our mouths the most blessed name of God, and the names
of those virtues we attribute unto him; as also, what image
cometh into the mind at hearing the name of spirit, or the name
of angel, good or bad.
And forasmuch as God Almighty is incomprehensible, it fol-
loweth that we can have no conception or image of the Deity;
and consequently all his attributes signify our inability and defect
of power to conceive anything concerning his nature, and not any
conception of the same, excepting only this, That there is a God.
For the effects we acknowledge naturally do include a power
of their producing, before they were produced; and that power
presupposeth something existent that hath such power: and the
thing so existing with power to produce, if it were not eternal,
must needs have been produced by somewhat before it, and that
again by something else before that, till we come to an eternal
(that is to say, the first) Power of all powers, and first Cause of
all causes: and this is it which all men conceive by the name
of God, implying eternity, incomprehensibility, and omnipotency.
And thus all that will consider, may know that God is, though
not what he is: even a man that is born blind, though it be not
possible for him to have any imagination what kind of thing fire
is, yet he cannot but know that something there is that men call
fire, because it warmeth him.
And whereas we attribute to God Almighty seeing, hearing,
speaking, knowing, loving, and the like, by which names we un-
derstand something in men to whom we attribute them,— we
understand nothing by them in the nature of God. For, as it is
well reasoned, Shall not the God that made the eye, see, and the
ear, hear? so it is also, if we say, Shall God, which made the eye,
not see without the eye; or that made the ear, not hear without
the ear; or that made the brain, not know without the brain; or
that made the heart, not love without the heart? The attributes,
therefore, given unto the Deity are such as signify either our
incapacity or our reverence: our incapacity, when we say Incom-
prehensible and Infinite; our reverence, when we give him those
names which amongst us are the names of those things we most
magnify and commend, as Omnipotent, Omniscient, Just, Merci-
ful, etc. And when God Almighty giveth those names to himself
in the Scriptures, it is but anthropopathos,-that is to say, by
descending to our manner of speaking; without which we are not
capable of understanding him.


## p. 7389 (#187) ###########################################

7389
ERNST THEODOR WILHELM HOFFMANN
(1776-1822)
HI
OFFMANN'S character is one of the most singular and contra-
dictory in all that eccentric group of German Romanticists.
His sarcastic wit and flashes of humor made him popular
with his companions, and his society was much sought after; but he
inspired rather fear than love, for he was reckless in his indiscretions
and ruthless in giving offense. Of all art he took a serious view,-
"There is no art which is not sacred," he said, - and yet he felt a
repugnance to looking at things from their serious side: "These are
odiosa »
was one of his familiar phrases. In
his character as in his work there is much
that suggests Poe, and the quality of his
weird and often delicate fancy reminds one
of Hawthorne. The unquestioned mastery
of language and description that he displays
is weakened by his uncontrolled manner-
isms, and his wayward imagination often
injures his finest flights of fancy. He de-
lighted to make his studies of men in the
borderlands between reason and madness;
for him the step was always a short one
into the misty realm of ghosts and doubles
and startling visions. This love of the mar-
velous increased as he grew older. And
yet, as Professor Kuno Francke has said, "Hoffmann with all his
somnambulism and madness was at the same time a master of realis-
tic description and of psychological analysis. "
E. T. W. HOFFMANN
Ernst Theodor Wilhelm Hoffmann was born at Königsberg on
January 24th, 1776. The unpleasant relations subsisting between his
parents led to their separation when he was still a child; and to the
lack of happy home influences he attributed much of the misery
which his habits brought upon him in later years. He adopted the
legal profession, in which his father had distinguished himself, and
he began his career under promising auspices. He served a term as
assessor in Posen, in the then newly acquired Polish provinces; but
in consequence of a thoughtless bit of folly he was transferred to the
remote little town of Plozk, whither he went with his young Polish



## p. 7390 (#188) ###########################################

7390
ERNST THEODOR WILHELM HOFFMANN
wife in 1802, and where he gave himself up to wild and extrava-
gant gayety. Life seemed to open up brightly before him once more
when he received an appointment to Warsaw; but his career in that
"motley world" was brought to an abrupt end in 1806 by the troops
of Napoleon.
The bit of folly which led to Hoffmann's removal to Plozk reveals
incidentally his remarkable versatility. He was an excellent draughts-
man, and some of the best remembered caricatures of Napoleon were
made by him. It was a series of witty caricatures of prominent men
in Posen that gave offense to certain high officials there, upon whose
complaint he was removed. Throughout his life Hoffmann continued
to practice this art: during his "martyr years" in Bamberg he eked
out his scanty income by painting family portraits, and he acted as
scene-painter for a theatrical company with which he subsequently
became connected.
But his professional work in Bamberg was of quite a different
character. In the period of penury and hardship that followed the
loss of his government post, Hoffmann had gone to Berlin and cast
about for any employment that would afford him support. He
secured the position of musical director of the theatre at Bamberg.
Hoffmann was a composer of no mean talent. His work had suffi-
cient merit to win and hold the esteem of Weber, although in the
strife between the Italian school and the new national German
school, of which the 'Freischütz' was the symbol and example, Hoff-
mann sided with Spontini and the Italians. Nevertheless he was an
ardent admirer of the genius of Beethoven, for whose work he made
propaganda, and in his passionate admiration of Mozart he went so
far as to adopt the name of Amadeus instead of his own Wilhelm.
Indeed, to most of his readers, perhaps, he is known as E. T. A.
rather than E. T. W. Hoffmann. His masterly analysis of Don Gio-
vanni' is a choice piece of musical criticism, not without value to-day.
In his management of the Bamberg theatre Hoffmann was guided
by high artistic ideals; through his influence several of Calderon's
plays were produced. But the incubus of the Napoleonic wars rested
upon every enterprise, and the theatre had to be closed. Hoffmann
still held the post of correspondent of the Musical Gazette of Leipzig,
but had no adequate income. He led a wretched life as musical
director of a troupe which played alternately in Leipzig and in Dres-
den. He was in Dresden during the siege, and while the bullets
flew thick around him he wrote with enthusiastic exaltation one of
his best tales, 'Der Goldene Topf' (The Golden Pot), which Carlyle
translated for his collection of German romances. It was during
this period also that he set Fouqué's 'Undine' to music, and the
opera was produced at the Berlin opera-house.


## p. 7391 (#189) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7391
All this is aside from Hoffmann's literary work, upon which his
fame is solely founded. His early years, with their varied experi-
ences in strange places and amid exciting scenes, supplied his pen
with inexhaustible material. His first characteristic contribution to
literature was the 'Fantasiestücke in Callots Manier' (Fantasy-pieces
in the style of Callot). These were a collection of his articles that
had been published in the Musical Gazette; striking pen sketches in
the manner of the celebrated and eccentric French engraver of the
early seventeenth century, Jacques Callot. In the following year,
1815, appeared 'Die Elixire des Teufels' (The Devil's Elixir). This
work made his literary reputation sure. Among the most widely
known of his numerous books is the collection of tales bearing the
general title of 'Die Serapionsbrüder' (The Serapion Brethren). The
name was derived from an association of kindred spirits in Berlin,
which happened to hold its first meeting on the night of the anniver-
sary of St. Serapion. Among the occasional guests of this coterie
was Oehlenschläger, who in introducing a young countryman of his
wrote to Hoffmann: "Dip him also a little into the magic sea of your
humor, respected friend, and teach him how a man can be a phi-
losopher and seer of the world under the ironical mantle of the mad-
house, and what is more, an amiable man as well. " These words
admirably characterize the peculiar quality of Hoffmann's strange
blending of wit, wisdom, and madness. His amiability appears prob-
ably most conspicuously in the 'Kater Murr' (Tom-Cat Murr's Views
of Life). The satire is keen but genial, and of the author's more
ambitious works this is his most finished production. But it is in the
shorter tales that the artist displays his highest excellence: the seri-
ous philosopher in the garb of a madman, and the tender-hearted
poet telling quaint fairy tales. Spiritually he is related to Jean Paul,
but missed his depth and greatness. The lyric swing, the wild imagi-
nation, the serious undercurrent beneath the sprightly wit, the biting
satire, and the playful fancy, assure him generations of readers among
his countrymen, and numerous translations attest his popularity in
England and America.
The rest of the story of Hoffmann's sad life is soon told. After
the peace which concluded the Napoleonic wars he was restored to
his official position in 1816, this time in the high tribunal of Berlin;
and his seniority was acknowledged as if he had served without a
break. Here he found himself in the midst of a choice and con-
genial circle: Hitzig his biographer, Fouqué, Chamisso. His dissolute
ways, however, never completely abandoned, led finally to the disease
which terminated in his death. He died literally inch by inch, though
eager to live in what pitiable condition soever; and to the end, when
his vital functions were almost suspended, his mind and imagination
remained unimpaired. He died on June 25th, 1822.


## p. 7392 (#190) ###########################################

7392
ERNST THEODOR WILHELM HOFFMANN
Hoffmann's writings, like himself, are full of strange contradic-
tions. He was an epicurean to the point of weakness and a stoic to
the point of heroic endurance. At the very portals of death he con-
tinued to write in his own fantastic vein; and at the same time was
inspired to compose a tale, 'Des Vetters Eckfenster' (The Cousin's
Corner Window), which is so unlike his usual style that lovers of
Émile Souvestre would take pleasure in its serene and grave phi-
losophy. "He preferred to remain a riddle to himself, a riddle which
he always dreaded to have solved," wrote a friend; and he demanded
that he should be regarded as a "sacred inexplicable hieroglyph. "
FROM THE GOLDEN POT›
ST
TIR not the emerald leaves of the palm-trees in soft sighing
and rustling, as if kissed by the breath of the morning wind?
Awakened from their sleep, they move, and mysteriously
whisper of the wonders which from the far distance approach
like tones of melodious harps! The azure rolls from the walls,
and floats like airy vapor to and fro; but dazzling beams shoot
through it; and whirling and dancing, as in jubilee of childlike
sport, it mounts and mounts to immeasurable height, and vaults
itself over the palm-trees. But brighter and brighter shoots beam
on beam, till in boundless expanse opens the grove where I be-
hold Anselmus. Here glowing hyacinths and tulips and roses lift
their fair heads; and their perfumes in loveliest sound call to the
happy youth: "Wander, wander among us, our beloved; for thou
understandest us! Our perfume is the longing of love; we love
thee, and are thine for evermore! " The golden rays burn in
glowing tones: "We are fire, kindled by love. Perfume is long-
ing; but fire is desire; and dwell we not in thy bosom? We are
thy own! " The dark bushes, the high trees, rustle and sound:
"Come to us, thou loved, thou happy one! Fire is desire; but
hope is our cool shadow. Lovingly we rustle round thy head;
for thou understandest us, because love dwells in thy breast! "
The brooks and fountains murmur and patter: "Loved one, walk
not so quickly by; look into our crystal! Thy image dwells in us,
which we preserve with love, for thou hast understood us. " In
the triumphal choir, bright birds are singing: "Hear us! Hear
us! We are joy, we are delight, the rapture of love! " But
anxiously Anselmus turns his eyes to the glorious temple which
rises behind him in the distance. The fair pillars seem trees,


## p. 7393 (#191) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7393
and the capitals and friezes acanthus leaves, which in wondrous
wreaths and figures form splendid decorations. Anselmus walks
to the temple; he views with inward delight the variegated mar-
ble, the steps with their strange veins of moss. "Ah, no! ” cries
he, as if in the excess of rapture, "she is not far from me now;
she is near! " Then advances Serpentina, in the fullness of beauty
and grace, from the temple; she bears the golden pot, from which
a bright lily has sprung. The nameless rapture of infinite long-
ing glows in her meek eyes; she looks at Anselmus and says,
"Ah! dearest, the lily has sent forth her bowl; what we longed
for is fulfilled. Is there a happiness to equal ours?
" Anselmus
clasps her with the tenderness of warmest ardor; the lily burns
in flaming beams over his head. And louder move the trees and
bushes; clearer and gladder play the brooks; the birds, the shining
insects dance in the waves of perfume; a gay, bright, rejoicing
tumult, in the air, in the water, in the earth, is holding the fes-
tival of love! Now rush sparkling streaks, gleaming over all the
bushes; diamonds look from the ground like shining eyes; strange
vapors are wafted hither on sounding wings; they are the spirits
of the elements, who do homage to the lily, and proclaim the
happiness of Anselmus. Then Anselmus raises his head, as if
encircled with a beamy glory. Is it looks? Is it words? Is it
song? You hear the sound: "Serpentina! Belief in thee, love of
thee has unfolded to my soul the inmost spirit of nature! Thou
hast brought me the lily, which sprung from gold, from the pri-
meval force of the world, before Phosphorus had kindled the
spark of thought; this lily is knowledge of the sacred harmony
of all beings; and in this do I live in highest blessedness for
evermore. Yes, I, thrice happy, have perceived what was high-
est; I must indeed love thee forever, O Serpentina! Never shall
the golden blossoms of the lily grow pale; for, like belief and
love, this knowledge is eternal. "
Carlyle's Translation.
XIII-463


## p. 7394 (#192) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7394
NUTCRACKER AND THE KING OF MICE
From The Serapion Brethren ›
As
S SOON as Marie was alone, she set rapidly to work to do the
thing which was chiefly at her heart to accomplish, and
which, though she scarcely knew why, she somehow did
not like to set about in her mother's presence. She had been
holding Nutcracker, wrapped in the handkerchief, carefully in
her arms all this time; and she now laid him softly down on the
table, gently unrolled the handkerchief, and examined his wounds.
Nutcracker was very pale, but at the same time he was smil-
ing with a melancholy and pathetic kindliness which went straight
to Marie's heart.
"O my darling little Nutcracker! " said she very softly, “don't
you be vexed because brother Fritz has hurt you so: he didn't
mean it, you know; he's only a little bit hardened with his sol-
diering and that; but he's a good nice boy, I can assure you: and
I'll take the greatest care of you and nurse you till you're quite,
quite better and happy again. And your teeth shall be put in
again for you, and your shoulder set right; godpapa Drosselmeier
will see to that; he knows how to do things of the kind—”
Marie could not finish what she was going to say, because at
the mention of godpapa Drosselmeier, friend Nutcracker made a
most horrible ugly face. A sort of green sparkle of much sharp-
ness seemed to dart out of his eyes. This was only for an
instant, however; and just as Marie was going to be terribly
frightened, she found that she was looking at the very same nice,
kindly face, with the pathetic smile, which she had seen before,
and she saw plainly that it was nothing but some draught of air
making the lamp flicker that had seemed to produce the change.
"Well! " she said, "I certainly am a silly girl to be so easily
frightened, and think that a wooden doll could make faces at
me! But I'm too fond really of Nutcracker, because he's so
funny, and so kind and nice; and so he must be taken the great-
est care of, and properly nursed till he's quite well. "
With which she took him in her arms again, approached the
cupboard, and kneeling down beside it, said to her new doll:-
"I'm going to ask a favor of you, Miss Clara: that you will
give up your bed to this poor, sick, wounded Nutcracker, and
make yourself as comfortable as you can on the sofa here.
Remember that you're quite well and strong yourself, or you
-


## p. 7395 (#193) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7395
wouldn't have such fat red cheeks, and that there are very
few dolls indeed who have as comfortable a sofa as this to lie
upon.
>>
and
Miss Clara, in her Christmas full dress, looked very grand
disdainful, and said not so much as "Muck! "
«Very well," said Marie, "why should I make such a fuss,
and stand on any ceremony? " took the bed and moved it for-
ward; laid Nutcracker carefully and tenderly down on it; wrapped
another pretty ribbon, taken from her own dress, about his hurt.
shoulder, and drew the bed-clothes up to his nose.
―――――――
"But he shan't stay with that nasty Clara," she said, and
moved the bed, with Nutcracker in it, up to the upper shelf, so
that it was placed near the village in which Fritz's hussars had
their cantonments. She closed the cupboard and was moving
away to go to bed, when-listen, children! - there began a low
soft rustling and rattling, and a sort of whispering noise, all
round, in all directions, from all quarters of the room,- behind
the stove, under the chairs, behind the cupboards. The clock on
the wall "warned" louder and louder, but could not strike.
Marie looked at it, and saw that the big gilt owl which was on
the top of it had drooped its wings so that they covered the
whole of the clock, and had stretched its cat-like head, with the
crooked beak, a long way forward. And the "warning" kept
growing louder and louder, with distinct words: "Clocks, clock-
ies, stop ticking. No sound, but cautious warning. ' Mousey
king's ears are fine. Prr-prr. Only sing 'poom, poom'; sing the
olden song of doom! prr-prr; poom, poom. Bells go chime!
Soon rings out the fated time! " And then came
<< Poom! poom! "
quite hoarsely and smothered, twelve times.
Marie grew terribly frightened, and was going to rush away
as best she could, when she noticed that godpapa Drosselmeier
was up on the top of the clock instead of the owl, with his yel-
low coat-tails hanging down on both sides like wings. But she
manned herself, and called out in a loud voice of anguish:-
"Godpapa! godpapa! what are you up there for? Come down
to me, and don't frighten me so terribly, you naughty, naughty
godpapa Drosselmeier! »
But then there began a sort of wild kickering and queaking,
everywhere, all about, and presently there was a sound as of
running and trotting, as of thousands of little feet behind the
walls and thousands of little lights began to glitter out between


## p. 7396 (#194) ###########################################

7396
ERNST THEODOR WILHELM HOFFMANN
the chinks of the woodwork. But they were not lights; no, no!
little glittering eyes; and Marie became aware that everywhere
mice were peeping and squeezing themselves out through every
chink. Presently they were trotting and galloping in all directions
over the room; orderly bodies, continually increasing, of mice,
forming themselves into regular troops and squadrons, in good
order, just as Fritz's soldiers did when manoeuvres were going
on. As Marie was not afraid of mice (as many children are), she
could not help being amused by this; and her first alarm had
nearly left her, when suddenly there came such a sharp and ter-
rible piping noise that the blood ran cold in her veins. Ah!
what did she see then? Well, truly, kind reader, I know that
your heart is in the right place, just as much as my friend Field
Marshal Fritz's is, itself: but if you had seen what now came
before Marie's eyes, you would have made a clean pair of heels
of it; nay, I consider that you would have plumped into your
bed, and drawn the blankets further over your head than neces-
sity demanded.
But poor Marie hadn't it in her power to do any such thing,
because, right at her feet, as if impelled by some subterranean
power, sand and lime and broken stone came bursting up, and
then seven mouse-heads, with seven shining crowns upon them,
rose through the floor, hissing and piping in a most horrible way.
Quickly the body of the mouse which had those seven crowned
heads forced its way up through the floor, and this enormous
creature shouted, with its seven heads, aloud to the assembled
multitude, squeaking to them with all the seven mouths in full
chorus; and then the entire army set itself in motion, and went
trot, trot, right up to the cupboard-and in fact, to Marie who
was standing beside it.
Marie's heart had been beating so with terror that she had
thought it must jump out of her breast, and she must die. But
now it seemed to her as if the blood in her veins stood still.
Half fainting, she leant backwards, and then there was a "klirr,
klirr, prr," and the pane of the cupboard, which she had broken
with her elbow, fell in shivers to the floor. She felt for a mo-
ment a sharp, stinging pain in her arm, but still this seemed to
make her heart lighter; she heard no more of the queaking and
piping. Everything was quiet; and though she didn't dare to
look, she thought the noise of the glass breaking had frightened
the mice back to their holes.
——


## p. 7397 (#195) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7397
But what came to pass then? Right behind Marie a move-
ment seemed to commence in the cupboard, and small faint
voices began to be heard, saying:-
"Come, awake, measures take;
Out to the fight, out to the fight;
Shield the right, shield the right;
Arm and away,- this is the night. "
And harmonica bells began ringing as prettily as you please.
"Oh! that's my little peal of bells! " cried Marie, and went
nearer and looked in. Then she saw that there was bright light
in the cupboard, and everything busily in motion there; dolls
and little figures of various kinds all running about together, and
struggling with their little arms. At this point, Nutcracker
rose from his bed, cast off the bedclothes, and sprung with both
feet on to the floor (of the shelf), crying out at the top of his
voice: -
--
"Knack, knack, knack,
Stupid mousey pack,
All their skulls we'll crack.
Mousey pack, knack, knack,
Mousey pack, crick and crack,
Cowardly lot of schnack! »
And with this he drew his little sword, waved it in the air,
and cried:-
"Ye, my trusty vassals, brethren and friends, are ye ready to
stand by me in this great battle? "
Immediately three scaramouches, one pantaloon, four chimney-
sweeps, two zither-players, and a drummer, cried in eager ac-
cents:-
"Yes, your Highness: we will stand by you in loyal duty; we
will follow you to the death, the victory, and the fray! " And
they precipitated themselves after Nutcracker (who in the excite-
ment of the moment had dared that perilous leap) to the bot-
tom shelf. Now they might well dare this perilous leap; for
not only had they got plenty of clothes on, of cloth and silk, but
besides, there was not much in their insides except cotton and
sawdust, so that they plumped down like little wood-sacks. But
as for poor Nutcracker, he would certainly have broken his arms.
and legs; for, bethink you, it was nearly two feet from where he
had stood to the shelf below, and his body was as fragile as if


## p. 7398 (#196) ###########################################

7398
ERNST THEODOR WILHELM HOFFMANN
he had been made of elm-wood. Yes, Nutcracker would have
broken his arms and legs had not Miss Clara started up from
her sofa at the moment of his spring, and received the hero,
drawn sword and all, in her tender arms.
"O you dear good Clara! " cried Marie, "how I did mis-
understand you! I believe you were quite willing to let dear
Nutcracker have your bed. "
But Miss Clara now cried, as she pressed the young hero
gently to her silken breast:
"O my lord! go not into this battle and danger, sick and
wounded as you are. See how your trusty vassals-clowns and
pantaloon, chimney-sweeps, zithermen, and drummer—are already
arrayed below; and the puzzle figures, in my shelf here, are in
motion and preparing for the fray! Deign, then, O my lord, to
rest in these arms of mine, and contemplate your victory from a
safe coign of vantage. "
Thus spoke Clara. But Nutcracker behaved so impatiently,
and kicked so with his legs, that Clara was obliged to put him
down on the shelf in a hurry. However, he at once sank grace-
fully on one knee, and expressed himself as follows:-
"O lady! the kind protection and aid which you have afforded
me will ever be present to my heart, in battle and in victory! "
On this, Clara bowed herself so as to be able to take hold of
him by his arms, raised him gently up, quickly loosed her girdle,
which was ornamented with many spangles, and would have
placed it about his shoulders. But the little man drew himself
swiftly two steps back, laid his hand upon his heart, and said
with much solemnity:-
―
"O lady! do not bestow this mark of your favor upon me;
for-" He hesitated, gave a deep sigh, took the ribbon with
which Marie had bound him from his shoulders, pressed it to his
lips, put it on as a cognizance for the fight, and waving his glit-
tering sword, sprang like a bird over the ledge of the cupboard
down to the floor.
You will observe, kind reader, that Nutcracker, even before
he really came to life, had felt and understood all Marie's good-
ness and regard, and that it was because of his gratitude and
devotion to her that he would not take, or wear even, a ribbon
of Miss Clara's, although it was exceedingly pretty and charming.
This good, true-hearted Nutcracker preferred Marie's much com-
moner and more unpretending token.


## p. 7399 (#197) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7399
But what is going to happen further, now? At the moment
when Nutcracker sprang down, the queaking and piping com-
menced again worse than ever. Alas! under the big table the
hordes of the mouse army had taken up a position, densely
massed, under the command of the terrible mouse with the seven
heads. So what is to be the result?
THE BATTLE
"BEAT the Générale, trusty vassal drummer! " cried Nutcracker
very loud; and immediately the drummer began to roll his drum
in the most splendid style, so that the windows of the glass cup-
board rattled and resounded. Then there began a cracking and
a clattering inside, and Marie saw all the lids of the boxes in
which Fritz's army was quartered bursting open, and the soldiers
all came out and jumped down to the bottom shelf, where they
formed up in good order. Nutcracker hurried up and down the
ranks, speaking words of encouragement.
"There's not a dog of a trumpeter taking the trouble to sound
a call! " he cried in a fury. Then he turned to the pantaloon
(who was looking decidedly pale), and wobbling his long chin a
good deal, said in a tone of solemnity:-
"I know how brave and experienced you are, General! What
is essential here is a rapid comprehension of the situation, and
immediate utilization of the passing moment. I intrust you with
the command of the cavalry and artillery. You can do without
a horse; your own legs are long, and you can gallop on them as
fast as is necessary. Do your duty! "
Immediately Pantaloon put his long lean fingers to his mouth,
and gave such a piercing crow that it rang as if a hundred little
trumpets had been sounding lustily. Then there began a tramp-
ing and a neighing in the cupboard; and Fritz's dragoons and
cuirassiers- but above all, the new glittering hussars-marched
out, and then came to a halt, drawn up on the floor. They then
marched past Nutcracker by regiments, with guidons flying and
bands playing; after which they wheeled into line, and formed
up at right angles to the line of march. Upon this, Fritz's artil-
lery came rattling up, and formed action-front in advance of the
halted cavalry. Then it went "boom-boom! " and Marie saw the
sugar-plums doing terrible execution amongst the thickly massed
mouse battalions, which were powdered quite white by them, and


## p. 7400 (#198) ###########################################

7400
ERNST THEODOR WILHELM HOFFMANN
greatly put to shame. But a battery of heavy guns, which had
taken up a strong position on mamma's footstool, was what did
the greatest execution; and "poom-poom-poom! " kept up a mur-
derous fire of gingerbread nuts into the enemy's ranks with most
destructive effect, mowing the mice down in great numbers.
The enemy, however, was not materially checked in his advance,
and had even possessed himself of one or two of the heavy guns,
when there came "prr-prr-prr! " and Marie could scarcely see
what was happening, for smoke and dust; but this much is cer-
tain, that every corps engaged fought with the utmost bravery
and determination, and it was for a long time doubtful which
side would gain the day. The mice kept on developing fresh
bodies of their forces, as they were advanced to the scene of
action; their little silver balls-like pills in size-which they
delivered with great precision (their musketry practice being
specially fine) took effect even inside the glass cupboard. Clara
and Gertrude ran up and down in utter despair, wringing their
hands and loudly lamenting.
"Must I-the very loveliest doll in all the world - perish
miserably in the very flower of my youth? " cried Miss Clara.
"Oh! was it for this," wept Gertrude, "that I have taken
such pains to conserver myself all these years? Must I be shot
here in my own drawing-room after all? "
-
On this they fell into each other's arms, and howled so terri-
bly that you could hear them above all the din of the battle.
For you have no idea of the hurly-burly that went on now, dear
auditor! It went prr-prr-poof, piff-schnetterdeng― schnetterdeng
boom-booroom — boom-booroom - boom - all confusedly and
higgledy-piggledy; and the mouse king and the mice squeaked
and screamed; and then again Nutcracker's powerful voice was
heard shouting words of command and issuing important orders,
and he was seen striding along amongst his battalions in the
thick of the fire.
Pantaloon had made several most brilliant cavalry charges,
and covered himself with glory. But Fritz's hussars were sub-
jected by the mice-to a heavy fire of very evil-smelling shot,
which made horrid spots on their red tunics: this caused them to
hesitate, and hang rather back for a time. Pantaloon made them
take ground to the left, in échelon; and in the excitement of the
moment, he, with his dragoons and cuirassiers, executed a some-
what analogous movement. That is to say, they brought up the
―――


## p. 7401 (#199) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7401
right shoulder, wheeled to the left, and marched home to their
quarters. This had the effect of bringing the battery of artillery
on the footstool into imminent danger; and it was not long before
a large body of exceedingly ugly mice delivered such a vigorous
assault on this position that the whole of the footstool, with the
guns and gunners, fell into the enemy's hands. Nutcracker
seemed much disconcerted, and ordered his right wing to com-
mence a retrograde movement. A soldier of your experience, my
dear
knows well that such a movement is almost tanta-
mount to a regular retreat, and you grieve with me, in anticipa-
tion, for the disaster which threatens the army of Marie's beloved
little Nutcracker. But turn your glance in the other direction,
and look at this left wing of Nutcracker's, where all is still
going well, and you will see that there is yet much hope for the
commander-in-chief and his cause.
During the hottest part of the engagement, masses of mouse
cavalry had been quietly debouching from under the chest of
drawers, and had subsequently made a most determined advance
upon the left wing of Nutcracker's force, uttering loud and hor-
rible queakings. But what a reception they met with! Very
slowly, as the nature of the terrain necessitated (for the ledge at
the bottom of the cupboard had to be passed), the regiment of
motto figures, commanded by two Chinese emperors, advanced
and formed square. These fine, brilliantly uniformed troops, con-
sisting of gardeners, Tyrolese, Tungooses, hair-dressers, harlequins,
Cupids, lions, tigers, unicorns, and monkeys, fought with the
utmost courage, coolness, and steady endurance. This bataillon
d'élite would have wrested the victory from the enemy had not
one of his cavalry captains, pushing forward in a rash and fool-
hardy manner, made a charge upon one of the Chinese emperors
and bitten off his head. This Chinese emperor, in his fall,
knocked over and smothered a couple of Tungooses and a uni-
corn; and this created a gap, through which the enemy effected
a rush which resulted in the whole battalion being bitten to
But the enemy gained little advantage by this; for as
soon as one of the mouse cavalry soldiers bit one of these brave
adversaries to death, he found that there was a small piece of
printed paper sticking in his throat, of which he died in a mo-
ment Still, this was of small advantage to Nutcracker's army,
which, having once commenced a retrograde movement, went on
retreating farther and farther, suffering greater and greater loss.


## p. 7402 (#200) ###########################################

ERNST THEODOR WILHELM HOFFMANN
7402
So that the unfortunate Nutcracker found himself driven back
close to the front of the cupboard, with a very small remnant of
his army.
"Bring up the reserves! Pantaloon! Scaramouch! Drummer!
where the devil have you got to? " shouted Nutcracker, who was
still reckoning on reinforcements from the cupboard. And there
did, in fact, advance a small contingent of brown gingerbread
men and women, with gilt faces, hats, and helmets; but they laid
about them so clumsily that they never hit any of the enemy, and
soon knocked off the cap of their commander-in-chief, Nutcracker
himself. And the enemy's chasseurs soon bit their legs off, so
that they tumbled topsy-turvy, and killed several of Nutcracker's
companions-in-arms into the bargain.
Nutcracker was now hard pressed, and closely hemmed in by
the enemy, and in a position of extreme peril. He tried to jump
the bottom ledge of the cupboard, but his legs were not long
enough. Clara and Gertrude had fainted; so they could give him
no assistance. Hussars and heavy dragoons came charging up
at him, and he shouted in wild despair:-
"A horse! a horse! My kingdom for a horse! "
At this moment two of the enemy's riflemen seized him by
his wooden cloak, and the king of the mice went rushing up to
him, squeaking in triumph out of all his seven throats.
Marie could contain herself no longer. "O my poor Nut-
cracker! " she sobbed; took off her left shoe without very dis-
tinctly knowing what she was about, and threw it as hard as she
could into the thick of the enemy, straight at their king.
Instantly everything vanished and disappeared. All was
silence. Nothing to be seen. But Marie felt a more stinging
pain than before in her left arm, and fell on the floor insensible.


## p. 7403 (#201) ###########################################

7403
JAMES HOGG
(1770-1835)
NE of the great names in modern Scottish Border poetry is
James Hogg, better known as the Ettrick Shepherd; a child
of nature, nourished in the Border glens and beside Border
streams, on the stories and traditions of Scotland. Born in 1770 in
Ettrick, which is situated in one of the most mountainous and pict-
uresque districts in the South of Scotland, when he was thirty he had
had but half a year's schooling; for he was sent to fold the sheep
when but seven years old, and at sixteen attained to the dignity of
shepherd, in which capacity he remained.
until he met Sir Walter Scott (1801), who
felt that in him he had found "a true son
of nature and genius, hardly conscious of
his power," and advised him to publish his
poems.

At this time Hogg is described by the
son of his master as
"above middle height, of faultless symmetry of
form; his face was round and full, and of a
ruddy complexion, with bright blue eyes that
beamed with gayety, glee, and good-humor. His
head was covered with a singular profusion of
light-brown hair, which he was obliged to wear
coiled up under his hat. On entering church on
a Sunday, he used, on lifting his hat, to raise his right hand to assist a
graceful shake of his head in laying back his long hair, which rolled down
his back and fell almost to his loins. And every female eye was upon him,
as with light step he ascended the stair to the gallery where he sat. "
JAMES HOGG
From 1810 to 1816 he lived in Edinburgh, but then went back to
Eltrive Lake in Yarrow, where his best verse was inspired. Of his
early work, which was done in Blackhouse Glen, far from human
life, alone with his lambs and dogs, the poet says: "For several
years my compositions consisted wholly of songs and ballads, made
up for the lasses to sing in chorus; and a proud man I was when
I first heard the rosy nymphs chanting my uncouth strains, and jeer-
ing me by the still clear appellation of Jamie the Poeter. » Hogg's
poetry, which is happiest when it has a strong flavor of dialect,
is notable for its fanciful humor or rollicking spirit of song, its love


## p. 7404 (#202) ###########################################

7404
JAMES HOGG
<
of the weird and wonderful, its pictures of brownies, fairies, and
country life; but his ambition to rival in their own way the greatest
poets of his time was curiously egotistic. The Queen's Wake,' his
most ambitious effort, was written in imitation of Scott's historical
romances, and he boasted that he had "beaten him in his own line. "
Though a most prolific writer, the greater part of his verse is charm-
ing. He died at Eltrive Lake, November 21st, 1835, aged sixty-five.
WHEN MAGGY GANGS AWAY
H, WHAT will a' the lads do
OH When Maggy gangs away?
Oh, what will a' the lads do
When Maggy gangs away?
There's no a heart in a' the glen
That disna dread the day:
Oh, what will a' the lads do
When Maggy gangs away?
Young Jock has ta'en the hill for't,
A waefu' wight is he;
Poor Harry's ta'en the bed for't,
An' laid him down to dee;
An' Sandy's gane unto the kirk,
An' learnin' fast to pray:
An' oh, what will the lads do
When Maggy gangs away?
The young laird o' the Lang-Shaw
Has drunk her health in wine;
The priest has said-in confidence -
The lassie was divine,
An' that is mair in maiden's praise
Than ony priest should say:
But oh, what will the lads do
When Maggy gangs away
y?
The wailing in our green glen
That day will quaver high;
"Twill draw the redbreast frae the wood,
The laverock frae the sky;
The fairies frae their beds o' dew
Will rise an' join the lay:
An' hey!