No More Learning

King René's Daughter,' the scene
of which is laid in Provence, is of most simple texture. It is more
like a pretty folk-tale than a drama, although its half-dozen person-
ages include historical ones, and even its heroine, the gentle Iolanthe,
is an idealized Princess Yolande, daughter of the real King René. It
is full of the charm of innocence, pure love, and chivalric romance,


## p. 7319 (#113) ###########################################

HENRIK HERTZ
7319
and a certain idyllic freshness exhales from every page and situation
of it, like the perfume from the roses in the blind Iolanthe's garden.
Sweet, almost pastoral and yet moving to a romantic climax, it is in
touch with such things as Shakespeare's 'Winter's Tale,' or some of
those Provençal legends that the poets of Southern France have set
in verse. The diction is beautiful, and rarely has so happy a balance
between the play to read and the play to act been maintained. It
has passed into translations everywhere; and, a distinctively Southern
subject treated by a Northern poet, it stands for a kind of graft of
palm on pine.
Hertz's life was his literary work; and the record of that is its
most interesting element to the world. He died in Copenhagen,
February 25th, 1870.
THE BLIND PRINCESS
From King René's Daughter'
[The Princess Iolanthe, a lovely maid, has been brought up in complete
ignorance of the fact that her beautiful eyes have ever lacked the power of
sight, and in entire inability to judge of what the faculty of sight may be to
others. She has never heard of it, and is so free and unconstrained in all her
movements as not to need such a sense for her further happiness. Count Tris-
tan of Vaudemont makes his way to her garden retreat, and falls passionately
in love with her, unaware of her misfortune; and so ensues this dialogue. ]
RISTAN-Pray give me one of yonder blushing roses,
TRE
That rear their petals, fairest 'mongst all flowers,
As though they were the counterfeit of thee!
Iolanthe - A rose?
Tristan
Oh, willingly! [Plucks and gives him a white rose.
Ah, it is white!
-
Give me the red one, that is fair as thou!
Iolanthe - What meanest thou? – a red one?
Tristan [pointing]-
Iolanthe -Take it thyself!
Tristan-
One of these.
No; let me keep the rose
Which thou hast chosen, which thy fair hand has gathered.
And in good sooth, I do applaud thy choice.
For the white rose, within whose calyx sleeps
A faint and trembling ruddiness, betypes
The dream-like beauty of this garden fair.
Give me another rose a white one too;
Then with the twin flowers will I deck my cap,
And wear them as thy colors evermore.


## p. 7320 (#114) ###########################################

HENRIK HERTZ
7320
Iolanthe plucks and gives him a red rose] -
Here is a rose: meanest thou one like this?
Tristan [starts]—I asked thee for a white rose.
Iolanthe
Well, and this?
Tristan - Why this? [Aside. ] What thought comes o'er me?
[Aloud. ] Nay, then, tell me
How many roses have I in my hand?
Iolanthe [stretches out her hand towards them] –
――――
Give me them, then.
Tristan
Iolanthe
Tristan [aside]-
-
Iolanthe
-
[Holds up the two roses, along with another which he
has himself gathered]
How can I so?
Iolanthe
Tristan -
Tristan [confused]--
[Aloud, and with a faltering voice] —
Nay, I am sure you know.
Alas! alas! she's blind!
No; you mistake.
If I would know how anything is shaped,
Or what its number, I must touch it first.
Is not this clear?
Nay, tell me without touching.
Yes, certainly; you're right.
And yet sometimes-
—
Well, well?
sometimes? Speak! speak!
I think there are — that there are certain things
Which we distinguish by their hues alone,
-
As various kinds of flowers, and various stuffs.
Iolanthe - Thou mean'st by this their character, their form-
Is it not so?
Nay, not exactly that.
Tristan -
Iolanthe - Is it so hard, then, to distinguish flowers?
Are not the roses round and soft and fine,
Round to the feeling, as the zephyr's breath,
And soft and glowing as a summer's eve?
Are gilliflowers like roses? No; their scent
Bedizzies, like the wine I gave to thee.
And then a cactus- are its arrowy points
Not stinging, like the wind when frosts are keen?
Tristan [aside]- Amazement!
[Aloud. ]
Have they never told thee, then,
That objects, things, can be distinguished, though
Placed at a distance, with the aid-of-sight?
Iolanthe― At distance? Yes! I by his twittering know
The little bird that sits upon the roof,
And in like fashion, all men by their voice.
-


## p. 7321 (#115) ###########################################

HENRIK HERTZ
7321
The sprightly steed whereon I daily ride,
I know him in the distance by his pace,
And by his neigh. Yet-with the help of sight?
They told me not of that. An instrument
Fashioned by art, or but a tool, perhaps?
I do not know this sight. Canst teach me, then,
Its use and purpose?
Tristan [aside]-
O Almighty powers!
She does not know or dream that she is blind.
-
Iolanthe [after a pause] —
-
Whence art thou? Thou dost use so many words
I find impossible to understand;
And in thy converse, too, there is so much
For me quite new and strange! Say, is the vale
Which is thy home so very different
From this of ours? Then stay, if stay thou canst,
And teach me all that I am wanting in.
Tristan No, O thou sweet and gracious lady, no!
I cannot teach what thou art wanting in.
Iolanthe - - Didst thou but choose, I do believe thou couldst.
They tell me I am tractable and apt.
Many who erewhile have been here have taught me
Now this, now that, which readily I learned.
Make but the trial! I am very sure
Thou hat'st me not. Thy tones are mild and gentle.
Thou wilt not say me nay, when I entreat.
Oh speak! I'm all attention when thou speakest.
Tristan Alas! attention here will stead thee little.
Yet tell me one thing. Thou hast surely learned
That of thy lovely frame there is no part
Without its purpose, or without its use.
Thy hand and fingers serve to grasp at much;
Thy foot, so tiny as it is, with ease
Transports thee wheresoe'er thy wishes point;
The sound of words, the tone, doth pierce the soul
Through the ear's small and tortuous avenues;
The stream of language gushes from thy lips;
Within thy breast abides the delicate breath,
Which heaves, unclogged with care, and sinks again.
Iolanthe All this I've noted well. Prithee, go on.
Tristan - Then tell me, to what end dost thou suppose
Omnipotence hath gifted thee with eyes?
Of what avail to thee are those twin stars,
That sparkle with such wondrous brilliancy
They scorn to grasp the common light of day?


## p. 7322 (#116) ###########################################

7322
HENRIK HERTZ
Iolanthe [touches her eyes, then muses for a little]-
Tristan-
You ask of what avail ? - how can you ask?
And yet I ne'er have given the matter thought.
My eyes! my eyes! 'Tis easy to perceive.
At eve, when I am weary, slumber first
Droops heavy on my eyes, and thence it spreads
O'er all my body, with no thought of mine,
As feeling vibrates from each finger's tip.
Thus, then, I know my eyes avail me much.
And hast not thou experience had enough,
Wherein thine eyes can minister to thee?
Only the other morn, as I was planting
A little rosebush here, a nimble snake
Leapt out and bit me in the finger; then
With the sharp pain I wept. Another time,
When I had pined for many tedious days,
Because my father was detained from home,
I wept for very gladness when he came!
Through tears I gave my bursting heart relief,
And at mine eyes it found a gushing vent.
Then never ask me unto what avail
Omnipotence hath gifted me with eyes.
Through them when I am weary comes repose,
Through them my sorrow's lightened; and through them
My joy is raised to rapture.
Oh, forgive me!
The question was most foolish; for in thee
Is such an inward radiancy of soul,
Thou hast no need of that which by the light
We through the eye discern. Say, shall I deem
That thou of some unheard-of race art sprung,
Richly endowed with other powers than we?
Thou livest lonely here; this valley, too,
Seems conjured forth by magic 'mongst the hills.
Hast thou come hither from the golden East,
With Peris in thy train? or art thou one
Of Brahma's daughters, and from Ind hast been
Transported hither by a sorcerer ?
O beautiful unknown! if thou be'st sprung
Of mortal men who call the earth their mother,
Be thou to life's so transitory joys
Susceptible as I, and deign to look
With favor on a knight's devoted love!
Hear this his vow: No woman shall efface


## p. 7323 (#117) ###########################################

HENRIK HERTZ
7323
(Stand she in birth and beauty ne'er so high)
The image thou hast stamped upon my soul!
Iolanthe [after a pause-
Thy words are laden with a wondrous power.
Say, from what master didst thou learn the art
To charm by words which yet are mysteries?
Meseemed as though I trod some path alone,
Which I had never trod before; and yet
All seems to me-all, all that thou hast said-
So godlike, so enchanting! Oh speak on-
Yet no,- speak not! rather let me in thought
Linger along the words which thou hast spoken,
That mingled pain and rapture in my soul!
OLANTHE
Iolanthe
Enter Ebn Jahia, the Moorish Physician, leading Iolanthe by the hand.
He beckons to the others to retire
Where art thou leading me?
O God! where am I? Support me-oh, support me!
Ebn Jahia-
Calm thee, my child!
Ebn Jahia-
Translation of Theodore Martin.
THE AWAKENING TO SIGHT
From King René's Daughter'
Iolanthe
Support me. oh, stand still!
I ne'er was here before-what shall I do
Ebn Jahia -
In this strange place? Oh, what is that? Support me!
It comes so close on me it gives me pain.
Iolanthe, calm thee! Look upon the earth!
That still hath been to thee thy truest friend,
And now, too, greets thee with a cordial smile-
This is the garden thou hast ever tended.
Iolanthe -My garden - mine? Alas! I know it not.
The plants are terrible to see - take care!
They're falling on us!
Cease your fears, my child:
These stately trees are the date-palms, whose leaves
And fruit to thee have been long known.
Ah, no!
Indeed, I know them not! [Raises her eyes toward the sky.
This radiance, too,
That everywhere surrounds me-yon great vault,


## p. 7324 (#118) ###########################################

HENRIK HERTZ
7324
Ebn Jahia-
Iolanthe -
That arches there above us-oh, how high! —
What is it? Is it God? Is it his spirit,
Which as you said pervades the universe?
Ebn Jahia-
Yon radiance is the radiance of the light.
God is in it, like as he is in all.
Yon blue profound that fills yon airy vault,
It is the heaven, where, as we do believe,
God hath set up his glorious dwelling-place.
Kneel down, my child! and raise your hands on high,
To heaven's o'er-arching vault, to God—and pray!
Ah, teach me, then, to pray to him as I ought.
No one hath ever told me how I should
Pray to this Deity who rules the world!
Iolanthe [kneels] -
René-
--
Then kneel thee down, my darling child, and say –
"Mysterious Being, who to me hast spoken
When darkness veiled mine eyes, teach me to seek thee
In thy light's beams, that do illume this world;
Still, in the world, teach me to cling to thee! "
Mysterious Being, who to me hast spoken
When darkness veiled mine eyes, teach me to seek thee
In thy light's beams, that do illume this world;
Still, in the world, teach me to cling to thee! —
Yes, he hath heard me. I can feel he hath,
And on me pours the comfort of his peace.
He is the only one that speaks to me,
Invisible and kindly, as before.
Ebn Jahia-
Arise! arise, my child, and look around.
Iolanthe Say, what are these, that bear such noble forms?
Ebn Jahia -
Thou know'st them all.
Iolanthe
René [approaching Iolanthe --
Look on me, Iolanthe
Iolanthe [embracing him-
――
________________
Ah, no; I can know nothing.
me, thy father!
My father! Oh, my God! thou art my father!
I know thee now-thy voice, thy clasping hand.
Stay here! Be my protector, be my guide!
I am so strange here in this world of light.
They've taken all that I possessed away-
All that in old time was thy daughter's joy.
I have culled out a guide for thee, my child.


## p. 7325 (#119) ###########################################

HENRIK HERTZ
7325
René-
Iolanthe Whom mean'st thou?
René pointing to Tristan - See, he stands expecting thee.
Iolanthe -The stranger yonder? Is he one of those
Bright cherubim thou once didst tell me of?
Is he the Angel of the light come down?
Thou knowest him-hast spoken with him.
Iolanthe-With him? with him? [Holds her hands before her eyes.
Think!
Father, I understand.
In yonder glorious form must surely dwell
The voice that late I heard - gentle, yet strong;
The one sole voice that lives in nature's round.
[To Tristan, who advances towards her] —
Oh, but one word of what thou saidst before!
O sweet and gracious lady!
Tristan
Iolanthe
-
René-
List, oh list!
With these dear words the light's benignant rays
Found out a way to me; and these sweet words
With my heart's warmth are intimately blent.
Tristan [embraces her]-
Iolanthe! Dearest!
Blessings on you both
From God, whose wondrous works we all revere !
Translation of Theodore Martin.


## p. 7326 (#120) ###########################################

7326
HESIOD
(NINTH CENTURY B. C. ? )
OR as to Hesiod and Homer, I judge them to have been four
hundred years before me, and not more. It was they who
made a theogony for the Greeks, assigned names to the
gods, distributed their honors and arts, and revealed their forms. The
poets stated to have been before these really lived later than they, in
my judgment. " These words are from the credulous, shrewd, quaint
father of history, Herodotus, and were written between 450 and 400
B. C. The two poets, then, are assigned to the ninth century B. C.
As to the Homeric school, the latest investigations are in agreement
with this early estimate of their age. Hesiod, however, is a younger
member of that school; probably a century later than the chief author
of the Iliad, whom he clearly imitates. Indeed, the use of the Ionic
dialect and epic phrase at all, in an obscure Boeotian village, can
hardly have any other explanation. He is, however, the first of
Greek poets in another sense; for splendid as is the pageant of Tro-
jan myth, the personality of the Homeric singer or singers evades us
completely. The homely unheroic figure of Hesiod, dwelling in his
humble village of Ascra under Helicon, is the earliest of the poets
really visible to us.
Hesiod represents a back current of colonial Asiatic culture, re-
turning to the yet rude undeveloped motherland. His father had
emigrated from Kymè in Asia Minor, a chief centre of Trojan myth
and epic, back to-
"Ascra, in winter vile, most villainous
In summer, and at no time glorious,»
as the ungrateful minstrel describes his birthplace!
Hesiod actually
pastured his sheep on Helicon, and his vision of the Muses has located
them there forever.
The chief creation of Hesiod is called 'Works and Days'; i. e. ,
which to do them. It is
farmers' tasks, and lucky or fit days on
nowise like an almanac in form, however. The poem of a thousand
hexameter verses is dedicated, as it were, to his ungracious brother
Perses. The latter, we hear, had bribed the judges and so secured
the lion's share of the family estate. Again reduced to poverty by
appealed to the poet, who has nothing for
Moreover, Hesiod takes a pessimistic view
sloth and waste, he has
him but caustic advice.


## p. 7327 (#121) ###########################################

HESIOD
7327
of human life. His own iron age is the worst among five successive
periods, and life is hardly endurable. The only break, indeed, in the
gradual decay from the golden through the silvern and brazen ages,
is the interposition-between the latter and the poet's day of iron-
of the nobler heroic age; and the sieges of Thebes and Troy are ex-
pressly mentioned, to point this reminiscence of Homeric song. Zeus
has never forgiven men for Prometheus's theft of fire, and has "hidden
the means of subsistence"; i. e. , has said to man, "In the sweat of
thy brow shalt thou earn thy bread. " The Pandora episode, also, is
brought in to explain the manifold miseries that vex mortal life.
The transitions from one branch of this wide-ranging theme to
another are rather stiff and awkward. Some parts of the poem are
probably lost; and where it becomes, as often, a mere string of max-
ims, the temptation to interpolate similar apophthegms has haunted
the copyists in every age. Altogether, the poem is more interest-
ing piecemeal than as a whole. Still, in the main, it is a genuine
production of a feebly inspired, rather prosy eighth-century rustic
philosopher. In fact, it is our earliest didactic sermon in verse.
The other poem usually assigned to Hesiod- viz. , the 'Theogony'-
is the first connected attempt at tracing the origin of the Greek gods.
It is no description of creation, much less an attempt to solve the
mystery of existence. In the main we have a mere genealogy of the
family sprung from Uranus and Gê (Heaven and Earth), who in turn
are supplied with a sort of ancestry. Herodotus must not mislead us
into thinking these strange figures are the creation of Hesiod, or who-
ever of his school left us the 'Theogony. ' The poet does probably
little more than to record, and in some degree to harmonize, tales
already more or less generally current. Many stories of cannibalism
and outrageous immorality among the gods must have come down
from utterly savage forefathers. These uncanny heirlooms were never
definitely discarded in pagan Greece. Some of the worst accounts of
Divine wickedness were so entangled with beautiful and well-loved
myths that they have been immortalized in the drama, in lyric, in
works of plastic art, and cannot be ignored in any view of Greek
life and thought. Philosophers, and even poets, did indeed make
fearless protest against the ascription of any grievous wickedness to
Deity. Yet it must be confessed that from Homer's song downward,
the gods are altogether inferior in motive and action to the truly
heroic men and women, either of myth and poetry or of historic
record. And this crude and ignoble popular mythology was fixed
and nationalized above all by the Hesiodic Theogony. ' Even so
pure, devout, and original a poet as Eschylus, in the 'Prometheus'
copies Hesiod in many details, though he is probably combating di-
rectly the elder poet's view of Zeus's purpose and character.
-


## p. 7328 (#122) ###########################################

7328
HESIOD
It will be evident, then, that the works of Hesiod are of extreme
interest and value, not chiefly as poetry, but as an early record of
man's gropings about the roots of mystery. The moral philosopher,
the student of mythology, even the historian of agriculture, may find
here more inspiration than the poet.
Symonds (in his 'Greek Poets'), Jebb, and Mahaffy, all have genial
chapters upon Hesiod. We recommend first, however, the literal prose
version in the Bohn library, which is supplied with helpful notes.
The same volume contains metrical versions of both poems by Elton.
In the citations below from the Works and Days,' some attempt is
made to indicate the rhythm and line-for-line arrangement of the
original Greek. The only available edition of Hesiod's poems with
English notes is by F. A. Paley, in the 'Bibliotheca Classica. ' Much
better is the edition including the fragments of lost works, with Latin
notes, by Göttling.
PANDORA
From the Works and Days'
Z
EUS in the wrath of his heart hath hidden the means of subsistence,
Wrathful because he once was deceived by the wily Prometheus.
Therefore it was he devised most grievous troubles for mortals.
Fire he hid; yet that, for men, did the gallant Prometheus
Steal, in a hollow reed, from the dwelling of Zeus the Adviser;
Nor was he seen by the ruler of gods, who delights in the thunder.
Then, in his rage at the deed, cloud-gathering Zeus did address him:
"Iapetionides, in cunning greater than any,
Thou in the theft of the fire, and deceit of me, art exulting,-
Source of grief for thyself, and for men who shall be hereafter.
I in the place of fire will give them a bane, so that all men
May in spirit exult, and find in their misery comfort! "
Speaking thus, loud laughed he, the father of gods and of mortals.
Then he commanded Hephaistos, the cunning artificer, straightway
Mixing water and earth, with speech and force to endow it,
Making it like in face to the gods whose life is eternal.
Virginal, winning, and fair was the shape; and he ordered Athenè
Skillful devices to teach her, the beautiful works of the weaver.
Then did he bid Aphroditè the golden endow her with beauty.
Eager desire, and passion that wasteth the bodies of mortals.
Hermes, guider of men, the destroyer of Argus, he ordered,
Lastly, a shameless mind to accord her, and treacherous nature.
So did he speak. They obeyed Lord Zeus, who is offspring of Kronos.
Straightway out of the earth the renownèd Artificer fashioned
One like a shamefaced maid, at the will of the Ruler of heaven.
"


## p. 7329 (#123) ###########################################

HESIOD
Girdle and ornaments added the bright-eyed goddess Athenè,
Over her body the Graces divine and noble Persuasion
Hung their golden chains, and the Hours with beautiful tresses
Wove her garlands of flowers that bloom in the season of springtime.
All her adornment Pallas Athenè fitted upon her;
Into her bosom Hermes the guide, the destroyer of Argus,
Falsehood, treacherous thoughts, and a thievish nature imparted,--
Such was the will of Zeus who heavily thunders; and lastly
Hermes, herald of gods, endowed her with speech, and the woman
Named Pandora, because all gods who dwell in Olympus
Gave to her gifts that would make her a fatal bane unto mortals.
When now Zeus had finished this snare so deadly and certain,
Famous Argus-slayer, the herald of gods he commanded,
Leading her thence, as a gift to bestow her upon Epimetheus.
He then failed to remember Prometheus had bidden him never
Gifts to accept from Olympian Zeus, but still to return them
Straightway, lest some evil befall thereby unto mortals.
So he received her- and then, when the evil befell, he remembered.
Till that time, upon earth were dwelling the races of mortals
Free and secure from trouble, and free from wearisome labor;
Safe from painful diseases that bring mankind to destruction
(Since full swiftly in misery age unto mortals approacheth).
Now with her hands Pandora the great lid raised from the vessel,
Letting them loose; and grievous the evil for men she provided.
Only Hope was left, in the dwelling securely imprisoned,
Since she under the edge of the cover had lingered, and flew not
Forth; too soon Pandora had fastened the lid of the vessel,-
Such was the will of Zeus, cloud-gatherer, lord of the ægis.
Numberless evils beside to the haunts of men had departed;
Full is the earth of ills, and full no less are the waters.
Freely diseases among mankind by day and in darkness
Hither and thither may pass, and bring much woe upon mortals,-
Voiceless, since of speech high-counseling Zeus has bereft them.
Translation taken by permission from The School of Homer,' by William C.
Lawton
TH
XIII-459
7329
TARTARUS AND THE STYX
From the Theogony'
HE hollow-sounding palaces
Of subterraneous gods there in the front
Ascend, of mighty Pluto and his queen
Awful Persephone. A grisly dog,


## p. 7330 (#124) ###########################################

HESIOD
7330
Implacable, holds watch before the gates;
Of guile malicious. Them who enter there,
With tail and bended ears he fawning soothes;
But suffers not that they with backward step
Repass: whoe'er would issue from the gates
Of Pluto strong, and stern Persephone,
For them with marking eye he lurks; on them
Springs from his couch, and pitiless devours.
There, odious to immortals, dreadful Styx
Inhabits, refluent Ocean's eldest born:
She from the gods apart for ever dwells
In mansions known to fame, with arching roofs
O'erhung, of loftiest rock, and all around
The silver columns lean upon the skies.
Swift-footed Iris, nymph of Thaumas born,
Takes with no frequent embassy her way
O'er the broad main's expanse, when haply strife
Be risen, and 'midst the gods dissension sown.
And if there be among th' Olympian race
Who falsehood utters, Jove sends Iris down,
To bear from far in ewer of gold the wave
Renowned; that from the summit of a rock
Steep, lofty, cold distills. Beneath wide Earth
Abundant from the sacred parent flood,
Through shades of blackest night, the Stygian branch
Of Ocean flows; a tenth of all the streams
To the dread oath allotted. In nine streams,
Round and around earth and the ocean broad
With silver whirlpools mazy-rolled, at length
It falls into the main; one stream alone
Glides from the rock, a mighty bane to gods.
Who of immortals that inhabit still
Olympus topt with snow, libation pours
And is forsworn, he one whole year entire
Lies reft of breath, nor yet approaches once
The nectared and ambrosial sweet repast;
But still reclines on the spread festive couch,
Mute, breathless; and a mortal lethargy
O'erwhelms him; but, his malady absolved
With the great round of the revolving year,
More ills on ills afflictive seize: nine years
From ever-living deities remote
His lot is cast; in council nor in feast
Once joins he, till nine years entire are full;


## p. 7331 (#125) ###########################################

HESIOD
7331
The tenth again he mingles with the blest
In synod, who th' Olympian mansions hold.
So great an oath the deities of heaven
Decreed the waters incorruptible,
Ancient, of Styx.
Translation of Elton.
MAXIMS
From the Works and Days'
NEV
EVER a man hath won him a nobler prize than a woman,
If she be good; but again there is naught else worse than a
bad one.
EVEN the potter jealous of potter, and craftsman of craftsman ;
Even the beggar is grudging to beggar, and poet to poet!
BUT do thou store these matters away in thy memory, Perses!
Let not contention, the lover of mischief, withhold thee from labor,
While in the market-place thou art hearkening, eager for quarrels.
ONCE we our heritage shared already. Cajoling the rulers,—
Men who were greedy for bribes, and were willing to grant you the
judgment,
You then plundered and carried away far more than your portion.
Fools were they, unaware how the whole by a half is exceeded;
Little they know how great is the blessing with mallow and lentils.
TRULY, the gods keep hid from mortals the means of subsistence;
Else in a single day thou well mightst win by thy labor
What would suffice for a year, although thou idle remainest.
Ended then were the labors of toilsome mules and of oxen.
EVIL he worketh himself who worketh ill to another.
BUT remembering still my injunction,
Work, O Perses sprung from the gods, that Famine may ever
Hate you, and dear may you be to Demeter of beautiful garlands,
Awesome one, and still may she fill thy garner with plenty.
WORK is no disgrace; but the shame is, not to be working:
If you but work, then he who works not will envy you quickly,
Seeing your wealth increase; with wealth come honor and glory.
SUMMON the man who loves thee to banquet; thy enemy bid not.
Summon him most of all who dwells most closely beside thee;


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HESIOD
7332
Since if aught that is strange or evil chance to befall thee,
Neighbors come ungirt, but kinsmen wait to be girded.
TAKE your fill when the cask is broached and when it is failing.
Midway spare; at the lees 'tis not worth while to be sparing.
CALL with a smile-for a witness, although 'tis your brother you
deal with.
―
GET thee a dwelling first, and a woman, and ox for the plowing:
Buy thou a woman, not wed her, that she may follow the oxen.
THIS shall the remedy be, if thou art belated in plowing:
When in the leaves of the oak is heard the voice of the cuckoo
First, that across the unbounded earth brings pleasure to mortals,
Three days long let Zeus pour down his rain without ceasing,
So that the ox-hoof's print it fills, yet not overflows it:
Then may the plowman belated be equal with him who was timely.
PASS by the seat at the forge, and the well-warmed tavern, in winter.
That is the time when the man not slothful increases his substance.
SHUN thou seats in the shade, nor sleep till the dawn (! ) in the season
When it is harvest-time, and your skin is parched in the sunshine.
SEEK thou a homeless thrall, and a serving-maid who is childless.
PRAISE thou a little vessel; bestow thy freight in a large one.
DO NOT Stow in the hollowed vessel the whole of thy substance;
Leave thou more behind, and carry the less for a cargo.
Hateful is it to meet with a loss on the watery billows;
Hateful too if, loading excessive weight on a wagon,
Thou shouldst crush thine axle and so thy burden be wasted.
Keep thou due moderation; all things have a fitting occasion.
CLOSING LINES
DIFFERENT men praise different days: they are rare who do know
them.
Often a day may prove as a stepmother, often a mother:
Blessed and happy is he who, aware of all that concerns them,
Wisely works his task, unblamed in the sight of immortals,
Judging the omens aright, and succeeds in avoiding transgression.
Translation taken by permission from The School of Homer,' by William C
Lawton


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7333
PAUL HEYSE
(1830-)
AUL HEYSE stands among the foremost modern German writers,
and his reputation is not confined to his native land. A cult-
Sugan ured cosmopolitan of literature, there is much in his work
to appeal to all who are sensitive to the presentation of life in artis-
tic form, with grace, charm, and power.
Johann Ludwig Paul Heyse-to give him his full baptismal name
was born at Berlin, March 15th, 1830, the son of a distinguished
philologist of that city, both father and grandfather being scholars of
importance. By blood he is half Jew. At
first he studied classical philology at the
Berlin University under Böckh and Lach-
mann; but in 1849 at Bonn took up the study
of the Romance languages and literatures.
His dissertation in 1852 for his doctorate, on
the subject of the refrain in Troubadour
poetry, shows his early literary leanings.
Next came the "grand tour," so fruitful
in rounding out and ripening the education
of a young man of gifts. The libraries of
Italy and Switzerland were ransacked for
books bearing on his Romance studies. In
1854 he was called to Munich to join the
circle of writers gathered there by King
Max, and he has ever since made that centre of art and music his
home. By 1850, at the age of twenty, he was writing poems and
plays, and had begun to publish his long list of works, which in
1893 numbered twenty-four volumes. Of these, the majority are col-
lections of short tales and novelettes, characterized by artistic beauty,
delicate sentiment, picturesque description, and poetic feeling, often
tinged with melancholy, and at times sensuous to the point of dubious
ethics. Excellent examples of these short stories-to some, Heyse's
best literary endeavor - may be found in The Book of Friendship. '
A tale as widely known outside of Germany as any he has written
is 'L'Arrabbiata,' a charming Italian idyl of peasant life. His early
poems-lyric, epic, and dramatic-testify to his culture, warmth of
temperament, and inventive power; and he has never ceased to do

PAUL HEYSE


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7334
PAUL HEYSE
work of this sort, though it is minor compared with his fiction. His
best known epic is perhaps Thekla,' published in 1858. Many of
his plays have had more or less vogue on the stage: by his 'Sabine
Women' in 1859 he won the dramatic prize offered by King Maximil-
ian; and 'Hans Lange,' which the eminent Danish critic Brandes
calls both "beautiful" and "national," is regarded as a drama of high
merit. In other leading plays Heyse treats historical subjects in a
romantic manner, making them pleasing and impressive. In 1884 he
received from the Kaiser for his dramatic compositions the Schiller
prize, a much coveted honor. The influence of Italy and of Italian
culture is observable all through his writings, imparting a certain suav-
ity and sweetness, sometimes with a consequent loss of strength. He
reflects the foreign stimulus as does Pierre Loti in France.
It is likely that Heyse has been most widely enjoyed, and has ap-
pealed to the greatest number of readers, by his short stories. It is
quite true that they represent him in many of his most delightful
moods. Yet for depth and power his two "purpose" novels, 'Children
of the World' and 'In Paradise,' are more typical and have helped
to give him international fame. Few modern works of fiction have
aroused so much interest. Many editions have appeared, many trans-
lations been made. These novels stand for a class of literature which
has developed rapidly under the present literary creed of realism.
Such works propound grim problems, or preach reform, or attack
social abuses. Familiar examples in English are Madame Grand's
The Heavenly Twins' and Mrs. Ward's 'Robert Elsmere. A com-
mon trait of this "purpose" literature, as it is called, is its power,
seriousness, and frequent sadness. It is a later phase of the intel-
lectual and moral storm and stress which earlier in the century, and
under the influence of the romantic spirit, breathed from the lyrics
of Heine and the plays of Goethe. When Children of the World'
appeared in 1870, it made a sensation, because of both its ability and
its teaching. It was warmly praised, bitterly attacked; but its spir-
itual significance and artistic charm were generally conceded. 'In
Paradise,' which followed two years later in 1875, also recognized as
having great strength and fine art, called out a storm of protest for
its conception of life: it cries up the hedonism which makes personal
happiness the aim and test of action. Individual freedom, liberty to
grow in spite of the conventions of society or politics or religion, is
the keynote in both novels. "There is but one real nobility," Heyse
makes some one say: "to be true to one's best self. " This is the
individualistic note of Ibsen. Heyse's motto is, "Follow nature. "
Comparing the two books, 'Children of the World' may be pre-
ferred for its healthier tone, better construction and taste, and more
pleasing solution. It is full of capitally drawn scenes of Bohemian


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PAUL HEYSE
7335
student life: the art, literature, and philosophy of the day are reflected
in its pages; and the character-drawing and situations have compel-
ling interest. The hero is conducted through an unconventional, emo-
tional love experience, to find peace and happiness at last.
The story
thus avoids the disagreeable extreme of too many "purpose" novels.
Heyse is what the Germans call a dichter. This does not mean
poet in the narrow English sense, which makes the word denote the
writer of literature in verse form; but rather a writer who, whether
in prose or poetry, and perhaps never penning a line of formal verse,
has in his work the qualities of romance, imagination, artistic beauty.
There is something of the feminine in Heyse's glowing, plastic work.
A critic has said that he is to German imaginative literature what
Mendelssohn is to German music,-of a lyric rather than dramatic
genius.
The selection is made from one of the long stories, as being more
satisfactory than any excerpt from the shorter tales could be.
BALDER'S PHILOSOPHY
From Children of the World'
Ο
NE beautiful sunny day in November, Edwin had set out on
his daily walk to the university, and Franzelius was pre-
paring to read aloud from a translation of Sophocles, when
Balder, who was reclining near the window in a comfortable arm-
chair sent by Frau Valentin, suddenly laid his pale slender hand
on the book and said: "We won't read to-day, Franzelius: I'd
rather talk about all sorts of things with you. I feel so well
that it's not the least exertion to speak, and the sun is shining so
brightly in the clear sky! Only to see that, is such an incom-
parable happiness that to enjoy it one would gladly endure all
the evils of this life. Don't you think so? "
-
"I can't look at it without thinking that it shines equally
on the just and the unjust, and beholds much more misery than
happiness," replied the printer, looking almost defiantly toward
the sky. "I wish it would die out once for all, and with it this
whole motley lie which we call life. "
"No, Franzel," said Balder quietly, "you are wrong. Even if
the sun knew what it was doing in creating and sustaining life,
there is no cause for shame in such a work. Why do you call
existence a lie, Franzel? Because its end is so abrupt? But
your existence had its beginning as well, and did that beginning


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7336
PAUL HEYSE
ever bespeak a promise of perpetuity? On the contrary, my
dear fellow, there is much honesty in human life: it promises so
little and yet yields us so much.