He
dared not look up any more; and when, on leaving the church,
he saw Elsbeth standing at the porch as if she was waiting for
something, he lowered his eyes and tried to pass her quickly.
dared not look up any more; and when, on leaving the church,
he saw Elsbeth standing at the porch as if she was waiting for
something, he lowered his eyes and tried to pass her quickly.
Warner - World's Best Literature - v24 - Sta to Tal
We know that no
other causes have ever created so great and bitter struggles; have
brought into the field, whether of war or controversy, greater and
more united armies. Yet no truth is more certain than this, that
the real motives of religious action do not work on men in masses;
and that the enthusiasm which creates Crusaders, Inquisitors,
Hussites, Puritans, is not the result of conviction, but of passion
provoked by oppression or resistance, maintained by self-will, or
stimulated by the mere desire of victory. And this is a lesson
for all time; and for practical life as well as historical judgment.
And on the other hand, it is impossible to regard this as an ad-
equate solution of the problem: there must be something, even if
it be not religion or liberty, for which men will make so great
sacrifices.
The best aspect of an age of controversy must be sought in
the lives of the best men; whose honesty carries conviction to the
understanding, whilst their zeal kindles the zeal, of the many.
A study of the lives of such men will lead to the conclusion, that
a
## p. 14154 (#344) ##########################################
14154
WILLIAM STUBBS
in spite of internecine hostility in act, the real and true leaders
had far more in common than they knew of: they struggled, in
the dark or in the twilight, against the evil which was there, and
which they hated with equal sincerity; they fought for the good
which was there, and which really was strengthened by the issue
of the strife. Their blows fell at random: men perished in arms
against one another whose hearts were set on the same end
and aim; and that good end and aim which neither of them had
seen clearly was the inheritance they left to their children, made
possible and realized not so much by the victory of one as by
the truth and self-sacrifice of both.
At the close of so long a book, the author may be suffered
to moralize. His end will have been gained if he has succeeded
in helping to train the judgment of his readers to discern the
balance of truth and reality; and whether they go on to further
reading with the aspirations of the advocate or the calmness of
the critic, to rest content with nothing less than the attainable
maximum of truth, to base their arguments on nothing less
sacred than that highest justice which is found in the deepest
sympathy with erring and straying men.
## p. 14155 (#345) ##########################################
14155
SIR JOHN SUCKLING
(1608-1642)
IR JOHN SUCKLING is an interesting product of an interesting
age. His portrait by Vandyke - that of a fair-haired gal-
lant, his long curls hanging over his shoulders, his eyes a
steely blue, firm red lips, and a stalwart yet graceful figure arrayed
in the richest silks and velvets — tells much of his story. But there
are other characteristics less easily discovered. With the nonchalant
manner, half bravado, half indifference, of the cavalier, he took good
care of himself on at least two occasions when the spirit of the age
and his training would have led him to dis-
play less caution. The King himself (Charles
I. ) did not excel him in the gorgeousness of
his entertainments, nor was there so prodi-
gal a gamester in the kingdom; yet he was
capable of giving the soundest and the most
virtuous advice, and of expressing the most
edifying and Christian sentiments. Had his
brother-in-law Sir George Southcott but lived
to read Sir John's remarkable epistle on
Southcott's death by his own hand, he
would have refrained from such a proceed-
ing for very shame of becoming an object
of ridicule. Yet when Suckling, an exile Sir John SUCKLING
and in distress, came to a dangerous pass
in his fortunes, he committed suicide, regardless of his own satire.
His splendid, erratic, melancholy career left no trace either of sad-
ness or sentiment in his poems. There is nothing of the troubadour,
nothing of the minor strain of melancholy cheerfulness which touches
the heart in Lovelace's gay lyrics. The poem beginning
«Why so pale and wan, fond lover ?
Prythee why so pale ? »
is completely Suckling, and shows that his wreaths were not twined
from the cypress-tree.
Debt and love were both troublesome, with
perhaps a slight difference in favor of debt. He never, according to
the scanty facts known of his life, had a serious love affair, and cer-
tainly he sported with the grande passion. Yet he treated it with a
## p. 14156 (#346) ##########################################
14156
SIR JOHN SUCKLING
curious, contradictory respect. He required of his imaginary “soul's
mistress » neither beauty, nor wit, nor charm, - making all these qual.
ities subjective, and bidding her teach him only to be true, that love
might last forever. In an age of license he degraded literature with
no coarse or impure line; and now and then he who had written with
such pious zeal the paper Religious Thoughts on the State of the
Nation, composed a poem which chills the blood, though he who gave
it birth has slept for more than two centuries among those who in
fine garments and chests of cedar are laid up for immortality. ”
Suckling, whose "pretty touch savors more of the grape than the
lamp,” little as he heeded it often saw the death's-head at the feast.
He saw it in the lovely lines Farewell to Love,' after taking leave
of the “dear nothings” with which he had floated in the shadowed
landscape of life. The poem Against Absence'-chiefly acute rail-
lery, though there is a Comus-like touch in its simple force — cannot
be read without producing a feeling of solitude. And in the rich,
luxuriant Dream, cold fingers seem to press the brow.
Suckling's poems, all collected, are comprised in one thin volume.
He set out to be a dramatist, fancying that what genius for letters
he possessed was dramatic; and although he had written a satire
entitled “The Session of the Poets,' — which Byron imitated in Eng-
lish Bards and Scotch Reviewers,' and which, in its day had as great
a vogue,- and two prose essays, the "Thoughts on Religion and A
Tract on Socinianism, he made his first serious dramatic attempt in
1638, when he published Aglaura,'— a play studded with beautiful
passages but without reality or development. The poets who had
themselves been ridiculed all laughed at it, and called it “a rivulet
of text and a meadow of margin. ” Its interest to us is in its having
been the first play acted with regular scenery, which had hitherto
been used only in the masques. His next play, Brennoralt (1639),
has finer qualities, but might have been written by any of the mob
of gentlemen” whom Pope described as writing as well as they did
anything else. Steele greatly admired a description of the loves of
the hero and heroine, Brennoralt and Franclia; comparing it to a
passage in Paradise Lost. 'The Goblins,' modeled after (Macbeth,
need not detain us but that it contains the oft-quoted line, original
with Sir John, “The Prince of Darkness is a gentleman” (Act iii. ,
Scene 2).
As a lyric poet alone then, Suckling will be remembered; and
probably as the author of the single lyric, Ballad on a Wedding,'
composed on the marriage of Roger Boyle (first Earl of Orrery) with
Lady Mary Howard. The nimble grace, the happy turn, the elegance
and sparkle of fancy in this poem, the light and delicate touch, and
the ingenious conception, have placed it among the masterpieces of
>
## p. 14157 (#347) ##########################################
SIR JOHN SUCKLING
14157
English lyrics. He has written other poems that will not be readily
forgotten, though they may not secure immortality:-
“I prythee send me back my heart,"
with recurring lines like a fugue –
“No,
>
fair Mistress, it must be ;)
no,
)
the stanzas headed “The Invocation, with their difficult construction
and recurring rhymes; the love song with its reverent gallantry, -
«I touch her as my beads, with devout care,
And go in to my courtship as my prayer;”
>
and the ideally lovely poem beginning "If you refuse me once,” and,
after the first three stanzas that breathe the very soul of manliness,
the beautiful and passionate outburst Would that I were all soul,”
and the “Why so pale and wan, fond lover? ” already referred to.
Hallam, chary of praise, says, “Suckling is acknowledged to have
left behind him all former writers of song, in gayety and ease. It is
not equally clear that he has ever been surpassed. ”
Few facts are known of his brief, brilliant career. His father,
John Suckling, was a knight and a Secretary of State; the son was
born at Winton in Middlesex, and baptized February Toth, 1608-9.
He was early attached to the court, and, says Sir William Dave-
nant, for his accomplishments and ready sparkling witt was the
bull that was most bayted; his repartee being most sparkling when
set on and provoked. ” He went abroad, and served under Gustavus
Adolphus. To aid Charles on his Scottish campaign, he raised a
troop of horse; but though they cost him twelve thousand pounds,
and were clad in white and red, when they came in sight of the
army at Dunse they fled without the loss of a feather. Hence the
lampoon Percy preserves:-
(
«Sir John got him an ambling nag
To Scotland for to ride-a! »
He gave good advice to both King and Queen in their subsequent
troubles; but at the fall of Strafford, Aed to France, where his faint
heart and gay philosophy failed him. He died in Paris in 1642. His
memoir and poems were published by his relative, Rev. Alfred Suck-
ling (London, 1832).
## p. 14158 (#348) ##########################################
14158
SIR JOHN SUCKLING
SONG
W"
HY so pale and wan, fond lover?
Prithee, why so pale ?
Will, when looking well can't move her,
Looking ill prevail ?
Prithee, why so pale ?
Why so dull and mute, young sinner ?
Prithee, why so mute ?
Will, when speaking well can't win her,
Saying nothing do't ?
Prithee, why so mute ?
Quit, quit, for shame! this will not move:
This cannot take her.
If of herself she will not love,
Nothing can make her:
The Devil take her!
A BRIDE
From the Ballad Upon a Wedding'
)
T"
HE maid — and thereby hangs a tale,
For such a maid no Whitsun-ale
Could ever yet produce;
No grape that's kindly ripe, could be
So round, so plump, so soft as she,
Nor half so full of juice.
Her finger was so small, the ring
Would not stay on which they did bring, –
It was too wide a peck;
And to say truth (for out it must),
It looked like the great collar (just)
About our young colt's neck.
Her feet beneath her petticoat,
Like little mice stole in and out,
As if they feared the light:
But oh, she dances such a way!
No sun upon an Easter-day
Is half so fine a sight.
## p. 14159 (#349) ##########################################
SIR JOHN SUCKLING
14159
Her cheeks so rare a white was on,
No daisy makes comparison;
Who sees them is undone:
For streaks of red were mingled there,
Such as are on a Catherine pear,
The side that's next the sun.
Her lips were red, and one was thin,
Compared to that was next her chin,
Some bee had stung it newly;
But Dick, her eyes so guard her face,
I durst no more upon them gaze
Than on the sun in July.
Her mouth so small, when she does speak,
Thou'dst swear her teeth her words did break,
That they might passage get;
But she so handled still the matter,
They came as good as ours, or better,
And are not spent a whit.
THE HONEST LOVER
H
ONEST lover whosoever,
If in all thy love there ever
Was one wavering thought, if thy flame
Were not still even, still the same,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If, when she appears i'th' room,
Thou dost not quake, and art struck dumb,
And in striving this to cover,
Dost not speak thy words twice over,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If fondly thou dost not mistake,
And all defects for graces take.
Persuad'st thyself that jests are broken
When she hath little or nothing spoken, -
## p. 14160 (#350) ##########################################
14160
SIR JOHN SUCKLING
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If when thou appear'st to be within,
Thou lett'st not men ask and ask again;
And when thou answer'st, if it be
To what was asked thee properly,–
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If when thy stomach calls to eat,
Thou cutt'st not fingers 'stead of meat,
And, with much gazing on her face
Dost not rise hungry from the place,
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If by this thou dost discover
That thou art no perfect lover,
And, desiring to love true,
Thou dost begin to love anew,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
THE CONSTANT LOVER
OT
UT upon it! I have loved
Three whole days together;
And am like to love three more.
If it prove fair weather.
Time shall moult away his wings,
Ere he shall discover
In the whole wide world again
Such a constant lover.
## p. 14161 (#351) ##########################################
SIR JOHN SUCKLING
14161
But the spite on't is, no praise
Is due at all to me:
Love with me had made no stays,
Had it any been but she.
Had it any been but she,
And that very face,
There had been at least ere this
A dozen dozen in her place.
VERSES
1
AM confirmed a woman can
Love this, or that, or any man:
This day she's melting hot,
To-morrow swears she knows you not;
If she but a new object find,
Then straight she's of another mind.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
-
Yet still I love the fairsome — why?
For nothing but to please my eye:
And so the fat and soft-skinned dame
I'll flatter to appease my flame;
For she that's musical I'll long,
When I am sad, to sing a song.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
I'll give my fancy leave to range
Through everywhere to find out change;
The black, the brown, the fair shall be
But objects of variety:
I'll court you all to serve my turn,
But with such fames as shall not burn.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
XXIV-886
## p. 14162 (#352) ##########################################
14162
SIR JOHN SUCKLING
THE METAMORPHOSIS
T**
He little boy, to show his might and power,
Turned lo to a cow, Narcissus to a flower;
Transformed Apollo to a homely swain,
And Jove himself into a golden rain.
These shapes were tolerable, but by the mass
He's metamorphosed me into an ass.
SONG
I
PRITHEE send me back my heart,
Since I cannot have thine;
For if from thine thou wilt not part,
Why then shouldst thou have mine?
Yet now I think on't, let it lie:
To find it were in vain,
For thou'st a thief in either eye
Would steal it back again.
Why should two hearts in one breast lie,
And yet not lodge together ?
O love, where is thy sympathy,
If thus our breasts thou sever?
But lov is such a mystery,
I cannot find it out;
For when I think I'm best resolved
I then am most in doubt.
Then farewell care, and farewell woe,
I will no longer pine;
For I'll believe I have her heart,
As much as she hath mine.
## p. 14163 (#353) ##########################################
14163
HERMANN SUDERMANN
(1857–)
mere
own
ROm every new literary mode, however madcap and ephem-
eral, something of value may be won. In the back-and-
forward swing between the fancies of an overheated ideal-
ism and the facts of a frigid realism, the pendulum returns to its
vertical with something brought from each of the extremes. From
the crass realism into which, for a time, the once so fantastic litera-
ture of Germany threatened to petrify, emerges Hermann Sudermann,
equipped with all the trenchant power of the realistic workman, but
bringing to his work the sympathetic in-
sight of the idealist. He deals with social
problems, with the struggles of impuls-
ive human nature at war with social con-
ditions; but he does not repel by sordid
details, nor delight in depicting
wretchedness and woe. His characters are
swayed by the passions, sorrows, and men-
tal twists, of which all of us in our
experience have had glimpses at least that
render them intelligible. His unswerving
belief in the uplifting forces of man's na-
ture gives to his gloomiest conceptions a
saving buoyancy; he finds a way to rec- HERMANN SUDERMANN
oncilement with life, even though the way
lie through death. Wide gray plains and moorlands, like those of
East Prussia where the poet was born, stretch far away; but behind
waving reed and withering sedge is the white sky-line of the dawn.
Sudermann cannot be classed with any school or cult. In him the
swaying pendulum of fads and fashions has come to rest. He is
the sane artist; painting the world as he sees it, and seeing it with
the intuitions of a poet.
Sudermann has, within a decade, taken his place among the fore-
most German novelists and dramatists that mark the end of the
nineteenth century. He is now one of the chief literary figures in
the eye of modern Europe. He was born at Matzicken, in the great
Baltic plain near the boundaries of Russia, on September 30th, 1857;
and the wide outreach of this level country is the scene upon which
## p. 14164 (#354) ##########################################
14164
HERMANN SUDERMANN
most of his tales and novels run their course. His parents were
poor; and it was a matter of pecuniary necessity when, at the age of
fourteen, he was apprenticed to a chemist. Subsequently, however,
he was enabled to study at Tilsit, Königsberg, and Berlin, and be-
came tutor in the household of the genial story-teller Hans Hopfen.
In 1881, after devoting the leisure hours of six years to history, phi-
lology, and modern languages, he turned to journalism, and assumed
the editorial management of a political weekly in Berlin. In 1885 a
collection of his stories from the newspapers was published under
the title of Im Zwielicht' (In the Twilight). Though not without a
melancholy touch, they possess the wit and sprightliness of French
stories; but they struck a more serious note, which gave promise
of greater work to follow. In 1886, with the publication of Frau
Sorge) (Dame Care), Sudermann stepped at once into the front rank
of German novelists. Three years later, again at a single bound,
he took the first place among the dramatists with his admirably
constructed play of Ehre' (Honor). It began its triumphant career
on the Berlin stage in November 1889, and rapidly conquered the
theatres of all Germany. Meanwhile in 1887, three volumes of his
tales had appeared, under the general title of "Geschwister' (Brothers
and Sisters); and two years afterward came (Der Katzensteg) (The
Cat Bridge), which some critics have not hesitated to pronounce the
most powerful novel of contemporary German literature.
In 1890 a
new drama, (Sodoms Ende? (Destruction of Sodom), displayed the
author's increasing command of stage technique, which in Heimath
(Home) becomes complete mastery. The more recent Schmetter-
lingsschlacht' (Battle of the Butterflies) is less satisfactory. In 1892
appeared the story of Iolanthe's Hochzeit” (Iolanthe's Wedding), full
of delightful humor and merry-making, and without a shade of mel-
ancholy. In the following year Es War' (It Was) made a genuine
sensation, running through fifteen editions in twelve months. Suder-
mann's fame seems now secure, whatever the future may hold.
The tendency of German novelists to subordinate narrative and
dramatic development to sentiment and psychological comment, has
rendered the average German novel dull and distasteful to foreign
readers. Sudermann appeals to a cosmopolitan taste: in him is
no trace either of sentimentality or moral reflection. He is strong,
brilliant, concise, effective; the impression he makes is indelible; the
mood into which he throws the reader, though sombre, is sympa-
thetic; and if melancholy, never morbid. Of the longer novels,
Dame Care) best exhibits the perfection of his workmanship. It is
the story of a lad whose life is a constant struggle with adversity;
upon him devolve all the cares of a large family, until he has be-
come so completely enslaved by the Lady of Sorrows that he never
## p. 14165 (#355) ##########################################
HERMANN SUDERMANN
14165
even thinks of making a claim for personal happiness. To save his
aged father from committing a crime, he sets fire to his own prop-
erty, and is sentenced as an incendiary. Over all his weary life
hovers the love that Elsbeth bears him, but he never permits himself
to love her; through her he is finally set free from the thraldom of
Dame Care. The tale is infinitely sad; but told with tenderness and
a sympathetic fidelity to nature. That out of his troubles Paul is led
by a woman's hand into ultimate peace and serenity, shows that here
is a realist who does not mix his colors with misery only. In the
saving power of woman, Sudermann has firm faith. In Der Wunsch'
the heroine and her conscience are the protagonists: it is a psycho-
logical study. Olga falls in love with her sister's husband; and while
she is nursing her sister through a severe illness, the thought comes
unbidden: «If only she were to die! ” She does die, and the wid-
ower offers himself to Olga; but she, conscience-stricken lest it was
her wish that killed her sister, and almost convinced of her guilt, wins
back her moral tranquillity by committing suicide. In Der Katzen-
steg,' it is again the heroine who is the centre of interest. Regine
exhibits the character-building of a girl, who, with the barbarous
elements of her untamed nature, combines a primitive nobility of soul
rising even to the sublime heights of complete self-renunciation.
Es War, the most successful of Sudermann's novels, draws the pict-
ure of an innocent young girl, Hertha, in love with a man much
older than herself; he in turn is in love with a married woman.
This to Hertha's unworldliness seems, in spite of her suspicions,
impossible; and conviction dawns upon her slowly. The study is
perfectly natural: the author has not shrunk from great frankness of
speech; but with it all he proclaims his faith in the essential good-
ness of the human heart.
As a dramatist, Sudermann has won international fame. (Ehre)
roused the German public from its apathy, and the new genius was
all-hailed as the re-creator of the German stage. Ruthlessly the play
points out the falsity of current ideas about honor, of social forms,
of conventional distinctions. Its success
was phenomenal, and the
highest hopes were cherished of a national dramatic revival. (Sodoms.
Ende' nourished these hopes, for it showed an advance both in
power and technique; but it had to be altered by the censor before
it could be produced in Berlin, and it is still impossible in English.
The title of the play is that given by the hero to a picture he is
painting. On his way to success and fame he falls into the toils of
a soulless, pleasure-loving woman, who ruins him body and soul. It
was in (Heimath, however, which was produced in January 1893,
that Sudermann reached the height of his achievement thus far, and
secured international success. The strong character of Magda, the
heroine, by whose name the play is known in English, has inspired
## p. 14166 (#356) ##########################################
14166
HERMANN SUDERMANN
the genius of three great actresses of our time,- Modjeska, Duse,
and Bernhardt, — who have spread the fame of the German drama-
tist through America, Italy, France, and England. Its theme is the
relative duty of parent and child, and the contrast between the
self-reliant broad-mindedness of a free child of the great world and
the dull petty conventions of a respectable bourgeois home. Magda
marks the highest point of characterization that Sudermann's creative
genius has reached. The (Schmetterlingsschlacht lacks, not the fine-
ness of observation, but the dramatic power, of the other plays. It is
a series of debates between three girls who have supported them-
selves by painting butterflies on fans; two of them, grown weary of
this dull life of hard-working virtue, have fallen, and with the third,
who has remained virtuous and industrious, they discuss the compar-
ative merits of their modes of living. In 1896 three of Sudermann's
one-act plays were grouped together under the general title of Mori-
turi. ' They are entirely distinct, united only by having each the
central idea of death as a liberator. In each the chief character is
freed and ennobled by death; rises above himself by the will to die.
Sudermann in 1897 finished his Johannes,' – a play which turns
upon the Biblical incident of John the Baptist, Herodias, and Salome.
Although it is entirely reverent in tone, it was forbidden by the Ber-
lin censor.
An English critic has insisted that Sudermann failed to keep the
promise of Ehre,' in that he has not continued the battle there be-
gun against the «Spiessbürgerliches » element, the Philistinism so
dear to the average German heart, against which Goethe and Schil-
ler waged a lifelong war. It may be that he has found it easier to
follow than to form the public taste; but his latest works reveal
a determination to go his independent way: and it is to Sudermann
that we unhesitatingly turn if asked to point out the chief inter-
national representative of the German drama at the end of the nine-
teenth century.
RETURNING FROM THE CONFIRMATION LESSON
From Dame Care. ) Copyright 1891, by Harper & Brothers
W**
((
(
"HEN he arrived home his mother kissed him on both cheeks,
and asked, "Well, was it nice ? »
“Quite nice,” he answered; "and mamma, Elsbeth
from the White House was there too. ”
Then she blushed with joy, and asked all sorts of things: how
she looked, whether she had grown pretty, and what she had said
to him.
## p. 14167 (#357) ##########################################
HERMANN SUDERMANN
14167
»
or
»
Nothing at all,” he answered, ashamed; and as his mother
looked at him surprised, he added eagerly, "but you know she is
not proud. ”
Next Monday when he entered the church, he found her
already sitting in her place. She had the Bible lying on her
knee, and was learning the verses they had been given as their
task.
There were not many children there: and when he sat down
opposite to her she made a half movement as if she meant to get
up and come over to him; but she sat down again immediately
and went on learning.
His mother had told him before he left just how to address
Elsbeth. She had charged him with many greetings for her
mother, and he was also to ask how she was. On his way he
had studied a long speech, only he was not quite decided yet
whether to address her with Du “ Sie. ” “Du” would have
been the simplest; his mother took it for granted. But the «Sie”
sounded decidedly more distinguished, --so nice and grown-up.
And as he could come to no decision, he avoided addressing her
at all. He also took out his Bible, and both put their elbows on
their knees and studied as if for a wager.
It was not of much use to him, because when the vicar ques-
tioned him afterwards he had forgotten every word of it.
A painful silence ensued; the Erdmanns laughed viciously,
and he had to sit down again, his face burning with shame.
He
dared not look up any more; and when, on leaving the church,
he saw Elsbeth standing at the porch as if she was waiting for
something, he lowered his eyes and tried to pass her quickly.
However, she stepped forward and spoke to him.
“My mother has charged me — I am to ask you — how your
mother is ? »
He answered that she was well.
"And she sends her many kind regards, continued Elsbeth.
“And my mother also sends many kind regards to yours," he
answered, turning the Bible and hymn-book between his fingers;
“and I also was to ask you how she is? ”
“Mamma told me to say,” she replied, like something learned
by heart, “that she is often ill, and has to keep in-doors very
much; but now that spring is here she is better: and would you
not like to drive in our carriage as far as your house? I was to
ask you, she said. ”
(
(
## p. 14168 (#358) ##########################################
14168
HERMANN SUDERMANN
“Just look: Meyerhofer is sweethearting! ” cried the elder
Erdmann, who had hidden behind the church door, through the
crack of which he wanted to tickle his companions with a little
straw.
Elsbeth and Paul looked at each other in surprise, for they
did not know the meaning of this phrase; but as they felt that
it must signify something very bad, they blushed and sepa-
rated.
Paul looked after her as she got into the carriage and drove
away. This time the old lady was not waiting for her. It was
her governess, he had heard. Yes: she was of such high rank
that she even had a governess of her own.
«The Erdmanns will get a good licking yet:) with that he
ended his reflections.
The next week passed without his speaking to Elsbeth. When
he entered the church, she was generally already in her seat.
Then she would nod to him kindly, but that was all.
And then came a Monday when her carriage was not waiting
for her. He noticed it at once: and as he walked towards the
church-yard he breathed more freely; for the proud coachman
with his fur cap, which he wore even in summer, always caused
him a feeling of oppression. He had only to think of this coach-
man when he sat opposite to her, and she appeared to him like
a being from another world.
To-day he ventured to nod to her almost familiarly; and it
seemed to him as if she answered more kindly than usual.
And when the lesson was ended, she came towards him of
her own accord, and said, “I must walk home to-day, for our
horses are all in the fields. Mamma thought you might walk
with me part of the way, as we go the same road. ”
He felt very happy, but did not dare to walk by her side as
long as they were in the village. He also looked back anxiously
from time to time, to see whether the two Erdmanns were lurk-
ing anywhere with their mocking remarks. But when they went
through the open fields, it was quite natural that they should
walk side by side.
It was
a sunny forenoon in June. The white sand on the
road glittered; round about, golden hawkweed was blooming, and
meadow-sweet waved in the warm wind; the midday bell sounded
from the village: no human creature was to be seen far and
wide; the heath seemed quite deserted.
## p. 14169 (#359) ##########################################
HERMANN SUDERMANN
14169
(
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Elsbeth wore a wide-brimmed straw hat on her head as a
protection against the sun's rays.
She took it off now, and
swung it to and fro by the elastic.
“ You will be too hot,” he said; but as she laughed at him a
little he took his off also, and threw it high in the air.
“You are quite a merry fellow,” she said, nodding approv-
ingly.
He shook his head; and the lines of care which always made
him look old appeared again upon his brow.
“ "Oh no,” he said: "merry I am certainly not. ”
“Why not? she asked.
“I have always so many things to think of,” he answered;
and if ever I want to be really happy, something always goes
wrong. ”
“But what do you always have to think about ? ” she asked.
He reflected for a while, but nothing occurred to him. “Oh,
it is all nonsense,” he said: “clever thoughts never come to me
by any means. »
And then he told her about his brothers; of the thick books,
which were quite filled with figures (the name he had forgotten),
and which they had already known by heart when they were only
as old as he was now.
« Why don't you learn that as well, if it gives you pleasure ? ”
she asked.
“But it gives me no pleasure,” he answered: "I have such a
dull head. ”
But something you know, surely ? ” she went on.
“I know absolutely nothing at all,” he replied sadly: “father
says that I am too stupid. ”
Oh, you must not heed that,” she replied consolingly.
My
Fräulein Rothmaier also finds fault with many things I do. But
I - pah, I-” she was silent, and pulled up a sorrel-plant which
she began to chew.
“Has your father still such sparkling eyes ? ” he asked.
She nodded, and her face brightened.
“ You love him very much — your father ? »
She looked at him wonderingly, as if she had not understood
his question; then answered, “Oh yes: I love him very much. ”
"And he loves you too ? ”
“Well, I should think so. ”
Now he also rooted up a sorrel-plant and sighed.
»
(
C
(
## p. 14170 (#360) ##########################################
14170
HERMANN SUDERMANN
C
»
(
(
"Why do you sigh ? ” she asked.
Something was just crossing his mind, he said; and then
asked laughingly if her father still took her on his knee some-
times, as on the day when he had been in the White House.
She laughed and said she was a big girl now, and he should
not ask such silly questions; but afterwards it came out that all
the same she still sat on her father's knee,– “Of course, not
astride any more! ” she added laughing.
“Yes, that was a nice day,” he said; and I sat on his other
knee.
How small we must have been then. "
"And we were so pitifully stupid,” she answered: when I
«
think now how you wanted to whistle, and could not! ”
“Do you remember that? ” he asked; and his eyes sparkled in
the consciousness of his present attainments in the art.
“Of course," she replied; and when you went away you
came running back and - do you still remember? »
He remembered very well.
"Now you can whistle, of course,” she laughed: (at our age
that is no longer an accomplishment, - even I can do it;” and
she pointed her lips in a very funny manner.
He was sad that she spoke so slightingly of his art, and re-
flected whether it would not be better to give up whistling alto-
gether.
“Why are you so silent ? ” she asked. "Are you tired too ? ”
“Oh no; but you - eh ? ”
Yes: the walk through the sand and the noontide heat had
tired her.
« Then come into our house and rest,” he cried with sparkling
eves; for he thought what joy his mother would feel at seeing
her.
But she refused. “Your father is not kindly disposed towards
us, mamma said; and that's why you may not come for a visit
to Helenenthal. Your father would perhaps send me away. ”
He replied with a deep blush, My father would not do that; ”
and felt much ashamed.
She cast a glance towards the Haidehof, which lay scarcely a
hundred yards from the road. The red fence shone in the sun-
shine, and even the gray half-ruined barns looked more cheerful
than usual.
“Your house looks very nice,” she said, shading her eyes with
her hand.
(
(
(C
(C
## p. 14171 (#361) ##########################################
HERMANN SUDERMANN
14171
(
»
“Oh yes,” he answered, his heart swelling with pride; "and
there is an owl nailed to the door of one of the sheds. But it
shall become much nicer still,” he added after a little while,
seriously, only let me begin to rule. ” And then he set to work
“
to explain to her all his plans for the future. She listened
attentively, but when he had finished she said again:
“I am tired -I must rest;” and she wanted to sit down on
the edge of the ditch,
« Not here in the blazing sun,” he cautioned her: we'll look
(
out for the first juniper-bush we can find. ”
She gave him her hand, and let him drag her wearily over
the heath, which undulated with mole-hills like the waves on a
lake; and near the edge of the wood there were some solitary
juniper-bushes, which stood out like a group of black dwarfs
above the level plain.
Under the first of these bushes she cowered down, so that its
shadow almost entirely shrouded her slight, delicate figure.
“Here is just room enough for your head,” she said, pointing
to a mole-hill which was just within range of the shade.
He stretched himself out on the grass, his head resting on the
mole-hill, his forehead covered by the hem of her dress.
She leaned back on the bush in order to find support in its
branches.
“The needles don't prick at all,” she said: they mean well
by us. I believe we could pass through the Sleeping Beauty's
hedge of thorns. ”
“You — not 1,” he answered, lifting his eyes to her from his
recumbent position: “every thorn has pricked me. I am no fairy
prince; not even a simple Hans in luck, am I ? ”
«That will all come in time,” she replied consolingly: "you
must not always have sad thoughts. ”
He wanted to reply, but he lacked the right words; and as he
looked up meditatively, a swallow fitted through the blue sky.
Then involuntarily he uttered a whistle, as if he wanted to call
it; and as it did not come, he whistled again, and for a second
and third time.
Elsbeth laughed, but he went on whistling -- first without
knowing how, and without reflecting why; but when one tone
after the other flowed from his lips, he felt as if he had become
very eloquent all of a sudden, and as if in this manner he could
say all that weighed on his heart, and for which in words he
never could have found courage. All that which made him sad,
(c
## p. 14172 (#362) ##########################################
14172
HERMANN SUDERMANN
((
(
C
>>
all that which he cared about, came pouring forth. He shut his
eyes and listened, so to speak, to what the tones were saying for
him. He thought that the good God in heaven spoke for him,
and was relating all that concerned him, even that which he had
never been clear about himself.
When he looked up, he did not know how long he had been
lying there whistling; but he saw that Elsbeth was crying.
Why do you cry? ” he asked.
She did not answer him; but dried her eyes with her hand-
kerchief, and rose.
Silently they walked side by side for a while. When they
reached the wood, which lay thick and dark before them, she
stopped and asked :-
“Who has taught you that? ”
“Nobody,” he said: “it came to me quite naturally.
Can
you
also play the flute ? she went on.
No, he could not: he had never even heard it; he only knew
that it was the favorite pastime of Old Fritz. ”
“You must learn it,” she said.
He thought it would probably be too difficult for him.
“You shall try all the same,
» she counseled him; "you must
be an artist -- a great artist. ”
He was startled when she said that; he scarcely dared to fol-
low out her thoughts.
When they reached the other side of the wood they separated.
She went towards the White House, and he went back. When
he passed the juniper-bush where they had both been sitting, all
seemed to him like a dream; and henceforth it always remained
so to him. Two or three days elapsed before he dared to say
.
anything of his adventure to his mother, but then he could con-
tain himself no longer: he confessed everything to her.
His mother looked at him for a long time, and then went out;
but from that time she used to listen secretly, to catch if pos-
sible some notes of his whistling.
The two children often walked home together; but such an
hour as the one beneath the juniper-bush never came to them
again.
[Upon Paul, Dame Care lays more and heavier burdens with each advan-
cing year. Out of unquestioning devotion to his responsibilities, he renounces
all claims to personal happiness; and he and Eisbeth drift apart. Only when
he is brought to trial for a noble but punishable act, does she reappear as his
good angel. ]
## p. 14173 (#363) ##########################################
HERMANN SUDERMANN
14173
THE TRIAL
TH
,
>>
From Dame Care. ) Copyright 1891, by Harper & Brothers
VE lawyer for the defense had ended. A murmur went
through the wide court of the assizes, the galleries of
which were crammed with spectators.
If the accused did not spoil the effect of the brilliant speech
by an imprudent word, he was saved.
The president's answer resounded unheard.
And now the eye-glasses and opera-glasses began to click. All
eyes were directed to the pale, simply clad man who was sitting
in the same dock where, eight years ago, the vicious servant had
sat.
The president asked whether the accused had anything more
to add, to strengthen the proof of his innocence.
“Silence! silence! ” was murmured through the court.
But Paul rose and spoke, - first low and hesitatingly, then
every moment with greater firmness.
"I am heartily sorry that the trouble my defender has taken
to save me should have been useless; but I am not as innocent
of the deed as he represents. ”
The judges looked at each other. « What is he about? He is
going to speak against himself! »
He said: "Anxiety made me nearly unconscious. I then acted
in a kind of madness which at that moment rendered me incapa-
ble of calculation. ”
“He is cutting his own throat! ” said the audience.
"I have all my life been shy and oppressed, and have felt as
if I could look nobody in the face, though I had nothing to con-
ceal; but if this time I behave in a cowardly manner, I believe
I should be less able to do so than ever,- and this time I should
have good reason enough for it. My defender has also repre-
sented
my
former life as a pattern of all virtues. But this
was not so, either. I lacked dignity and self-possession; I passed
over too much as regards both other people and myself: and that
has always rankled in my mind, though I was never clear about
it. Too much has weighed upon me to enable me ever to
breathe freely as a man should, if he does not want to grow dull
and care-laden. This deed has made me free, and has given me
-
that which I lacked so long; it has been a great happiness to
## p. 14174 (#364) ##########################################
14174
HERMANN SUDERMANN
me: and should I be so ungrateful as to deny it to-day? No; I
will not do that. Let them imprison me as long as they like.
I shall abide my time and begin a new life.
"And so I must say I have set fire to my belongings in
full consciousness; I was never more in my senses than at the
moment when I poured the petroleum over my sheaves; and if
to-day I were to be in the same position, God knows I should do
the same again. Why should I not? What I destroyed was the
work of my own hands; I had created it after long years of
hard toil, and could do with it what I liked. I well know that
the law is of a different opinion, and therefore I shall quietly
go to prison for my time. But who else suffered by the injury
except myself ? My sisters were well provided for, and my
father” — he stopped a moment, and his voice shook as he con-
tinued — "yes, would it not have been better if my old father
had passed the last years of his life in peace and tranquillity
with one of his daughters than where I am now going ?
“Fate would not have it so. A stroke killed him; and my
brothers say that I was his murderer. But my brothers have no
right at all to judge about that: they know neither me nor my
father. All their lives they have been concerned with themselves
only, and have let me alone care for my father, mother, and sis-
ters, house and farm; and I was only good enough when they
wanted something. They turn away from me to-day; but they can
-
never be more estranged from me in the future than they have
always been in the past.
"My sisters ” — he turned towards the witness-box, where
Greta and Kate sat crying with covered faces, and his voice
grew softer as if from suppressed tears — “my sisters won't have
anything to do with me any more, but I gladly forgive them:
they are women, and made of more delicate metal; also, there
are two men standing behind them who find it very easy to be
indignant at my monstrous deed. They have all abandoned me
now; no, not all, a bright look crossed his face,– “but that
need not be mentioned here. But one thing I will say, even
though I be considered a murderer: I do not repent that my
father died through my deed; I loved him more when I killed
him than if I had let him live. He was old and weak, and what
awaited him was shame and dishonor; he lived such a quiet life,
and would have miserably dwindled away here: surely it was
better death should come to him like lightning, that kills people
»
-
## p. 14175 (#365) ##########################################
HERMANN SUDERMANN
14175
>
in the middle of their happiness. That is my opinion. I have
settled it with my conscience, and have no need to render
account to any one but to God and to myself. Now you may
condemn me. ”
“ Bravo! » cried a thundering voice in the court from the
witness-box.
It was Douglas.
His gigantic figure stood erect, his eyes sparkled beneath his
bushy brows; and when the president called him to order, he sat
down defiantly and said to his neighbor, “I can be proud of
him -eh? ”
FREED FROM DAME CARE
Tug
From (Dame Care. ) Copyright 1891, by Harper & Brothers
wo years later, on a bright morning in June, the red-painted
gate of the prison opened and let out a prisoner, who with
a laugh on his face was blinking his eyes in the bright
sun, as if trying to learn to bear the light again. He swung the
bundle which he carried to and fro, and looked carelessly to
the right and the left, like one who was not decided which direc-
tion to follow, but for whom, on the whole, it was unimportant
whither he strayed.
When he passed the front of the prison building, he saw a
carriage standing there which appeared known to him; for he
stopped and seemed to be reflecting. Then he turned to the
coachman, who in his tasseled fur cap nodded haughtily from
the box.
« Is anybody from Helenenthal here? ” he asked.
“Yes: master and the young lady. They have come to fetch
Mr. Meyerhofer.
other causes have ever created so great and bitter struggles; have
brought into the field, whether of war or controversy, greater and
more united armies. Yet no truth is more certain than this, that
the real motives of religious action do not work on men in masses;
and that the enthusiasm which creates Crusaders, Inquisitors,
Hussites, Puritans, is not the result of conviction, but of passion
provoked by oppression or resistance, maintained by self-will, or
stimulated by the mere desire of victory. And this is a lesson
for all time; and for practical life as well as historical judgment.
And on the other hand, it is impossible to regard this as an ad-
equate solution of the problem: there must be something, even if
it be not religion or liberty, for which men will make so great
sacrifices.
The best aspect of an age of controversy must be sought in
the lives of the best men; whose honesty carries conviction to the
understanding, whilst their zeal kindles the zeal, of the many.
A study of the lives of such men will lead to the conclusion, that
a
## p. 14154 (#344) ##########################################
14154
WILLIAM STUBBS
in spite of internecine hostility in act, the real and true leaders
had far more in common than they knew of: they struggled, in
the dark or in the twilight, against the evil which was there, and
which they hated with equal sincerity; they fought for the good
which was there, and which really was strengthened by the issue
of the strife. Their blows fell at random: men perished in arms
against one another whose hearts were set on the same end
and aim; and that good end and aim which neither of them had
seen clearly was the inheritance they left to their children, made
possible and realized not so much by the victory of one as by
the truth and self-sacrifice of both.
At the close of so long a book, the author may be suffered
to moralize. His end will have been gained if he has succeeded
in helping to train the judgment of his readers to discern the
balance of truth and reality; and whether they go on to further
reading with the aspirations of the advocate or the calmness of
the critic, to rest content with nothing less than the attainable
maximum of truth, to base their arguments on nothing less
sacred than that highest justice which is found in the deepest
sympathy with erring and straying men.
## p. 14155 (#345) ##########################################
14155
SIR JOHN SUCKLING
(1608-1642)
IR JOHN SUCKLING is an interesting product of an interesting
age. His portrait by Vandyke - that of a fair-haired gal-
lant, his long curls hanging over his shoulders, his eyes a
steely blue, firm red lips, and a stalwart yet graceful figure arrayed
in the richest silks and velvets — tells much of his story. But there
are other characteristics less easily discovered. With the nonchalant
manner, half bravado, half indifference, of the cavalier, he took good
care of himself on at least two occasions when the spirit of the age
and his training would have led him to dis-
play less caution. The King himself (Charles
I. ) did not excel him in the gorgeousness of
his entertainments, nor was there so prodi-
gal a gamester in the kingdom; yet he was
capable of giving the soundest and the most
virtuous advice, and of expressing the most
edifying and Christian sentiments. Had his
brother-in-law Sir George Southcott but lived
to read Sir John's remarkable epistle on
Southcott's death by his own hand, he
would have refrained from such a proceed-
ing for very shame of becoming an object
of ridicule. Yet when Suckling, an exile Sir John SUCKLING
and in distress, came to a dangerous pass
in his fortunes, he committed suicide, regardless of his own satire.
His splendid, erratic, melancholy career left no trace either of sad-
ness or sentiment in his poems. There is nothing of the troubadour,
nothing of the minor strain of melancholy cheerfulness which touches
the heart in Lovelace's gay lyrics. The poem beginning
«Why so pale and wan, fond lover ?
Prythee why so pale ? »
is completely Suckling, and shows that his wreaths were not twined
from the cypress-tree.
Debt and love were both troublesome, with
perhaps a slight difference in favor of debt. He never, according to
the scanty facts known of his life, had a serious love affair, and cer-
tainly he sported with the grande passion. Yet he treated it with a
## p. 14156 (#346) ##########################################
14156
SIR JOHN SUCKLING
curious, contradictory respect. He required of his imaginary “soul's
mistress » neither beauty, nor wit, nor charm, - making all these qual.
ities subjective, and bidding her teach him only to be true, that love
might last forever. In an age of license he degraded literature with
no coarse or impure line; and now and then he who had written with
such pious zeal the paper Religious Thoughts on the State of the
Nation, composed a poem which chills the blood, though he who gave
it birth has slept for more than two centuries among those who in
fine garments and chests of cedar are laid up for immortality. ”
Suckling, whose "pretty touch savors more of the grape than the
lamp,” little as he heeded it often saw the death's-head at the feast.
He saw it in the lovely lines Farewell to Love,' after taking leave
of the “dear nothings” with which he had floated in the shadowed
landscape of life. The poem Against Absence'-chiefly acute rail-
lery, though there is a Comus-like touch in its simple force — cannot
be read without producing a feeling of solitude. And in the rich,
luxuriant Dream, cold fingers seem to press the brow.
Suckling's poems, all collected, are comprised in one thin volume.
He set out to be a dramatist, fancying that what genius for letters
he possessed was dramatic; and although he had written a satire
entitled “The Session of the Poets,' — which Byron imitated in Eng-
lish Bards and Scotch Reviewers,' and which, in its day had as great
a vogue,- and two prose essays, the "Thoughts on Religion and A
Tract on Socinianism, he made his first serious dramatic attempt in
1638, when he published Aglaura,'— a play studded with beautiful
passages but without reality or development. The poets who had
themselves been ridiculed all laughed at it, and called it “a rivulet
of text and a meadow of margin. ” Its interest to us is in its having
been the first play acted with regular scenery, which had hitherto
been used only in the masques. His next play, Brennoralt (1639),
has finer qualities, but might have been written by any of the mob
of gentlemen” whom Pope described as writing as well as they did
anything else. Steele greatly admired a description of the loves of
the hero and heroine, Brennoralt and Franclia; comparing it to a
passage in Paradise Lost. 'The Goblins,' modeled after (Macbeth,
need not detain us but that it contains the oft-quoted line, original
with Sir John, “The Prince of Darkness is a gentleman” (Act iii. ,
Scene 2).
As a lyric poet alone then, Suckling will be remembered; and
probably as the author of the single lyric, Ballad on a Wedding,'
composed on the marriage of Roger Boyle (first Earl of Orrery) with
Lady Mary Howard. The nimble grace, the happy turn, the elegance
and sparkle of fancy in this poem, the light and delicate touch, and
the ingenious conception, have placed it among the masterpieces of
>
## p. 14157 (#347) ##########################################
SIR JOHN SUCKLING
14157
English lyrics. He has written other poems that will not be readily
forgotten, though they may not secure immortality:-
“I prythee send me back my heart,"
with recurring lines like a fugue –
“No,
>
fair Mistress, it must be ;)
no,
)
the stanzas headed “The Invocation, with their difficult construction
and recurring rhymes; the love song with its reverent gallantry, -
«I touch her as my beads, with devout care,
And go in to my courtship as my prayer;”
>
and the ideally lovely poem beginning "If you refuse me once,” and,
after the first three stanzas that breathe the very soul of manliness,
the beautiful and passionate outburst Would that I were all soul,”
and the “Why so pale and wan, fond lover? ” already referred to.
Hallam, chary of praise, says, “Suckling is acknowledged to have
left behind him all former writers of song, in gayety and ease. It is
not equally clear that he has ever been surpassed. ”
Few facts are known of his brief, brilliant career. His father,
John Suckling, was a knight and a Secretary of State; the son was
born at Winton in Middlesex, and baptized February Toth, 1608-9.
He was early attached to the court, and, says Sir William Dave-
nant, for his accomplishments and ready sparkling witt was the
bull that was most bayted; his repartee being most sparkling when
set on and provoked. ” He went abroad, and served under Gustavus
Adolphus. To aid Charles on his Scottish campaign, he raised a
troop of horse; but though they cost him twelve thousand pounds,
and were clad in white and red, when they came in sight of the
army at Dunse they fled without the loss of a feather. Hence the
lampoon Percy preserves:-
(
«Sir John got him an ambling nag
To Scotland for to ride-a! »
He gave good advice to both King and Queen in their subsequent
troubles; but at the fall of Strafford, Aed to France, where his faint
heart and gay philosophy failed him. He died in Paris in 1642. His
memoir and poems were published by his relative, Rev. Alfred Suck-
ling (London, 1832).
## p. 14158 (#348) ##########################################
14158
SIR JOHN SUCKLING
SONG
W"
HY so pale and wan, fond lover?
Prithee, why so pale ?
Will, when looking well can't move her,
Looking ill prevail ?
Prithee, why so pale ?
Why so dull and mute, young sinner ?
Prithee, why so mute ?
Will, when speaking well can't win her,
Saying nothing do't ?
Prithee, why so mute ?
Quit, quit, for shame! this will not move:
This cannot take her.
If of herself she will not love,
Nothing can make her:
The Devil take her!
A BRIDE
From the Ballad Upon a Wedding'
)
T"
HE maid — and thereby hangs a tale,
For such a maid no Whitsun-ale
Could ever yet produce;
No grape that's kindly ripe, could be
So round, so plump, so soft as she,
Nor half so full of juice.
Her finger was so small, the ring
Would not stay on which they did bring, –
It was too wide a peck;
And to say truth (for out it must),
It looked like the great collar (just)
About our young colt's neck.
Her feet beneath her petticoat,
Like little mice stole in and out,
As if they feared the light:
But oh, she dances such a way!
No sun upon an Easter-day
Is half so fine a sight.
## p. 14159 (#349) ##########################################
SIR JOHN SUCKLING
14159
Her cheeks so rare a white was on,
No daisy makes comparison;
Who sees them is undone:
For streaks of red were mingled there,
Such as are on a Catherine pear,
The side that's next the sun.
Her lips were red, and one was thin,
Compared to that was next her chin,
Some bee had stung it newly;
But Dick, her eyes so guard her face,
I durst no more upon them gaze
Than on the sun in July.
Her mouth so small, when she does speak,
Thou'dst swear her teeth her words did break,
That they might passage get;
But she so handled still the matter,
They came as good as ours, or better,
And are not spent a whit.
THE HONEST LOVER
H
ONEST lover whosoever,
If in all thy love there ever
Was one wavering thought, if thy flame
Were not still even, still the same,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If, when she appears i'th' room,
Thou dost not quake, and art struck dumb,
And in striving this to cover,
Dost not speak thy words twice over,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If fondly thou dost not mistake,
And all defects for graces take.
Persuad'st thyself that jests are broken
When she hath little or nothing spoken, -
## p. 14160 (#350) ##########################################
14160
SIR JOHN SUCKLING
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If when thou appear'st to be within,
Thou lett'st not men ask and ask again;
And when thou answer'st, if it be
To what was asked thee properly,–
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If when thy stomach calls to eat,
Thou cutt'st not fingers 'stead of meat,
And, with much gazing on her face
Dost not rise hungry from the place,
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
If by this thou dost discover
That thou art no perfect lover,
And, desiring to love true,
Thou dost begin to love anew,-
Know this:
Thou lov'st amiss,
And, to love true,
Thou must begin again, and love anew.
THE CONSTANT LOVER
OT
UT upon it! I have loved
Three whole days together;
And am like to love three more.
If it prove fair weather.
Time shall moult away his wings,
Ere he shall discover
In the whole wide world again
Such a constant lover.
## p. 14161 (#351) ##########################################
SIR JOHN SUCKLING
14161
But the spite on't is, no praise
Is due at all to me:
Love with me had made no stays,
Had it any been but she.
Had it any been but she,
And that very face,
There had been at least ere this
A dozen dozen in her place.
VERSES
1
AM confirmed a woman can
Love this, or that, or any man:
This day she's melting hot,
To-morrow swears she knows you not;
If she but a new object find,
Then straight she's of another mind.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
-
Yet still I love the fairsome — why?
For nothing but to please my eye:
And so the fat and soft-skinned dame
I'll flatter to appease my flame;
For she that's musical I'll long,
When I am sad, to sing a song.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
I'll give my fancy leave to range
Through everywhere to find out change;
The black, the brown, the fair shall be
But objects of variety:
I'll court you all to serve my turn,
But with such fames as shall not burn.
Then hang me, ladies, at your door,
If e'er I doat upon you more.
XXIV-886
## p. 14162 (#352) ##########################################
14162
SIR JOHN SUCKLING
THE METAMORPHOSIS
T**
He little boy, to show his might and power,
Turned lo to a cow, Narcissus to a flower;
Transformed Apollo to a homely swain,
And Jove himself into a golden rain.
These shapes were tolerable, but by the mass
He's metamorphosed me into an ass.
SONG
I
PRITHEE send me back my heart,
Since I cannot have thine;
For if from thine thou wilt not part,
Why then shouldst thou have mine?
Yet now I think on't, let it lie:
To find it were in vain,
For thou'st a thief in either eye
Would steal it back again.
Why should two hearts in one breast lie,
And yet not lodge together ?
O love, where is thy sympathy,
If thus our breasts thou sever?
But lov is such a mystery,
I cannot find it out;
For when I think I'm best resolved
I then am most in doubt.
Then farewell care, and farewell woe,
I will no longer pine;
For I'll believe I have her heart,
As much as she hath mine.
## p. 14163 (#353) ##########################################
14163
HERMANN SUDERMANN
(1857–)
mere
own
ROm every new literary mode, however madcap and ephem-
eral, something of value may be won. In the back-and-
forward swing between the fancies of an overheated ideal-
ism and the facts of a frigid realism, the pendulum returns to its
vertical with something brought from each of the extremes. From
the crass realism into which, for a time, the once so fantastic litera-
ture of Germany threatened to petrify, emerges Hermann Sudermann,
equipped with all the trenchant power of the realistic workman, but
bringing to his work the sympathetic in-
sight of the idealist. He deals with social
problems, with the struggles of impuls-
ive human nature at war with social con-
ditions; but he does not repel by sordid
details, nor delight in depicting
wretchedness and woe. His characters are
swayed by the passions, sorrows, and men-
tal twists, of which all of us in our
experience have had glimpses at least that
render them intelligible. His unswerving
belief in the uplifting forces of man's na-
ture gives to his gloomiest conceptions a
saving buoyancy; he finds a way to rec- HERMANN SUDERMANN
oncilement with life, even though the way
lie through death. Wide gray plains and moorlands, like those of
East Prussia where the poet was born, stretch far away; but behind
waving reed and withering sedge is the white sky-line of the dawn.
Sudermann cannot be classed with any school or cult. In him the
swaying pendulum of fads and fashions has come to rest. He is
the sane artist; painting the world as he sees it, and seeing it with
the intuitions of a poet.
Sudermann has, within a decade, taken his place among the fore-
most German novelists and dramatists that mark the end of the
nineteenth century. He is now one of the chief literary figures in
the eye of modern Europe. He was born at Matzicken, in the great
Baltic plain near the boundaries of Russia, on September 30th, 1857;
and the wide outreach of this level country is the scene upon which
## p. 14164 (#354) ##########################################
14164
HERMANN SUDERMANN
most of his tales and novels run their course. His parents were
poor; and it was a matter of pecuniary necessity when, at the age of
fourteen, he was apprenticed to a chemist. Subsequently, however,
he was enabled to study at Tilsit, Königsberg, and Berlin, and be-
came tutor in the household of the genial story-teller Hans Hopfen.
In 1881, after devoting the leisure hours of six years to history, phi-
lology, and modern languages, he turned to journalism, and assumed
the editorial management of a political weekly in Berlin. In 1885 a
collection of his stories from the newspapers was published under
the title of Im Zwielicht' (In the Twilight). Though not without a
melancholy touch, they possess the wit and sprightliness of French
stories; but they struck a more serious note, which gave promise
of greater work to follow. In 1886, with the publication of Frau
Sorge) (Dame Care), Sudermann stepped at once into the front rank
of German novelists. Three years later, again at a single bound,
he took the first place among the dramatists with his admirably
constructed play of Ehre' (Honor). It began its triumphant career
on the Berlin stage in November 1889, and rapidly conquered the
theatres of all Germany. Meanwhile in 1887, three volumes of his
tales had appeared, under the general title of "Geschwister' (Brothers
and Sisters); and two years afterward came (Der Katzensteg) (The
Cat Bridge), which some critics have not hesitated to pronounce the
most powerful novel of contemporary German literature.
In 1890 a
new drama, (Sodoms Ende? (Destruction of Sodom), displayed the
author's increasing command of stage technique, which in Heimath
(Home) becomes complete mastery. The more recent Schmetter-
lingsschlacht' (Battle of the Butterflies) is less satisfactory. In 1892
appeared the story of Iolanthe's Hochzeit” (Iolanthe's Wedding), full
of delightful humor and merry-making, and without a shade of mel-
ancholy. In the following year Es War' (It Was) made a genuine
sensation, running through fifteen editions in twelve months. Suder-
mann's fame seems now secure, whatever the future may hold.
The tendency of German novelists to subordinate narrative and
dramatic development to sentiment and psychological comment, has
rendered the average German novel dull and distasteful to foreign
readers. Sudermann appeals to a cosmopolitan taste: in him is
no trace either of sentimentality or moral reflection. He is strong,
brilliant, concise, effective; the impression he makes is indelible; the
mood into which he throws the reader, though sombre, is sympa-
thetic; and if melancholy, never morbid. Of the longer novels,
Dame Care) best exhibits the perfection of his workmanship. It is
the story of a lad whose life is a constant struggle with adversity;
upon him devolve all the cares of a large family, until he has be-
come so completely enslaved by the Lady of Sorrows that he never
## p. 14165 (#355) ##########################################
HERMANN SUDERMANN
14165
even thinks of making a claim for personal happiness. To save his
aged father from committing a crime, he sets fire to his own prop-
erty, and is sentenced as an incendiary. Over all his weary life
hovers the love that Elsbeth bears him, but he never permits himself
to love her; through her he is finally set free from the thraldom of
Dame Care. The tale is infinitely sad; but told with tenderness and
a sympathetic fidelity to nature. That out of his troubles Paul is led
by a woman's hand into ultimate peace and serenity, shows that here
is a realist who does not mix his colors with misery only. In the
saving power of woman, Sudermann has firm faith. In Der Wunsch'
the heroine and her conscience are the protagonists: it is a psycho-
logical study. Olga falls in love with her sister's husband; and while
she is nursing her sister through a severe illness, the thought comes
unbidden: «If only she were to die! ” She does die, and the wid-
ower offers himself to Olga; but she, conscience-stricken lest it was
her wish that killed her sister, and almost convinced of her guilt, wins
back her moral tranquillity by committing suicide. In Der Katzen-
steg,' it is again the heroine who is the centre of interest. Regine
exhibits the character-building of a girl, who, with the barbarous
elements of her untamed nature, combines a primitive nobility of soul
rising even to the sublime heights of complete self-renunciation.
Es War, the most successful of Sudermann's novels, draws the pict-
ure of an innocent young girl, Hertha, in love with a man much
older than herself; he in turn is in love with a married woman.
This to Hertha's unworldliness seems, in spite of her suspicions,
impossible; and conviction dawns upon her slowly. The study is
perfectly natural: the author has not shrunk from great frankness of
speech; but with it all he proclaims his faith in the essential good-
ness of the human heart.
As a dramatist, Sudermann has won international fame. (Ehre)
roused the German public from its apathy, and the new genius was
all-hailed as the re-creator of the German stage. Ruthlessly the play
points out the falsity of current ideas about honor, of social forms,
of conventional distinctions. Its success
was phenomenal, and the
highest hopes were cherished of a national dramatic revival. (Sodoms.
Ende' nourished these hopes, for it showed an advance both in
power and technique; but it had to be altered by the censor before
it could be produced in Berlin, and it is still impossible in English.
The title of the play is that given by the hero to a picture he is
painting. On his way to success and fame he falls into the toils of
a soulless, pleasure-loving woman, who ruins him body and soul. It
was in (Heimath, however, which was produced in January 1893,
that Sudermann reached the height of his achievement thus far, and
secured international success. The strong character of Magda, the
heroine, by whose name the play is known in English, has inspired
## p. 14166 (#356) ##########################################
14166
HERMANN SUDERMANN
the genius of three great actresses of our time,- Modjeska, Duse,
and Bernhardt, — who have spread the fame of the German drama-
tist through America, Italy, France, and England. Its theme is the
relative duty of parent and child, and the contrast between the
self-reliant broad-mindedness of a free child of the great world and
the dull petty conventions of a respectable bourgeois home. Magda
marks the highest point of characterization that Sudermann's creative
genius has reached. The (Schmetterlingsschlacht lacks, not the fine-
ness of observation, but the dramatic power, of the other plays. It is
a series of debates between three girls who have supported them-
selves by painting butterflies on fans; two of them, grown weary of
this dull life of hard-working virtue, have fallen, and with the third,
who has remained virtuous and industrious, they discuss the compar-
ative merits of their modes of living. In 1896 three of Sudermann's
one-act plays were grouped together under the general title of Mori-
turi. ' They are entirely distinct, united only by having each the
central idea of death as a liberator. In each the chief character is
freed and ennobled by death; rises above himself by the will to die.
Sudermann in 1897 finished his Johannes,' – a play which turns
upon the Biblical incident of John the Baptist, Herodias, and Salome.
Although it is entirely reverent in tone, it was forbidden by the Ber-
lin censor.
An English critic has insisted that Sudermann failed to keep the
promise of Ehre,' in that he has not continued the battle there be-
gun against the «Spiessbürgerliches » element, the Philistinism so
dear to the average German heart, against which Goethe and Schil-
ler waged a lifelong war. It may be that he has found it easier to
follow than to form the public taste; but his latest works reveal
a determination to go his independent way: and it is to Sudermann
that we unhesitatingly turn if asked to point out the chief inter-
national representative of the German drama at the end of the nine-
teenth century.
RETURNING FROM THE CONFIRMATION LESSON
From Dame Care. ) Copyright 1891, by Harper & Brothers
W**
((
(
"HEN he arrived home his mother kissed him on both cheeks,
and asked, "Well, was it nice ? »
“Quite nice,” he answered; "and mamma, Elsbeth
from the White House was there too. ”
Then she blushed with joy, and asked all sorts of things: how
she looked, whether she had grown pretty, and what she had said
to him.
## p. 14167 (#357) ##########################################
HERMANN SUDERMANN
14167
»
or
»
Nothing at all,” he answered, ashamed; and as his mother
looked at him surprised, he added eagerly, "but you know she is
not proud. ”
Next Monday when he entered the church, he found her
already sitting in her place. She had the Bible lying on her
knee, and was learning the verses they had been given as their
task.
There were not many children there: and when he sat down
opposite to her she made a half movement as if she meant to get
up and come over to him; but she sat down again immediately
and went on learning.
His mother had told him before he left just how to address
Elsbeth. She had charged him with many greetings for her
mother, and he was also to ask how she was. On his way he
had studied a long speech, only he was not quite decided yet
whether to address her with Du “ Sie. ” “Du” would have
been the simplest; his mother took it for granted. But the «Sie”
sounded decidedly more distinguished, --so nice and grown-up.
And as he could come to no decision, he avoided addressing her
at all. He also took out his Bible, and both put their elbows on
their knees and studied as if for a wager.
It was not of much use to him, because when the vicar ques-
tioned him afterwards he had forgotten every word of it.
A painful silence ensued; the Erdmanns laughed viciously,
and he had to sit down again, his face burning with shame.
He
dared not look up any more; and when, on leaving the church,
he saw Elsbeth standing at the porch as if she was waiting for
something, he lowered his eyes and tried to pass her quickly.
However, she stepped forward and spoke to him.
“My mother has charged me — I am to ask you — how your
mother is ? »
He answered that she was well.
"And she sends her many kind regards, continued Elsbeth.
“And my mother also sends many kind regards to yours," he
answered, turning the Bible and hymn-book between his fingers;
“and I also was to ask you how she is? ”
“Mamma told me to say,” she replied, like something learned
by heart, “that she is often ill, and has to keep in-doors very
much; but now that spring is here she is better: and would you
not like to drive in our carriage as far as your house? I was to
ask you, she said. ”
(
(
## p. 14168 (#358) ##########################################
14168
HERMANN SUDERMANN
“Just look: Meyerhofer is sweethearting! ” cried the elder
Erdmann, who had hidden behind the church door, through the
crack of which he wanted to tickle his companions with a little
straw.
Elsbeth and Paul looked at each other in surprise, for they
did not know the meaning of this phrase; but as they felt that
it must signify something very bad, they blushed and sepa-
rated.
Paul looked after her as she got into the carriage and drove
away. This time the old lady was not waiting for her. It was
her governess, he had heard. Yes: she was of such high rank
that she even had a governess of her own.
«The Erdmanns will get a good licking yet:) with that he
ended his reflections.
The next week passed without his speaking to Elsbeth. When
he entered the church, she was generally already in her seat.
Then she would nod to him kindly, but that was all.
And then came a Monday when her carriage was not waiting
for her. He noticed it at once: and as he walked towards the
church-yard he breathed more freely; for the proud coachman
with his fur cap, which he wore even in summer, always caused
him a feeling of oppression. He had only to think of this coach-
man when he sat opposite to her, and she appeared to him like
a being from another world.
To-day he ventured to nod to her almost familiarly; and it
seemed to him as if she answered more kindly than usual.
And when the lesson was ended, she came towards him of
her own accord, and said, “I must walk home to-day, for our
horses are all in the fields. Mamma thought you might walk
with me part of the way, as we go the same road. ”
He felt very happy, but did not dare to walk by her side as
long as they were in the village. He also looked back anxiously
from time to time, to see whether the two Erdmanns were lurk-
ing anywhere with their mocking remarks. But when they went
through the open fields, it was quite natural that they should
walk side by side.
It was
a sunny forenoon in June. The white sand on the
road glittered; round about, golden hawkweed was blooming, and
meadow-sweet waved in the warm wind; the midday bell sounded
from the village: no human creature was to be seen far and
wide; the heath seemed quite deserted.
## p. 14169 (#359) ##########################################
HERMANN SUDERMANN
14169
(
>>>
C
>>
Elsbeth wore a wide-brimmed straw hat on her head as a
protection against the sun's rays.
She took it off now, and
swung it to and fro by the elastic.
“ You will be too hot,” he said; but as she laughed at him a
little he took his off also, and threw it high in the air.
“You are quite a merry fellow,” she said, nodding approv-
ingly.
He shook his head; and the lines of care which always made
him look old appeared again upon his brow.
“ "Oh no,” he said: "merry I am certainly not. ”
“Why not? she asked.
“I have always so many things to think of,” he answered;
and if ever I want to be really happy, something always goes
wrong. ”
“But what do you always have to think about ? ” she asked.
He reflected for a while, but nothing occurred to him. “Oh,
it is all nonsense,” he said: “clever thoughts never come to me
by any means. »
And then he told her about his brothers; of the thick books,
which were quite filled with figures (the name he had forgotten),
and which they had already known by heart when they were only
as old as he was now.
« Why don't you learn that as well, if it gives you pleasure ? ”
she asked.
“But it gives me no pleasure,” he answered: "I have such a
dull head. ”
But something you know, surely ? ” she went on.
“I know absolutely nothing at all,” he replied sadly: “father
says that I am too stupid. ”
Oh, you must not heed that,” she replied consolingly.
My
Fräulein Rothmaier also finds fault with many things I do. But
I - pah, I-” she was silent, and pulled up a sorrel-plant which
she began to chew.
“Has your father still such sparkling eyes ? ” he asked.
She nodded, and her face brightened.
“ You love him very much — your father ? »
She looked at him wonderingly, as if she had not understood
his question; then answered, “Oh yes: I love him very much. ”
"And he loves you too ? ”
“Well, I should think so. ”
Now he also rooted up a sorrel-plant and sighed.
»
(
C
(
## p. 14170 (#360) ##########################################
14170
HERMANN SUDERMANN
C
»
(
(
"Why do you sigh ? ” she asked.
Something was just crossing his mind, he said; and then
asked laughingly if her father still took her on his knee some-
times, as on the day when he had been in the White House.
She laughed and said she was a big girl now, and he should
not ask such silly questions; but afterwards it came out that all
the same she still sat on her father's knee,– “Of course, not
astride any more! ” she added laughing.
“Yes, that was a nice day,” he said; and I sat on his other
knee.
How small we must have been then. "
"And we were so pitifully stupid,” she answered: when I
«
think now how you wanted to whistle, and could not! ”
“Do you remember that? ” he asked; and his eyes sparkled in
the consciousness of his present attainments in the art.
“Of course," she replied; and when you went away you
came running back and - do you still remember? »
He remembered very well.
"Now you can whistle, of course,” she laughed: (at our age
that is no longer an accomplishment, - even I can do it;” and
she pointed her lips in a very funny manner.
He was sad that she spoke so slightingly of his art, and re-
flected whether it would not be better to give up whistling alto-
gether.
“Why are you so silent ? ” she asked. "Are you tired too ? ”
“Oh no; but you - eh ? ”
Yes: the walk through the sand and the noontide heat had
tired her.
« Then come into our house and rest,” he cried with sparkling
eves; for he thought what joy his mother would feel at seeing
her.
But she refused. “Your father is not kindly disposed towards
us, mamma said; and that's why you may not come for a visit
to Helenenthal. Your father would perhaps send me away. ”
He replied with a deep blush, My father would not do that; ”
and felt much ashamed.
She cast a glance towards the Haidehof, which lay scarcely a
hundred yards from the road. The red fence shone in the sun-
shine, and even the gray half-ruined barns looked more cheerful
than usual.
“Your house looks very nice,” she said, shading her eyes with
her hand.
(
(
(C
(C
## p. 14171 (#361) ##########################################
HERMANN SUDERMANN
14171
(
»
“Oh yes,” he answered, his heart swelling with pride; "and
there is an owl nailed to the door of one of the sheds. But it
shall become much nicer still,” he added after a little while,
seriously, only let me begin to rule. ” And then he set to work
“
to explain to her all his plans for the future. She listened
attentively, but when he had finished she said again:
“I am tired -I must rest;” and she wanted to sit down on
the edge of the ditch,
« Not here in the blazing sun,” he cautioned her: we'll look
(
out for the first juniper-bush we can find. ”
She gave him her hand, and let him drag her wearily over
the heath, which undulated with mole-hills like the waves on a
lake; and near the edge of the wood there were some solitary
juniper-bushes, which stood out like a group of black dwarfs
above the level plain.
Under the first of these bushes she cowered down, so that its
shadow almost entirely shrouded her slight, delicate figure.
“Here is just room enough for your head,” she said, pointing
to a mole-hill which was just within range of the shade.
He stretched himself out on the grass, his head resting on the
mole-hill, his forehead covered by the hem of her dress.
She leaned back on the bush in order to find support in its
branches.
“The needles don't prick at all,” she said: they mean well
by us. I believe we could pass through the Sleeping Beauty's
hedge of thorns. ”
“You — not 1,” he answered, lifting his eyes to her from his
recumbent position: “every thorn has pricked me. I am no fairy
prince; not even a simple Hans in luck, am I ? ”
«That will all come in time,” she replied consolingly: "you
must not always have sad thoughts. ”
He wanted to reply, but he lacked the right words; and as he
looked up meditatively, a swallow fitted through the blue sky.
Then involuntarily he uttered a whistle, as if he wanted to call
it; and as it did not come, he whistled again, and for a second
and third time.
Elsbeth laughed, but he went on whistling -- first without
knowing how, and without reflecting why; but when one tone
after the other flowed from his lips, he felt as if he had become
very eloquent all of a sudden, and as if in this manner he could
say all that weighed on his heart, and for which in words he
never could have found courage. All that which made him sad,
(c
## p. 14172 (#362) ##########################################
14172
HERMANN SUDERMANN
((
(
C
>>
all that which he cared about, came pouring forth. He shut his
eyes and listened, so to speak, to what the tones were saying for
him. He thought that the good God in heaven spoke for him,
and was relating all that concerned him, even that which he had
never been clear about himself.
When he looked up, he did not know how long he had been
lying there whistling; but he saw that Elsbeth was crying.
Why do you cry? ” he asked.
She did not answer him; but dried her eyes with her hand-
kerchief, and rose.
Silently they walked side by side for a while. When they
reached the wood, which lay thick and dark before them, she
stopped and asked :-
“Who has taught you that? ”
“Nobody,” he said: “it came to me quite naturally.
Can
you
also play the flute ? she went on.
No, he could not: he had never even heard it; he only knew
that it was the favorite pastime of Old Fritz. ”
“You must learn it,” she said.
He thought it would probably be too difficult for him.
“You shall try all the same,
» she counseled him; "you must
be an artist -- a great artist. ”
He was startled when she said that; he scarcely dared to fol-
low out her thoughts.
When they reached the other side of the wood they separated.
She went towards the White House, and he went back. When
he passed the juniper-bush where they had both been sitting, all
seemed to him like a dream; and henceforth it always remained
so to him. Two or three days elapsed before he dared to say
.
anything of his adventure to his mother, but then he could con-
tain himself no longer: he confessed everything to her.
His mother looked at him for a long time, and then went out;
but from that time she used to listen secretly, to catch if pos-
sible some notes of his whistling.
The two children often walked home together; but such an
hour as the one beneath the juniper-bush never came to them
again.
[Upon Paul, Dame Care lays more and heavier burdens with each advan-
cing year. Out of unquestioning devotion to his responsibilities, he renounces
all claims to personal happiness; and he and Eisbeth drift apart. Only when
he is brought to trial for a noble but punishable act, does she reappear as his
good angel. ]
## p. 14173 (#363) ##########################################
HERMANN SUDERMANN
14173
THE TRIAL
TH
,
>>
From Dame Care. ) Copyright 1891, by Harper & Brothers
VE lawyer for the defense had ended. A murmur went
through the wide court of the assizes, the galleries of
which were crammed with spectators.
If the accused did not spoil the effect of the brilliant speech
by an imprudent word, he was saved.
The president's answer resounded unheard.
And now the eye-glasses and opera-glasses began to click. All
eyes were directed to the pale, simply clad man who was sitting
in the same dock where, eight years ago, the vicious servant had
sat.
The president asked whether the accused had anything more
to add, to strengthen the proof of his innocence.
“Silence! silence! ” was murmured through the court.
But Paul rose and spoke, - first low and hesitatingly, then
every moment with greater firmness.
"I am heartily sorry that the trouble my defender has taken
to save me should have been useless; but I am not as innocent
of the deed as he represents. ”
The judges looked at each other. « What is he about? He is
going to speak against himself! »
He said: "Anxiety made me nearly unconscious. I then acted
in a kind of madness which at that moment rendered me incapa-
ble of calculation. ”
“He is cutting his own throat! ” said the audience.
"I have all my life been shy and oppressed, and have felt as
if I could look nobody in the face, though I had nothing to con-
ceal; but if this time I behave in a cowardly manner, I believe
I should be less able to do so than ever,- and this time I should
have good reason enough for it. My defender has also repre-
sented
my
former life as a pattern of all virtues. But this
was not so, either. I lacked dignity and self-possession; I passed
over too much as regards both other people and myself: and that
has always rankled in my mind, though I was never clear about
it. Too much has weighed upon me to enable me ever to
breathe freely as a man should, if he does not want to grow dull
and care-laden. This deed has made me free, and has given me
-
that which I lacked so long; it has been a great happiness to
## p. 14174 (#364) ##########################################
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HERMANN SUDERMANN
me: and should I be so ungrateful as to deny it to-day? No; I
will not do that. Let them imprison me as long as they like.
I shall abide my time and begin a new life.
"And so I must say I have set fire to my belongings in
full consciousness; I was never more in my senses than at the
moment when I poured the petroleum over my sheaves; and if
to-day I were to be in the same position, God knows I should do
the same again. Why should I not? What I destroyed was the
work of my own hands; I had created it after long years of
hard toil, and could do with it what I liked. I well know that
the law is of a different opinion, and therefore I shall quietly
go to prison for my time. But who else suffered by the injury
except myself ? My sisters were well provided for, and my
father” — he stopped a moment, and his voice shook as he con-
tinued — "yes, would it not have been better if my old father
had passed the last years of his life in peace and tranquillity
with one of his daughters than where I am now going ?
“Fate would not have it so. A stroke killed him; and my
brothers say that I was his murderer. But my brothers have no
right at all to judge about that: they know neither me nor my
father. All their lives they have been concerned with themselves
only, and have let me alone care for my father, mother, and sis-
ters, house and farm; and I was only good enough when they
wanted something. They turn away from me to-day; but they can
-
never be more estranged from me in the future than they have
always been in the past.
"My sisters ” — he turned towards the witness-box, where
Greta and Kate sat crying with covered faces, and his voice
grew softer as if from suppressed tears — “my sisters won't have
anything to do with me any more, but I gladly forgive them:
they are women, and made of more delicate metal; also, there
are two men standing behind them who find it very easy to be
indignant at my monstrous deed. They have all abandoned me
now; no, not all, a bright look crossed his face,– “but that
need not be mentioned here. But one thing I will say, even
though I be considered a murderer: I do not repent that my
father died through my deed; I loved him more when I killed
him than if I had let him live. He was old and weak, and what
awaited him was shame and dishonor; he lived such a quiet life,
and would have miserably dwindled away here: surely it was
better death should come to him like lightning, that kills people
»
-
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HERMANN SUDERMANN
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>
in the middle of their happiness. That is my opinion. I have
settled it with my conscience, and have no need to render
account to any one but to God and to myself. Now you may
condemn me. ”
“ Bravo! » cried a thundering voice in the court from the
witness-box.
It was Douglas.
His gigantic figure stood erect, his eyes sparkled beneath his
bushy brows; and when the president called him to order, he sat
down defiantly and said to his neighbor, “I can be proud of
him -eh? ”
FREED FROM DAME CARE
Tug
From (Dame Care. ) Copyright 1891, by Harper & Brothers
wo years later, on a bright morning in June, the red-painted
gate of the prison opened and let out a prisoner, who with
a laugh on his face was blinking his eyes in the bright
sun, as if trying to learn to bear the light again. He swung the
bundle which he carried to and fro, and looked carelessly to
the right and the left, like one who was not decided which direc-
tion to follow, but for whom, on the whole, it was unimportant
whither he strayed.
When he passed the front of the prison building, he saw a
carriage standing there which appeared known to him; for he
stopped and seemed to be reflecting. Then he turned to the
coachman, who in his tasseled fur cap nodded haughtily from
the box.
« Is anybody from Helenenthal here? ” he asked.
“Yes: master and the young lady. They have come to fetch
Mr. Meyerhofer.
