DOI Page / Citation link:
https://doi.org/10.11588/diglit.11277#0025
1886
DER NEUENHEIMEB.
9
„Füll many a rose is born to blush unseen
And waste its sweetness on the desert air
And so 1 thought it nothing less than mean
To give me an „impot" for bagging a rotten old pear."
The failure of most of Iiis schemes about this
time seems to have had a salutary effect (?) upon the
incorrigible; and he gives vent to his feelings accor-
dingly; but nevertheless a defiant air characterizes the
next piece, which runs in this wise:
..There's many a slip 'twixt the cup and the lip
I'm sick of the humbugging rot
I wrote 50 lines in the French hour
But „he" saw them and tore up the lot!"
AVho «he» might have been, is a matter for con-
jecture, .alas for the frailty of human nature; here he
is in a worse plight than before and displaying quite a
demoniacal zeal in his evil pursuits. Mr. Longfellow's
works have evidently been ransacked in order to discover
an appropriate rendering. —
„Under a spreading apple-tree my ardent figure stands
And I have some fairish stones too in my large and sinewy hands;
I'd knocked down 2 or 3 small ones, but 1 meant to get eight
or nine.
When up comes the „Schütz" with his fiendish scowl and sticks
down a ■"> Mark fine."
In the next production the «impot room» is strongly
imprecated; doubtless not without good reason; the in-
spired one has seemingly read «Kobinson Crusoe» to some
purpose.
„0 impot room where is thy charm
Which schoolmasters see in thy face
Hotter dwell in the midst of a tarn
Than stop in this horrible place."
The rytbm in the third line is as incorrect as the
denouement is unexpected. And now we come to the last
chapter in the history of this irascible juvenile, which,
like the other ones is full of pathos and unrestrained will;
but the most noticeable feature perhaps, is the seductive
logic which distinguishes the last line. The final trium-
phant burst of the poet is as follows:
DER NEUENHEIMEB.
9
„Füll many a rose is born to blush unseen
And waste its sweetness on the desert air
And so 1 thought it nothing less than mean
To give me an „impot" for bagging a rotten old pear."
The failure of most of Iiis schemes about this
time seems to have had a salutary effect (?) upon the
incorrigible; and he gives vent to his feelings accor-
dingly; but nevertheless a defiant air characterizes the
next piece, which runs in this wise:
..There's many a slip 'twixt the cup and the lip
I'm sick of the humbugging rot
I wrote 50 lines in the French hour
But „he" saw them and tore up the lot!"
AVho «he» might have been, is a matter for con-
jecture, .alas for the frailty of human nature; here he
is in a worse plight than before and displaying quite a
demoniacal zeal in his evil pursuits. Mr. Longfellow's
works have evidently been ransacked in order to discover
an appropriate rendering. —
„Under a spreading apple-tree my ardent figure stands
And I have some fairish stones too in my large and sinewy hands;
I'd knocked down 2 or 3 small ones, but 1 meant to get eight
or nine.
When up comes the „Schütz" with his fiendish scowl and sticks
down a ■"> Mark fine."
In the next production the «impot room» is strongly
imprecated; doubtless not without good reason; the in-
spired one has seemingly read «Kobinson Crusoe» to some
purpose.
„0 impot room where is thy charm
Which schoolmasters see in thy face
Hotter dwell in the midst of a tarn
Than stop in this horrible place."
The rytbm in the third line is as incorrect as the
denouement is unexpected. And now we come to the last
chapter in the history of this irascible juvenile, which,
like the other ones is full of pathos and unrestrained will;
but the most noticeable feature perhaps, is the seductive
logic which distinguishes the last line. The final trium-
phant burst of the poet is as follows: