Guide to Letters and Papers by German Authors, 1777-1912

(1)   March 20, 1829. Letter from Paris to an (unidentified) publisher [in Berlin?].

German

Would like to offer for publication a tragedy which he wrote in Berlin but has now revised in Paris. Its subject is a significant phase of Roman history - the civil war between Caesar and Pompey, until Pompey’s death in Alexandria. Has chosen such well-known historical matter in order to avoid a certain arbitrariness of invention as displayed in his two earlier plays. His new work is based on Plutarch and Caesar and, particularly, on Lucan’s poem about the battle of Pharsalia. Since he is not yet sending the manuscript, he offers a general description of his intentions. Pompey and his party (including most members of the Senate) are conceived as representatives and defenders of the Republic, whereas Caesar, convinced of his superior abilities, represents revolutionary power politics. Thus the subject has a contemporary relevance, since the battle between the old and the new order is not yet decided. Despite the differences, however, there is a basic national tone. Has made an effort to draw as clearcut a picture as possible, simplifying what in historical reality was more complicated. His main emphasis has been on characters and on the motivation of their actions. As for the poetic presentation, Arnd is not the person to judge its quality, but flatters himself that the play derives its liveliness from his knowledge of history, and is convinced that readers will find it neither trivial nor bad. Has called the tragedy “Caesar and Pompey;” although Pompey is the tragic hero, Caesar is too active a figure not to be mentioned in the title. Points out that no one will think of comparing his play with Shakespeare’s tragedy Julius Caesar, since the latter deals with a later historical phase. Hopes that addressee will consider publishing the work, which Arnd himself thinks of as his best one so far. Will mention his expectations concerning a honorarium when he delivers the manuscript. (cs 1578)

(1)   July 2, 1897. Letter from Wildungen to Augustin Daly in London.

Requests that enclosed letter be forwarded to H. Kadelberg. (Daly collection)

(1a)    July 16, 1888. Letter from Berlin to Bram Stoker, London

English

Writing on stationery of his “Berliner Theater,” Barnay expresses his extreme gratitude for the book of The Merchant of Venice sent to him by Henry Irving. He would, however, also appreciate seeing the costume designs or photographs of the Merchant production. (cs 724)

(1b)   Envelope

(1)   July 13, 1837. Letter from Dresden [to her former theatre director in Graetz].

German

Has been in Dresden for 10 days and played in four performances, besides making and receiving many visits. Her mother is still in Töplitz. Assures her former theatre director of her most pleasant memories of Graetz, of her lasting friendship and gratitude. Asks him to convey her regards to the members of the theatre ensemble there and also to his wife. About her future nothing has been decided yet, although Deinhardstein has offered her a contract, and her reception in Dresden has been friendly. Answering a query about actor Mr. Moritz she thinks that he is not bad, that there is fire in his acting, and that he is handsome, but she has not seen enough of him to be able to recommend him. Renewed assurances of her deep friendship to the most amiable of all theatre directors. (cs 959)

(2)  Press cutting on her.

November 15, 1897. Letter from Altona-Ottensen to Augustin Daly, New York.

German

Offers her play Fromme Lügen (“Pious Lies”) for performance in the Daly theatre. Many relatives and friends have urged her to submit her play for examination. It has been repeatedly performed in the municipal theatre of Lübeck, and accepted for performance by the municipal theatres of Magdeburg, Bromberg and Kiel. (Daly collection)

(1)   March 1, 1873. Letter to an unidentified Rittmeister (captain of cavalry).

German

Regrets not having been able to visit him, and suggests a new appointment in the following week.

(2)  Printed biographical notice. (cs 959)

(7)    January 16, 1894. Letter from Berlin to Augustin Daly in London.

German

Confirms receipt of contract on Erdmann-Jesnitzer’s play Hochzeitsfreuden (“Joys of Marriage”) [see Y.c.3049 (1), a letter from Friedrich Erdmann-Jesnitzer of December 29, 1893, who had offered the play] and a cheque of 1000 Marks for it. Is returning duplicate signed by Erdmann-Jesnitzer. Thanks for information about the firm Goldmark & Courier. Hopes that business with Daly will continue and expand. May travel to London for a few days shortly. Assumes that draft of a contract for Daniel Danieli and the book of the one-act play Dramenstoff (“Matter for a Play”) have arrived. A copy of Auf Triburg & Rodek is being sent. Signed by Carl Ritter.

(8)    July 18, 1896. Letter from Berlin to Augustin Daly in London.

German

Enquires about Franz von Schönthan’s play Die goldene Eva (‘Golden Eve’) that reached Daly a week ago. In case of acceptance the Bloch firm would be prepared to have the parts printed in the same way as with Der Herr Senator (‘Mr. Senator’). Signed “Felix Bloch E.”

(9)    August 4, 1896. Letter from Berlin to Augustin Daly in London.

German

Repeats enquiry of July 18 and asks for early reply. Signed “Felix Bloch’s Erben.”

(10)    December 28, 1896. Post card to Augustin Daly in New York.

German

Would, after having received his note of 12 inst., appreciate Daly’s returning the book of Sohn des Kalifen (‘The Son of the Caliph’). Signed “Felix Bloch’s Erben.” (Daly collection)

(1)   December 25, 1885. Letter from Berlin to Augustin Daly, New York.

German

(2)  Translation for Daly of (28).

(3)   August 30, 1886. Letter from Berlin to Augustin Daly.

German. Expresses his appreciation of and thanks for the Daly theatre’s guest performances. Although German and American theatrical taste may differ, Daly’s troupe has appealing international virtues. He singles out the talents of actress Ada Rehan, comedian Lewis, and young lover John Drew. Hopes that Mr. Daly will successfully continue his mediation between German dramatists and American audiences.

(4)   July 30, 1890. Letter from Berlin to Augustin Daly.

German. Will send, within the next two weeks, his four-act comedy Das zweite Gesicht (“Second Vision”), which is unsentimentally funny and contains an exquisite part for Miss Ada Rehan. Hopes Daly will have it performed next winter.

(5)   August 8, 1890. Letter from Berlin to Augustin Daly.

German. Is enclosing his play Das zweite Gesicht and acknowledges receipt of a cheque for 3750 Marks.

(6)   November 16, 1890. Letter from Berlin to Augustin Daly.

German, letter signed. Agrees to let out the Lessing-Theater to Daly from August 24 to 30 next year, at a rent of 1000 Marks per night, including expenses for lighting and technical staff. It seems that the Lessing-Theatre’s architecture and general atmosphere resembles that of Daly’s playhouse; hence Daly’s artists will feel at home. Looks forward to welcoming them in Berlin. It might be interesting if Das zweite Gesicht could be performed in English.

(7)  Translation for Daly of (8).

(8)   June 18, 1891. Letter from Berlin to Augustin Daly.

German. Asks Mr. Daly to withdraw from the contract on guest performances in August. He had assumed that his own theatre season would begin on September 1 and not, as it has now turned out, as early as August 1. Hence fulfilling the contract would be a financial disadvantage and pose technical problems, especially since Blumenthal’s Lessing-Theater, which specialises in modern society farces, has no decorations for either Shakespeare comedies or “A School for Scandal,” the performances apparently suggested by Daly. Also, translation for Daly; see (7).

(9)   February 1, 1892. Letter from Berlin to Augustin Daly.

German, letter signed. Is sending his new four-act play Heute und Gestern, which has been successfully performed in Hamburg. It might be too serious and emotional for Daly’s theatre; if so, under what conditions might other theatres wish to acquire it? He expects the same conditions as for his Großstadtluft (“City Air”). Also hopes to hear more about his play Das zweite Gesicht (“Second Sight”).

(10)   February 21, 1892. Letter from Berlin to Augustin Daly.

German, letter signed. Acknowledges receipt of telegram notifying him of the acceptance of Heute und Gestern for America and apparently also for England. Is sending another copy that contains minor changes made in rehearsals at the Lessing-Theater. Would like to know if Miss Rehan will play the part of Marianne, which would enable her to display her powerful art. Asks for confirmation of a financial arrangement analogous to that for Großstadtluft, as well as for a cheque of 5000 Marks. His next play will again be a farcical comedy.

(11)   June 16, 1892. Letter from Berlin to Augustin Daly.

German, letter signed, by Blumenthal and Kadelburg. Blumenthal and Kadelburg [joint authors of several plays] are pleased with their relations with Daly, praising his loyalty in business matters as well as his literary sensitivity in adapting the German plays. Considering the success of Die Großstadtluft they would now propose a long-term contract. Under separate cover they are sending a manuscript of their latest comedy, which will no doubt be another great success, especially since its hilariousness is rooted not in a specifically German but an international background. The exclusive rights of the play for America, both in English and in German, go to Daly for royalties of 5% of the gross proceeds and an advance payment of 10000 Marks due October 1. In principle B. and K. are prepared to negotiate a special contract concerning the rights for England, especially when Daly’s new London theatre will be opened.

(12)   August 6, 1892. Letter from Berlin to Augustin Daly.

German, letter signed. Expects a contract for the new comedy; will also pass it on to Kadelburg when the latter returns in early September. As for the five-year contract proposed by Daly, it would have to be drawn up separately with Blumenthal and Kadelburg. Blumenthal himself agrees and is sending two copies of a draft contract. Also, translation for Daly; see (27).

(13)   October 17, 1892. Letter from Berlin to Augustin Daly.

German. According to the New Yorker Figaro, his comedy Das zweite Gesicht (“Second Sight”) has been performed in the Daly Theatre, re-titled Little Miss Million. Blumenthal expresses surprise that he has not been informed nor received reviews and wonders why the author of the play is being treated in such an unfriendly fashion. [In fact the performance appears to have been a disaster, despite Miss Rehan’s participation; see G. C. D. Odell, Annals of the New York Stage, XV, 275.] He also complains that there has been no response to his proposals for a five-year contract, a fact that is all the more annoying since he has nearly finished a new four-act comedy and does not know if Daly still wants it. Urges Daly to send a detailed letter along with a German translation.

(14)   December 28, 1892. Letter from Berlin to Augustin Daly.

German, letter signed. Agrees that the rest of the payment for Die Orientreise, 5000 Marks, be made in January, as long as it arrives by January 20, as he has bills to pay at that date. Also points out that Daly still owes him 1700 Marks for Großstadtluft (“City Air”). Hopes that his new play will be successful.

(15)   January 27, 1893. Letter from Berlin to Augustin Daly.

German, letter signed. States that Daly’s views about payments for Großstadtluft are in contradiction to the contract made with Kadelburg on July 22, 1890. Hopes that when remembering that contract Daly will pay the full amount. And he irritably rejects Daly’s claim of indemnities for losses in connection with the cancellation of the Daly theatre’s Berlin guest performances; Blumenthal points out that the contract on these had been dissolved by mutual consent. And anyway, a profit would have been unlikely; in Berlin that particular August was unusually hot and kept audiences away from all the theatres. Moreover, Blumenthal expresses his irritation at not having received the rest of the payment for Die Orientreise by January 20 as he had expected; asks him to cable the amount at once. Finally, he wonders when that play, which has had an enormous success in Rome, can be expected to be seen on Daly’s stage.

(16)   June 27, 1893. Letter from London to Augustin Daly.

English, typewritten letter signed. Agrees on a further six months’ extension of the production of Die Orientreise.

(17)   July 1, 1893. Letter from Berlin to Augustin Daly.

German, letter signed. Is enclosing a copy of his report on the opening of the new Daly Theatre in London published in the Berliner Börsen Courier, in which he has expressed his admiration for Miss Ada Rehan’s acting [report not present].

(18)   October 16, 1893. Letter from Berlin to Augustin Daly.

German. His play destined for Miss Rehan, Gräfin Fritzi (“Countess Fritzi”), is written up to the middle of the third act. Hopes that it will be finished, and that the manuscript will be placed into Mr Daly’s hands, before the New Year. Immediately after the first night of Orientreise (“Journey to the Orient”) he hopes to receive, by telegram, a report and reviews. Also, translation for Daly.

(19)   December 4, 1893. Letter from Berlin to Augustin Daly.

English, letter signed. Intends to have ready, though probably not before the summer, a new play for Miss Ada Rehan, who “may always count me among her most ardent admirers.” But his duties as Manager have interfered with his work as an author. He also hopes to submit, in February, a play co-written with another author, which is a kind of modern Taming of the Shrew. Welcomes Daly’s plan of Berlin guest performances in May and suggests a programme of Shakespeare comedies, The School for Scandal, and perhaps a modern French comedy. The contract could be based on the previous one. 3 pp.

(20)   November 10, 1894. Letter from Berlin to Augustin Daly.

German letter signed. Is enclosing a copy of the comedy Zwei Wappen (“Two coats of arms”). After its Berlin production he will send another copy with changes likely to be made in rehearsals. When adapting the play for America, its German setting should in this case not be altered, or else the contrast between an American self-made man and a Prussian aristocrat would be blurred.

(21)   August 11, 1895. Letter from Berlin to Augustin Daly.

German. His latest comedy Gräfin Fritzi, which has an eminent part for Miss Ada Rehan, is currently in print. He will send it by early September and is glad to offer something for Miss Rehan’s mature art. Note by Daly on reverse, asking Miss Hamlin/Honiton(?) to translate this at once. Also, typewritten translation for Daly.

(22)   September 6, 1895. Letter from Berlin to Augustin Daly.

German. Is enclosing the first copy of his comedy Gräfin Fritzi. Also, typewritten translation for Daly.

(23)   July 20, 1898. Letter from Laufen to Augustin Daly.

German. Has finished, together with Gustav Kadelburg, a new comedy Auf der Sonnenseite (“On the sunny side”). It has a part particularly suited for Miss Rehan. Asks if Mr. Daly is interested in acquiring it under the usual conditions.

(24)   July 27, 1898. Letter from Laufen to Augustin Daly.

German, letter signed. by Blumenthal and Kadelburg. The manuscript of the new play has been mailed. The reply should go to the Lessing-Theater, Berlin.

(25)   July 5, [no year]. Letter from Neubabelsberg to [Augustin Daly?].

German. Antonie Janisch has offered to acquire Ein Tropfen Gift (“A drop of poison”) for English stages in America, at 10% of the proceeds and an advance of $1000. Since addressee has not performed the play prior to its publication, his rights will not be protected. Expects his immediate decision.

(26)   June 25, [no year]. Letter from Neubabelsberg to [Augustin Daly?].

German. Is sending a copy of the Viennese stage version of Ein Tropfen Gift, in which all allusions to the wars of 1866 and 1870 have been removed, and which would be more appropriate for England, too. Asks if the play will be performed in London.

(27)  Translation of (12).

(28)   February 4, 1886. Letter from Berlin to Felix Bloch, Berlin.

German.

(1)   April 28, 1884. Letter from Berlin to Augustin Daly.

German.

Offers to send on approval all novelties of his publishing firm, provided that a deposit of 300 Marks is made. Addressee then need only mention which plays he would have, and he can be assured of a reasonable charge in each case. Hopes that there will be a lasting connection. (Daly collection)

(1)   May 5, 1830. Letter [from Weimar?] to Herr Pauli.

German

Returns some item with thanks. Also thanks Mr. Pauli (probably Ludwig Ferdinand Pauli (1793-1841), actor, mainly in Dresden; cf. E. L. Stahl, Shakespeare und das deutsche Theater (Stuttgart, 1947), p. 281) for the pleasure derived from his performance of Shakespeare’s Much Ado about Nothing and pays him compliments. Is now preparing to travel to Leipzig. (cs 1582)

(1)   April 23, 1872. Letter from Berlin to an unidentified friend in Schleswig .

German

Is sending manuscript music of his opera Hermione. The copy is not a clean one; it belongs to a friend and has been used in rehearsals. The first performances took place on March 21 in Berlin and on March 31 in Bremen. So far there have been three performances in Berlin and four in Bremen. He thinks that the structure and the entire architectonic pattern is really very good and successful, while the less adequate exposition derives from the play and unfortunately had to be taken over in the opera. Bruch will soon go to Bremen, where, on May 6, he will conduct his new major work Scenes from the Odyssey. He does not dare to invite the addressee, considering that there is no train connection between Hamburg and Bremen. He extends thanks for an invitation and greetings to one Dominicus. The postscript, answering a query, advises the addressee about newspapers suitable for an article about himself. Bruch suggests, as far as political papers are concerned, the Kölnische or perhaps the Hamburger Nachrichten. He appears to be more sceptical about specialised music journals: Signale, for instance, is most miserable and unprincipled; the Zeitschrift für Musik and the Musikalisches Wochenblatt are too obsessed with Wagner. (cs 946)

(2)   June 18, 1879. Letter from Berlin to J. Parker Norris, Esq.

English

Has posted offprints of his Shakespeare bibliographies in Shakespeare Jahrbuch, vols. 1, 6, 8, 10, 12 and 14. Unfortunately no offprints were made of his bibliographies in vols. 2, 3 and 5. The offprints are not for sale, but Cohn is delighted to offer them to the editor of “Shakespearian Gossip” in Epitome, “a most valuable contribution to Shakespearean literature.” Would be obliged if recipient could draw his attention to Shakespearean articles in American periodicals or newspapers, to pamphlets published privately, etc., for his bibliographies. Mr. Furness will also send some. (cs 1115)

(3)   October 23, 1879. Letter from Berlin to [J. Parker Norris].

English

Thanks him for copy of his Bibliography of works on the portraits of Shakespeare. Points out four additional items in: Sidney Beisley; Karl Elze ( Jahrbuch IV and V); Fritsche (“Ein Shakespeare-Portrait in Königsberg”, Shakespeare Museum I [1870], no. 2, p. 31). (cs 1115)

(1)   August 8, 1883. Letter from Berlin to F. G. Fleay.

English

Thanks him for his remarks on a German play about an English king and a goldsmith’s wife. Has communicated the information to a friend in Vienna, who is working on English players in Austria around 1600. Mr. P.A. Daniel has already pointed out, at Mr. Furnivall’s request, the play Edward IV, but Fleay’s remarks now add further information. The other plays Fleay has mentioned in his letter do not seem to have been performed in Germany at the time of Shakespeare. Cohn refers to his book Shakespeare in Germany. Wonders if Fleay could tell him where particulars about the visit of Derby’s company to Germany between 1599 and 1601 might be found. (cs 1113)

April 9, 1884. Letter signed H. Isaac from Barmen-Rittershausen to an unidentified person.

German

Thanks the recipient for his criticism of the annual report of the German Philological Society in Berlin; apologizes for delayed reply, owing to his own literary activities. Points out, however, that the mere appointment of a lector in English at the University of Berlin (referred to by recipient) will not be adequate to improve English studies. No one would be satisfied with a Greek lector if classical studies were concerned. The teaching of English literature, in particular, is in a deplorable state; English literature ought to be taught as German literature is by Scherer - not by men without a sense of cultural history, etc. Then Isaac writes about his own work on Shakespeare: encloses copy of an article for the Shakespeare-Jahrbuch (Hermann Isaac’s long article “Die Sonett-Periode in Shakespeare’s Leben” was published in Shakespeare Jahrbuch, 19 (1884), pp. 176-270) and describes his plans for an edition of the sonnets, for which no publisher can be found. He also encloses a copy of his school edition of The Merchant of Venice, in which he has made an effort to combine scholarship with a practical approach. (cs 399)

(1)   January 1, 1782. Letter from Erfurt to Freiherr [Carl Friedrich Sigismund Freiherr [Karl Sigmund] von Seckendorf(f) (1744-1785) was, between 1775 and 1784, chamberlain (Kammerherr) to Duchess Anna Amalia and thus the most likely recipient of the letter] in Weimar [all persons mentioned in the letter resided in Weimar, only some 15 miles from Erfurt]

German

Is inviting the Duchess-Widow (Duchess [Herzogin] Anna Amalia of Saxe-Weimar (1739-1807), usually referred to as Duchess-Widow after the Duke’s early death) for a mid-day meal next Friday and for a performance of Romeo and Juliet (probably not Shakespeare’s play, but a free imitation of it by Christian Weisse (1726-1804), performances of which in Erfurt are attested since 1772). Hopes that the addressee’s health will permit him, too, to be present. Also expects Hofrat Wieland (Christoph Martin Wieland (1733-1813), poet and first translator of a substantial number of Shakespeare plays, who until 1775 had been the official tutor of Duchess Anna Amalia’s sons). In a postscript he asks the addressee to deliver to the Duchess an enclosed petition, along with his respects. (cs 1722)

(1)   December 13, 1858. Letter from Hamburg to “Herr Hofrath.”

German

Would have much to discuss, but is busy acting in the winter season; hopes to have more leisure shortly. Translation included in folder. Also, newspaper cutting on him. (cs 966)

(1 a-b)    September 13, 1866. Letter to [N. Delius?]

German

Offers the first copy of the translation of The Tempest and encloses some previous correspondence to convince the recipient that the latter’s kind and useful suggestions have been used conscientiously. The enclosure is a list of such suggestions for his Tempest translation based on Delius’s edition. (cs 1005)

(2)   May 22, 1858. Letter to Dr. Ferdinand Gustav Kühne.

German

The letter is written on a printed confidential circular issued by the publisher Hoffmann of Stuttgart, on May 1, 1858, announcing an edition of a new translation of Shakespeare’s complete works to be edited by Dingelstedt and to be published in 1864 in celebration of the Shakespeare tercentenary. Dingelstedt invites F. G. Kühne [a writer of fiction and cultural studies] to collaborate, along with Gutzkow, Auerbach, Wolfsohn, etc., either as translator, commentator, introducer or adaptor. Preferably he should be in charge of a series of related works, such as the Roman plays, the comedies, or the tragedies. In such a way the Roman-German empire could be divided into Shakespeare provinces. Kühne could also make use of his study of Shakespeare’s female characters (referring to F. G. Kühne, Weibliche und männliche Charaktere, 2 vols. (Leipzig, 1838)). [Dingelstedt’s ambition to enlist the most distinguished German writers as translators and collaborators was to fail utterly. Both Kühne and the writers mentioned, and several others as well, declined. He did manage to complete his edition, using translations of his own and of minor contributors; however, it was published not in 1864 but in 1867, not by Hoffmann in Stuttgart but by Weidmann in Berlin. For details see Wilhelm Schoof, “Dingelstedts Plan einer neuen Shakespeare-Übersetzung,” Shakespeare Jahrbuch, 76 (1940), pp. 137 ff., where some more letters Dingelstedt wrote to potential contributors are printed along with the latters’ negative replies]. (cs 1142)

(3)   March 14, 1879. Letter from [Vienna (blind stamp: Hofburgtheater Direction)] to Löwe(?)

German

Reports that this year, too, there will be a Shakespeare week in the repertoire of the Vienna Burgtheater, beginning on April 23. On April 24, however, the history plays have to give way to a celebration in honour of the Emperor. The three Henrys will be performed before Easter, and, if the season does not end too early, all the seven histories will be seen. Next week the anniversary of Goethe’s death will be commemorated with Clavigo and Die Glocke. (cs 1005)

(1)   September 26, 1912. Letter from Anklam [to an American correspondent?]

German

Thanks him for sending a list of his publications. Unfortunately the American Shakespeare Bibliography is no longer available. Refers to Seymour (1805) and points out the “discovery” he himself has made: Only when numerous additions of individual passages or entire scenes are removed does the true Shakespeare emerge. Offers to send versions thus purified of Measure for Measure, The Comedy of Errors, The Taming of the Shrew, A Midsummer Night’s Dream, Richard II, Romeo and Juliet or Hamlet. Wonders if there is an American publisher who might be interested in printing them, along with an exposé of his views. (cs 745)

(1)   June 2, 1857. Letter from [London] to Charles Kean.

German

The letter, though on stationery of Mr Eisen’s Cologne “court book and art shop,” was obviously written in London. It extends thanks to Charles Kean for having kindly provided tickets for the Princess Theatre to members of the Cologne men’s choral society, as secretary of which Mr Eisen is writing, also praising Kean as a man whose name stands in the first ranks in the world of art and whose creative talent never fails to give life to new miracles. (cs 1511)

(1)   December 29, 1893. Letter from Lübeck to August[in] Daly, London

German

The letter is written on official stationery of the Lübeck Municipal Theatre, in a hand different from Erdmann-Jesnitzer’s signature at the end. Through Felix Bloch Erben (publishers) he was sent a contract concerning the rights for England, America, the English colonies, etc., of his play Hochzeitsfreuden (“Pleasures of Marriage”). Erdmann signed the contract but has never had a reply. Asks if Daly is still interested in the play, or else he would make different arrangements for the countries mentioned. Erdmann also points out that he is the composer of several waltzes, polkas, etc., published by Oertel in Hanover; with these, too, some business could be made, especially if they became known by being used as entr’acte music in performances of Hochzeitsfreuden. Asks Daly if he would be interested in having them. Would appreciate an early reply. (Daly collection)

(1)   May 11, 1789. Letter from Braunschweig to Mr. Cartels, Göttingen

German

Has been pleased to have his friend C.’s letter two weeks ago. Has now learnt that C. is in Göttingen (although Eschenburg taught at a school in Braunschweig, he had close contacts with members of the University of Göttingen) again and hopes that he will soon visit the Eschenburgs in Braunschweig. Had Eschenburg written as often as he has thought and spoken of him, friend C. would have received numerous letters. Congratulates him on having completed the second volume of some work, to which Eschenburg is looking forward. The package containing it has not yet arrived. Also thanks for regards from C’s father-in-law. The carrier of this letter, Mr. Rieter (?), will testify that C’s picture still hangs in the Eschenburgs’ living room. Asks him to return books belonging to the Wolfenbüttel library. (cs 2049)

(2)   June 11, 1792. Letter from Braunschweig to Vossische Buchhandlung (publisher), Berlin

German

Submits a proposal, having entertained the idea for some time. Has always wanted to return to his work on Shakespeare, his favourite poet, the translation of whose works having given him much pleasure. Eschenburg has often thought of making the original text better known in Germany. Hence he suggests separate editions of individual plays, to be published quarterly, with the offer of annual subscriptions. Eschenburg then discusses details concerning the modalities of subscriptions. He would be willing to deliver each manuscript three months in advance and assumes that each play would consist of 10 to 12 gatherings. Asks for an early reply. [Eschenburg’s plan did not materialise. The first German edition of Shakespeare’s English text was the one by F. C. Wagner (1801)] (cs 1590)

(1)   November 16, 1812. Letter from Weimar to Wagner.

German

Has tried to do something to help a common friend (Kamm?), apparently with the publication of his book, in which Falk is, indeed, interested; has approached two relevant persons, but without success. Takes a gloomy view of the present, including the heritage of rationalism. Conditions in Europe will not improve until a new worldly-spiritual hierarchy has been established. If he could as he would, and if his wife were not blessed with five children, he would found a colony in which his friends could live as his children and brethren. [This is almost prophetic. Only a year or two later, having lost four of his children, Falk gave up his literary interests and founded a home for stray children. For a relatively recent account of Falk’s life see Ernst Schering (ed.), Johannes Falk: Leben und Werke im Umbruch der Zeiten (Stuttgart, 1961)] Wishes he could have a few hours’ talk with addressee about “what the Germans call literature.” Next, Falk thanks the addressee (Wagner) for what apparently was the latter’s favourable review of his free translation of Shakespeare’s Coriolanus (Coriolan, frey nach Shakespeare von Johannes Falk (Amsterdam and Leipzig, 1812)). Insists on making a distinction between literal-grammatical translations that may require much learning (and which appear to be in favour) on the one hand and free translations that require poetic spirit on the other. Only the latter kind can do justice to Shakespeare and to a play such as Coriolanus in particular. Hence he is skeptical about the kind of Shakespeare translation faithful even to the otherness of Shakespeare’s language, as now attempted by the brothers Voss, who thus go beyond what A. W. Schlegel had done (the matter is also discussed in Falk’s Coriolanus, see p. 45 ff). Recent translators seem to be afraid of poetry, tend to be dry and mediocre, and yet cry out against poetic adaptations. Alludes to an (unnamed) writer/translator (whom he met in Dresden when travelling to Vienna) and asks which of his books he ought to read to get an idea of that author’s art, which has had favourable reviews. Asks Wagner to convey greetings to several persons and wonders why he hasn’t seen him in Weimar, where even people such as Iffland, Körner, Beethoven and others have passed through. Partial translation in folder. (cs 1582)

(1)   August 30, 1894. Letter from Rigi-Kaltbad to Geheimrath [The person addressed as “Herr Geheimrath” can only have been Wilhelm Oechelhäuser (1820-1902), since the letter refers to him indirectly as the president of the Deutsche Shakespeare Gesellschaft. Oechelhäuser was president at the time, and he did chair the Weimar meeting in April 1895 at which Kuno Fischer was to deliver his lecture. The title “Geheimrath” (in Oechelhäuser’s case more precisely “Geheimer Kommerzienrath”) was, of course, a purely honorific and decorative one]

German

Is deeply touched that Her Royal Highness the Grand Duchess of Saxony has graciously remembered him. Hastens to return the documents that had been sent to him. Fischer then responds to an invitation to give a Shakespeare lecture in Weimar at a [Shakespeare Gesellschaft] meeting to be presided over by the addressee, which he considers a temptation and an honour, and he is seriously thinking about it. There is, however - apart from age, office and work - the difficulty of choosing an appropriate topic. He has been considering the so-called Shakespeare mystery [i.e., the authorship question], which, as a result of the recent book by Bormann [Edwin Bormann, Das Shakespeare-Geheimnis (Leipzig, 1894)], has entered into a new phase and is beginning to be sensational in Germany. He was involved in discussions about this matter at the Villa Belmonte. But he first has to read the book after his current absence and will only then be able to make a definitive proposal. [Kuno Fischer’s lecture materialised as “Shakespeare und die Bacon-Mythen” and was subsequently printed in Shakespeare Jahrbuch, 32 (1896), pp. 3-40. See also Kuno Fischer’s letter to F. A. Leo, Folger Library Y.c.1524 (2)] (cs 1433)

(1)   April 8, 1871. Letter from Stuttgart to Karl Elze, Dessau. (2 sheets, 5 pp.)

German

Written on paper with a printed apology by Freiligrath for having neglected correspondence, owing to the war. Acknowledges receipt of Elze’s essay on The Merchant of Venice [Karl Elze, “Zum Kaufmann von Venedig,” Shakespeare Jahrbuch 6 (1871), p. 129-168]. Refers to Elze’s recent letter concerning his negotiations with potential publishers [of a book in English]. Suggests that Tauchnitz should be approached again, despite an earlier refusal. Freiligrath will sound out Tauchnitz on Elze’s behalf and will mention that Mr. Duke Coleridges’s translation of Elze’s biography of Walter Scott might be something for Tauchnitz’s German Series, especially since the jubilee is coming up. However, publishers and their whims are unpredictable; Freiligrath refers to an incident concerning Brockhaus. Then follow appreciative remarks on Elze’s article on The Merchant. Finally, there is an irritated remark that Freiligrath’s name still figures among collaborators of Bodenstedt’s Shakespeare to be published by Brockhaus, although he officially withdrew last July [William Shakespeare’s Dramatische Werke [by various translators], ed. F. Bodenstedt (Leipzig: Brockhaus, 1867-71). Freiligrath’s name was omitted in the second edition (1876-77)]. Partial English translation in folder. (cs 84)

(2)   February 14, 1874. Letter from Stuttgart to Karl Elze, Dessau. (2 sheets, 6 pp., and envelope)

German

Apologies for late reply. Has sent the prospectus of the New Shakespeare Society to Gisbert [von] Vincke, along with a note inviting him to join the petition concerning the Dutch piracy. Vincke sent a very kind reply at once, so Freiligrath has entered Vincke’s name immediately following Elze’s.

It now seems certain that Freiligrath will leave Stuttgart in July; he wishes to return to the Rhine and will have to find a place to stay somewhere between Bonn and Basel. This will give him an opportunity to see Vincke in Freiburg. The petition now has 100 authors’ signatures, among them distinguished names, even including that of Ludwig Uhland’s widow; see last Sunday’s supplement of Allgemeine Zeitung.

At this point, with Cotta [publisher] lending his support, numerous publishers are going to join as well. Cotta will send a printed copy of the petition, along with the Denkschrift (manifesto) by Otto Mühlbrecht that accompanies it. Each member of the Reichstag will receive both documents; the presidium and the chancellor will also receive the calligraphic original with all the signatures. The Denkschrift will show the actual extent of the piracy. Elze’s books on Scott and Byron may also be affected [Karl Elze, Sir Walter Scott (Dresden: Ehlermann, 1864); Lord Byron (Berlin: Oppenheim, 1870)]. Freiligrath is enclosing a short article on “fine frenzy” and wonders if it might be worth printing in Shakespeare Jahrbuch (edited by Elze). Elze may do with it what he likes. In case it is accepted, Freiligrath would like to receive a dozen offprints and a copy of the Jahrbuch [the short article was printed as F., “Horaz und Shakespeare,” Shakespeare Jahrbuch 9 (1874), p. 336. See also Werner Habicht, “Schöner Wahnsinn: Zu Freiligraths “Horaz und Shakespeare,’” Grabbe Jahrbuch 17 (1999), 277].

Freiligrath then writes about the death of Hoffmann [von Fallersleben] and draws Elze’s attention to the excellent obituary by Paul Lindau in Gegenwart, no. 5 [August Heinrich Hoffmann von Fallersleben, German poet (b. 1798), died on January 19, 1874]. Then follow criticisms of sonnets by Blumenthal (whom Freiligrath calls a “Dichterhalunke”), and an incisive remark on Benedix [obviously à propos of the latter’s Shakespearomanie]. [See note on item (3) below] Partial English translation in folder. (cs 84)

(3)   April 16, 1874. Letter from Stuttgart to Karl Elze, Dessau (2 sheets, 8 pp., and envelope postmarked April 17, 1874)

German

Acknowledges receipt of letter etc., also of Elze’s article on Shakespeare dilettantism [Karl Elze, “Der Shakespeare-Dilettantismus: Eine Antikritik,” Shakespeare Jahrbuch 9 (1874), pp. 233-268]. Praises the latter as a “scharfe, und dennoch tactvolle, Arbeit” (“an incisive and yet tactful essay”). “Die Nichts-, die Wenig- und die Halbwisser werden Augen machen, wenn der Strahl Deines reichen Wissens ihnen voll entgegenflammt” (“The ignorants and semi-ignorants will be amazed when the lightning of your rich knowledge strikes them”). Poor Benedix has already been criticised, but “the lesson will do no harm to the gentlemen of Tübingen and Leipzig infallibility either” (“auch seinen geistvolleren Mitsündern, den Herren von der Tübinger und Leipziger Unfehlbarkeit, kann die Lection nicht schaden”). Elze’s article deserves to be more widely known; the Jahrbuch is mainly read by specialists, whereas Rümelin and Benedix (the Shakespeare dilettantes) have wider publicity [the books referred to are Roderich Benedix, Die Shakespearomanie: Zur Abwehr (Stuttgart: Cotta, 1873) and Gustav Rümelin (chancellor of Tübingen University), Shakespeare-Studien (Stuttgart: Cotta, 1866)]

Freiligrath is pleased that his short article on “fine frenzy” has been printed. It was on purpose that he did not quote Edmond Malone on that matter, although he owns a copy of the latter’s 1790 edition.

Then Freiligrath responds to Elze’s repeated suggestion that he should become a member of the Shakespeare Gesellschaft. He has reservations. Despite Venus and Adonis and all that he feels that he himself is a Shakespeare dilettante rather than a professor; and, secondly, the meetings in Weimar are too much connected with the Weimar court for his taste [Freiligrath had published a translation of Shakespeare’s Venus and Adonis (see below, item 4) and of some songs from the plays]. “Ich bin zwar gegenwärtig ein friedfertiger alter Mensch, und wünsche keinem deutschen Landesvater, am wenigsten dem wohlmeinenden und kunstliebenden Großherzog, etwas Böses; aber ich habe eine Vergangenheit, die mir das Zu-Hofe-Steigen, selbst das beiläufige bei Gelegenheit von Gelehrtenversammlungen, verbietet. Also laßt mich immerhin in meinem Dunkel.” (“Although I am, at present, a peaceful old man who wishes German patriarchs no harm, least of all the well-meaning and art-loving Grand Duke, I still have a past that forbids me accept the role of courtier, even if only in the context of academic meetings. Therefore leave me in obscurity.”) But he does appreciate the activities of the Shakespeare Gesellschaft from a distance.

Then Freiligrath complains that he is tired and exhausted. He dreads his imminent move; also has to prepare a new edition of his English anthology for Hallberger [publisher] and read the page proofs. He cannot plan a trip to London this year. Louise and the children will spend some time at the Baltic Sea, etc. etc. (further personal matters). Is sorry that Elze’s hopes for [a position in] Zürich did not materialize, but he should be glad that he is spared relocation.

The petition is dormant. The Petitions Committee (with von Schulte of Bonn in charge) has recommended that it be presented before the Reichstag, but military laws etc. seem more important. Freiligrath fears it will be postponed until the next session. However, Dutch publishers have been alerted. Partial English translation in folder. (cs 84)

(4)  Autograph manuscript of his German translation of Venus and Adonis, stanzas 1-30

Begins: “Als von dem thränenreichen Morgen grade / Die Sonne schied mit purpurnem Gesicht.” [Freiligrath’s complete translation of Venus and Adonis was first published in Rheinisches Jahrbuch, 1840, pp. 363-379. See also Freiligraths Werke, ed. J. Schwering (Berlin etc.: Bong), pt. 5, pp. 366-396]. Poem listed in Folger index of first lines. (cs 544)

(5)  Autograph manuscript of Freiligrath’s poem “Hamlet,”

Begins: “Deutschland ist Hamlet! - Ernst und stumm / In seinen Thoren jede Nacht / Geht die begrabne Freiheit um / Und winkt den Männern auf der Wacht.” [This revolutionary poem, published in 1844, is the origin of the subsequently much-quoted phrase “Germany is Hamlet.” For its context see Walter Muschg, “Deutschland ist Hamlet,” Shakespeare Jahrbuch (West), 1965, 32-58]. Poem listed in Folger index of first lines. (cs 852)

(1)   September 12, 1895. Letter from Berlin to [?]

German

Responding to the request of someone who appears to be a collector of autographs, about whose perseverance Genée has heard from his sister. Is now enclosing one of his own poems written at the beginning of the 1870 war; he used to recite them at patriotic meetings, and many were printed. But he cannot yet think of making a search for letters by other persons, as his correspondence fills a large number of bulky packages. From his current folder he can offer a little novelty - a nice letter from Julius Wolff, the most successful lyrical poet of the present. May sort out some more when there is more time at his disposal.

(2)  Accompanied by a newspaper cutting on Genée.

(cs 966)

(1)   November 7, 1855. Letter from Heidelberg to [Wilhelm von Kaulbach: although the salutation (“Honoured Sir and friend”) does not reveal the recipient’s name, internal evidence admits no reasonable doubt that the letter is addressed to Wilhelm von Kaulbach (1805-1874), the famous painter and president of the Academy of Fine Arts in Munich. Clearly the work, whose first instalment Gervinus is referring to, is a “Shakespeare Gallery,” a collection of engravings illustrating Macbeth in particular. Kaulbach indeed began to publish his Shakespeare Galerie in Kupferstichen in 1855 (the year of the letter), beginning with illustrations of Macbeth; illustrations of The Tempest and King John followed during the next two years. Near the end of the letter Gervinus hopes to see the recipient in Munich - which is where Kaulbach lived and worked.]

German

The letter, to be delivered by a common friend, acknowledges the receipt of, and the pleasure provided by, the addressee’s “first Shakespeare instalment,” which Gervinus had ordered recently and a copy of which has now reached him without a bill, causing even more embarrassment than surprise. For if this present was meant as a repayment for his book [probably his Shakespeare (Leipzig, 1st edn. 1849-1850), the most influential nineteenth-century German book on the dramatist], he is well aware of the disproportion of the two gifts. He need not tell the recipient how delighted he was to see the work arrive. He greets it with patriotic satisfaction: “Ich bin ein zu guter Patriot, als daß ich nicht stolz darauf sein sollte, daß solch ein Werk der bildenden Kunst, das dem großen Dichter die würdigen Ehren entbeut, von Deutschland ausgehen mußte, daß England nichts der Rede werthes für ein so naheliegendes Monument auch nur hat versuchen können” [“I am too good a patriot not to be proud of the fact that such a work of visual art, which pays worthy homage to the great poet, should have emanated from Germany, and that England has not even been able to attempt anything worthwhile towards a monument that suggests itself so naturally”] [it seems difficult to explain why Gervinus should refuse to give credit at least to the Boydell Gallery]. The extent to which this will help to make the poet better known in Germany cannot be estimated as yet. The recipient [i.e., Kaulbach] has demonstrated the rare talent of mastering both the sublime and the humorous, both the tragic and the comic mode, a talent which Shakespeare himself had possessed and which is indispensable if justice is to be done to him - whereas the entire history of the English treatment of Shakespeare is characterised by narrow viewpoints or one-sided veneration. [Kaulbach’s] unique talent will no doubt be confirmed once his Shakespeare Gallery is complete, or at least when further installments will have offered a wider range. Meanwhile Gervinus expresses his delight with the first examples and goes on to praise [Kaulbach’s] achievement - the art, the ease, the composition, the characterisation, the symbolism, etc. Some details Gervinus would like to discuss with him in person, without making them the theme of a letter. Nor would he insist on his ideas where they differ from [Kaulbach’s] visual interpretation. His main criticism would concern the treatment of “the Lady” [i.e., Lady Macbeth], who to him appears to be too democratic, like a woman of the people. Even while she betrays herself in the sleepwalking episode she should be seen as keeping her self-control. If he, Gervinus, had to play her on the stage, he would make her, after a vain attempt to wash the stain from her hand, conceal her hand not only from others but also from herself. But Gervinus admits the difficulty of rendering her boldness. In any case Gervinus is looking forward to the ensuing prints, especially since friends who have seen the [painted] originals have spoken very favourably about them. Gervinus also suggests that, even if the idea could sound heretical from an artist’s point of view, it might have been better to publish the Gallery as a photographic work. In this case at least the drawings could be seen as they are. Whatever the shortcomings of the photographic techniques may be, with the possibilities at the recipient’s disposal one ought to be able to overcome them [a few years later, Kaulbach did in fact publish a photographic work of the kind suggested here: Shakespeare-Album in photographischen Abbildungen (Munich, 1862)]. Finally, Gervinus mentions the possibility of his being in Munich for a short time “this winter;” he would be glad to see [Kaulbach] in the midst of these and other works of art. His wife joins him in extending thanks and greetings. (cs 1542)

April 8, 1812. Letter from Weimar to Friedrich Schlegel in Vienna.

German

This is Goethe’s essentially negative reply to Friedrich Schlegel, who had invited Goethe to contribute to his new journal Deutsches Museum, and who had then sent him two of its first issues (of January and March 1812) [both Friedrich Schlegel’s letter to Goethe of December 11, 1811, and Goethe’s reply (this letter) are discussed in their context by Ernst Behler, Die Zeitschriften der Brüder Schlegel (Darmstadt, 1983), pp. 116-117. The Deutsches Museum (not to be confused with earlier and later periodicals of the same title) was published from 1813 to 1814 in Vienna (where F. Schlegel lived at the time)]. Goethe says he likes to live in his time, but does not know how to approach a theme while living with his time; hence he is seldom if at all represented in publications devoted to the present. He will read the journal attentively, which might eventually inspire him to offer a contribution of his own. The merit of collections such as Schlegel’s is that they shed light on things that would otherwise remain obscure. Has been particularly interested in the essays by Schlegel’s brother [August Wilhelm], Adam Müller and [Ernst] von Pfühl [the January issue of Deutsches Museum contains an essay by August Wilhelm Schlegel on the Nibelungenlied, and “Agronomische Briefe,” Part I, by Adam Müller (1779-1829). The article by Ernst von Pfuel (Pfühl) (1779-1866), “Über das Studium der Kriegsgeschichte,” is in the March issue]. Is grateful that good nature, too, has been considered, in whose service one cannot think to be without God. The last step of dear Jacobi can be explained from his character and convictions, which Goethe has known for a long time; but this undertaking must sadden even his (Jacobi’s) well-wishers, because the consequences for him may be disastrous [alluding to the philosopher Friedrich Heinrich Jacobi (1743-1819), whose controversial latest book Von den göttlichen Dingen und ihrer Offenbarung (1811) is reviewed, by Friedrich Schlegel himself, in the first issue of his Deutsches Museum].

To write, or to have someone write, about the Weimar theatre directed by Goethe would be very difficult [Friedrich Schlegel had particularly requested periodical reports on Goethe’s Weimar theatre, written if not by Goethe himself, then perhaps by one of his collaborators; he had even suggested possible names]. That theatre tends to be carried on in its established manner, which Schlegel will know from earlier times; we, says Goethe, never announce our intentions in advance, we sense an audience’s response to what we present; if we are successful, we go a step further. The Constant Prince elicited much enthusiasm, thereupon another play by Calderón, La vida es sueño, was launched, which, too, received much applause, and there was even some controversy as to which of the two plays is preferable. Goethe goes on to say that he has produced a condensed version of Shakespeare’s Romeo and Juliet, removing everything that does not belong to the main plot [Goethe’s reductive adaptation of Romeo and Juliet was first performed on February 1st, 1812 - only a week before this letter was written. For further details see Heinrich Huesmann, Shakespeare-Inszenierungen unter Goethe in Weimar (Vienna, 1968), pp. 148-186]. This play, too, was well received.

Contributions about current tendencies in the visual arts might be more worth solliciting. Dresden is not far [from Weimar], Goethe is familiar with the scene there, which deserves to be commended. Wishes he could, in this or some other way, be useful to Schlegel, especially since the Austrian Academy of Fine Arts has just made him a member. Asks to be respectfully remembered to Count Metternich. Will travel to Carlsbad in May. (cs 1686)

[1868?] Letter [from Zürich?] to Joseph Victor Widmann

As date and place the letter only has “Sunday morning, von den heiligen Hallen” [allusion to Mozart’s Zauberflöte. Zürich is mentioned near the end of the letter, albeit not as an unambiguous indication of Goetz’s place of residence]. Goetz, who is beginning to compose an opera based on Shakespeare’s The Taming of the Shrew, is writing to his libretto-writer Widmann to acknowledge the receipt of the first act [the opera Der Widerspenstigen Zähmung, libretto by Joseph Victor Widmann (1842-1911), music by Hermann Goetz, was first performed in Mannheim on October 11, 1874. See Gooch/Thatcher, Shakespeare Music Catalogue, II, no. 14571]. Goetz himself is busy finishing the Induction. Praises his librettist’s work, his artistic seriousness and his characterisations. Will not go into details now - will have to think it over carefully. Points out that severe cuts will have to be made; if one considers that the text will have to be set to music, the first act (given the usual two-act division) would be excessively long. But promises that none of the brilliant passages will be sacrificed. Confirms that the music of the introductory scene is practically finished. Suggests a meeting in a week. Tells him in a postscript to sign as “Schikaneder” 10 times, because he cannot get Mozart out of his pen [an ominous statement: like Mozart, Goetz was to die at the early age of 36]. (cs 946)

February 24, 1847. Vienna.

Poem, “Hamlet,” beginning: “Es geht ein Königssohn im hohen Norden, Dem man des Lebens Urquell dort erschlug.” Poem listed in Folger index of first lines. (cs 1145)

March 5, 1837. Examination report, University of Göttingen

Report on oral examination in English and French of candidate in theology Fr. Siemsen from Hanover. The candidate was given to read and translate a passage from Shakespeare’s 1 Henry IV, II.4, Shakespeare’s Sonnets 1 and 2, a scene from Corneille’s Rodogune, and a passage from Montaigne’s Essais, chapter 1. As a conclusion there were questions on 16th century English and French literature. The candidate did remarkably well. (cs 1518)

August 29, 1886. Letter from Berlin to [Augustin Daly]

German

Offers compliments to the addressee on all of the latter’s performances he has seen. Impossible to single out individual artists, since they all were bent on doing justice to their tasks. Admires the unselfishness with which everyone supported their colleagues. And yet it was a pleasure to see how everyone knew how to make the best of his or her part. Was particularly impressed by the way the actors, when they had nothing to say for minutes, contributed to the action - something the writer, being an actor and producer himself, knows how to appreciate. Renews congratulations, and hopes that addressee’s rich talent will be applied to a nobler purpose. (Daly collection)

November 2, 1909. Letter from Darmstadt to Edward Dowden, Dublin

German

Is sending a copy of Stefan George’s German translation of Shakespeare’s sonnets [Shakespeare Sonnette (sic), Umdichtung von Stefan George (Berlin: Bondi, 1909); Gundolf’s autograph letter is in the Folger copy], which later is to be included in an edition of Gundolf’s own translation of the plays. He admires Dowden’s Shakespeare biography and also his edition of the Sonnets, having gratefully profited by Dowden’s comments and views. Now he would be obliged to Dowden for his opinion on some very few passages where his opinion differs from Dowden’s. In sonnet 20, as he and George suspect, could the line “a man in hue all hues in his controlling” contain an allusion to the name “William,” considering that the spelling of “W” once was “UU” (double hue)? In sonnet 56, he thinks that the third quatrain cannot be reconciled with the rest of the poem if one has an “imaginary sight” in mind; Gundolf’s (again like George’s) reading of the passage is: the unpleasant impression of the sea that separates countries becomes “more blessed” in that the lovers meet daily at the shore. With regard to the textual gap [at the beginning of line 2 of] sonnet 146, Gundolf disagrees with Dowden’s emendation “pressed by,” because a noun with a preposition rather than a verb would seem to be required. George suggests, though not without reservations, that the undisputed gap should be filled with “earth” - a (possibly inadvertent) repetition of the ending of the first line. [George’s translation of the first two lines of sonnet 146 is: Arm Seel! Du Mitte meiner sündigen Erde, Erde voll Frevelkräften die dich hüllen:] (cs 608)

(1)   May 3, 1894. Letter from Jena to his son, Walter.

German

Personal matters. Has been awarded the Linnean Society’s gold medal and will have to go to London to receive it. Transcript included in folder. (cs 1919)

(1a)    September 19, 1896. Letter from [Berlin] Lichterfelde to Georg Bötticher in Leipzig

German

Answering an inquiry, Hartmann points out that his essay on Romeo and Juliet can be found in his Gesammelte Studien und Aufsätze (“Collected Studies and Papers”), 3rd ed., vol. 5, p. 333. It was first published in 1874 in a Journal and then as a pamphlet. His general views on Shakespeare can be found in his “Philosophie des Schönen” (“Philosophy of the Beautiful”), in the same volume, p. 758. Thinks that his observations on “Zur Ästhetik des Dramas” (“Aesthetics of Drama”) and on Otto Ludwig’s Shakespeare Studies, in vols. 1 and 4 of the work mentioned, may also be of interest.

(1b)   Envelope (cs 1918)

September 15, 1860. Letter from Invercloy to [Mrs. Crum]

German

Thanks (in German, because no doubt his thanks will be more welcome in correct German than in faulty English) for Scottish songs sent to him; they remind him of evenings in Busby and Arran when they were sung. Is returning the translation of Rab and His Friends. Would have done so sooner had he not been detained on Holy Island by Dr. Carpenter and bad weather. Has corrected offensive passages. Must, however, modify his criticism of the translator after having compared it with the original. Only at the beginning is her translation too literal; towards the end she is noticeably more fluent and reasonably independent. Hence most of the changes he has made are near the beginning. But it is difficult to translate the little story adequately, and the admixtures of Scottish dialect are in any case bound to get lost. Hopes to see addressee before his departure. (Part of second leaf below signature cut away.) (cs 1919)

(1)   October 23, 1874. Letter from Wernigerode to “Hochgeehrter Herr Director,” possibly a publisher.

German

The letter was found in the Folger copy (PR 2827 H42) of Hermann’s pamphlet Ein Wort zur weiteren Begründung ... meiner Auffassung des Sommernachtstraums (Braunschweig: J. H. Meyer, 1874), which contains additions and rejoinders to criticism of his work (published anonymously) Über Shakespeare’s Midsummer-night’s-Dream (Wernigerode: Finkbein, 1874), later revised as Die Bedeutung des Sommernachtstraums [...], E. H., Drei Shakespeare Studien, I (Erlangen: Deichert, London: Thimm, New York: Westermann, 1877) and eventually expanded into a four-volume work Shakespeare der Kämpfer (Erlangen: Deichert, etc., 1879).

In the (draft?) letter, Hermann offers a lengthy defence of the first edition of his study - a reading of A Midsummer Night’s Dream as allegory and satire, which had met with much adverse criticism. But Hermann is sure that, unlike his detractors, he has not been guided by preconceived ideas. Also writes about his projected study in textual criticism of Troilus and Cressida. (cs [515])

July 3, [17]77. Autograph letter signed Heyne, from Göttingen to an unidentified person.

German

Copy of vol. I of Bell’s Shakespeare containing Macbeth is being sent informally to [unidentifiable] recipient, along with a request to him to fill out and return a library slip. (cs 1669)

(1)   April 23, 1864. Autograph poem entitled “Zum 23ten April, 1864.”

German

Poem celebrating Shakespeare’s tercentenary, beginning: “Ja zieht sie auf, die heil’ge Fahne, Und laßt sie hoch in Lüften wehn.” Poem listed in Folger index of first lines. (cs 1510)

February 19, 1834. Autograph letter signed CarlhzgMecklenburg, probably to director of court theatre.

German

Returns several playscripts. Recommends performance of a new play by Raupach. “Die Aufführung des Sommernachtstraums will mir dagegen ein gewagtes Unternehmen erscheinen; ich zweifle, daß das Stück heut zu Tage entspricht, wenn es auch noch so gut gegeben wird; selbst bei der besten Besetzung, die ich mir etwa folgender Gestalt gedacht habe.” [“Putting on a production of A Midsummer Night’s Dream, on the other hand, would appear to be a daring enterprise; I doubt if the play is suitable for our times, however well it might be played, and even with the best possible cast, which I would have thought to be as follows.”] Then a tentative casting list follows:

(cs 506)

(1)   March 5, 1892. Letter from Berlin to Augustin Daly.

German

Encloses an alteration - a transposition of scenes - made in Metropolitan Lift which may be of use in Daly’s adaptation. Announces a letter from Mr. [Franz] von Schönthan containing a proposal for a new work by the latter and himself; if Daly is interested, the play could be submitted in the early summer. Regrets that he did not conclude a contract with Daly [for his last play], but hopes that the new piece will be acceptable at the conditions offered previously. Asks if Daly will be in Europe this summer. The 1000 Marks for In Civil have not yet arrived. Asks when Metropolitan Lift will be performed and whether Daly liked Blumenthal’s Second Face.

(2)   May 5, 1892. Letter from Berlin to Augustin Daly.

German

Has received with thanks the 1000 Marks for In Civil. Announces a new play by Blumenthal and himself; thinks that it is very funny and hopes that Daly will like it. Asks how the new treaty between Germany and America will affect the American rights of their plays and whether they can now be printed in Germany. Will there be a chance of meeting Mr. Daly before August 15[?] By then he also hopes to have finished another new play written together with Schörth[?].

(3)   October 21, 1892. Letter from Berlin to Augustin Daly.

German

Thanks him for permission to have In Civil published for the book market. The play has been successful everywhere and is a great sensation in Germany. Is surprised that Daly has not yet tried it out in America. A German actor, Mr. Junkermann, will take a theatre Company to America on November 15 and wonders about the rights for performances in German of Großstadtluft (Metropolitan Lift) and Die Orientreise (Journey to the Orient); he has referred the manager, Mr. Arnold, to Daly. Should an agreement be reached, notification by cable would be appreciated, as Mr. Junkermann would like to begin with rehearsals prior to his departure. When will Daly stage [the English adaptation of] Metropolitan Lift? He is expecting good business with it. Orientreise, too, makes good business wherever it is performed in Germany and is now being translated into Italian and Dutch.

(4)   [1894] Letter from Berlin to Augustin Daly.

German

Asks for acceptance of a new play written together with Dr. Blumenthal. Would apppreciate receiving instalments of payment for the other plays. Endorsed: 1894.

(5)   March 14, 1894. Letter from Berlin to Augustin Daly.

German

Looks forward to Mr. Daly’s visit to Berlin in May. Everything can be discussed then. Daly will also have a chance to see Der Herr Senator (Mr. Senator), a play that has made big business in Germany and will no doubt do so in America, too; is glad that Daly likes it. Agrees that the payment due should be deferred until April 1. Also mentions that In Civil has successfully been performed in German at the Irving Place Theater; German papers reported that never before had there been such laughter in a New York playhouse. He regrets that Daly has not been able to have that playlet performed in London.

(6)   May 3, 1894. Letter from Berlin to Augustin Daly.

German

Points out that the check promised for May 1 has not arrived.

(7)   May 23, 1894. Letter from Berlin to Augustin Daly.

German

Confirms receipt of 2000 Marks and agrees that the remaining 500 Marks and the new instalment of 2500 Marks due July 1 should be paid in the autumn from New York. Regrets that Daly’s business in London has been less profitable than expected and hopes that the next New York season will make up for the losses, perhaps with the help of his (Kadelburg’s) plays. Der Herr Senator is making good business in Germany; could Daly manage to come to Berlin to see it?

(8)   June 15, 1894. Letter from Berlin to Augustin Daly.

German

Hopes that Mr. Daly is still in Europe and thus can soon communicate his decisions on the following points: (1) Would Daly accept a new comedy written together with Dr. Blumenthal which is just being finished and with which one may reasonably expect big business in America? A date of payment could be arranged according to Daly’s wishes. (2) If Daly agrees, would he give permission to have the piece "printed as manuscript" ("Druck als Manuskript", i.e., not for sale, only for theatre performances)? (3) Kadelburg is now writing, together with Schönthan, another nice play; for this one, too, private circulation of copies is requested; the same procedure had worked out nicely in the case of their earlier play Goldfische (Goldfish).

(9)   July 3, 1894. Letter from Berlin to Augustin Daly.

German

Has received Daly’s cable of acceptance; asks him to notify Mr. Meyer Cohn in Berlin, Unter den Linden 11. Urges Daly to respond to the suggestions concerning the printing of the new plays.

(10)   July 29, 1894. Letter from Berlin to Augustin Daly.

German

Urgent inquiry concerning the play Freundschaft (Friendship). Salutation at the beginning is blacked out.

(11)   December 18, 1894. Letter from Berlin to Augustin Daly.

German

Mentions the play Zwei Wappen (Two Coats of Arms) written together with Blumenthal.

(12)   October 12, 1897. Letter from Berlin to Augustin Daly.

German

Mentions that the play Hans Huckebein, written together with Blumenthal, is now in rehearsal, and that yet another one for Miss Rehan is in the making.

(13)   October 24, 1897. Letter from Berlin to Augustin Daly.

German

(1)   November 26, 1796. Letter from Hamburg to Herr G[öschen].

German

Instructions to his printer. Has recently seen an edition of Hume - its first printing in Europe. The printing is better than that of the Shakespeare (2 transcripts included in folder). Also, a printed flyer, February 1873, calling for papers and publications by and concerning Klopstock to be presented to his birthplace, Quedlinburg, in 1874 on the occasion of the 150th anniversary of his birth. (cs 1510)

(1)   November 17, 1892. Autograph letter signed from [Berlin-] Pankow to an unidentified lady.

German

Thanks her for her letter. Has been unable to offer his new farce to director Lester [?] directly, owing to his contract with the publisher Bloch’s Erben. But Kneisel is very well disposed towards the new management of the Wallner Theater. As soon as he knows what the repertoire will be like, it will be an honour and a pleasure for him to be of service to director Lester [?]. Wishes he could see the recipient, and also Miss Leon, more often. (cs 966)

(2)  Also, newspaper obituary. (cs 966)

n.d. Autograph manuscript, 8 pp. (3 pp. text)

German

Translation into German of Timon of Athens: list of characters and beginning of I.i (poet and painter). (cs 1005)

(1)   n.d. [post 1889] Official announcement signed of courses in criminal and civil law for “this winter semester.” (cs 966)

German

(2)  Also, newspaper cutting on him. (cs 966)

(1)   June 23, 1852. Letter from London to [Charles Kean].

German

Has always wished to admire the greatest actor of his age, and is delighted that this wish has now been fulfilled, especially since he had not been able to witness Kean’s triumphs in Hamburg. Was enchanted by his masterly performance in both The Corsican Brothers and King John, although Kühn does not understand a word of English; Kean’s facial expression, gesture, and modulation of voice touched him in The Corsican Brothers and deeply moved him in King John. Praises the scene with Hubert and the death scene as the highest perfection of the art of acting he has ever seen. Also praises Kean’s wife, whose acting reminds him of “our great Schröder” [referring to Friedrich Ludwig Schröder (1744-1816), German actor-manager in Hamburg, who staged Shakespearean plays from 1776]. “The productions in their entirety, including the scenic arrangement, could be a model for us Germans.” (“Die ganze Darstellung des Stückes war überhaupt eine vortreffliche, das Arrangement der Szenerie ein Musterbild für uns Deutsche.”) Thanks him for the privilege of being permitted to see the performance, is looking forward to meeting Kean personally. Both daily rehearsals and ignorance of English have so far prevented him from paying his respects to him. Contemporary English translation of this letter included. (cs 1511)

(1)   October 10, 1884. Autograph letter signed from Munich to unnamed lady.

German

Sends thanks for a book [apparently on mushrooms], which he will use next summer when mushroom-hunting. (cs 966)

(2)  Also, newspaper cutting on him. (cs 966)

January 28, 1859. Auograph poem signed Dr. Hermann Lingg.

Title: Shakespeare. First line: “Titan, der du mit schöpferischer Fülle.” Poem listed in the Folger index of first lines. (cs 1754)

(1)   July 27, 1839. Letter from B[erlin?] to a musical composer.

German

Has to report on two things: (1) The recipient’s new musical composition of the same elegiac words has been sent to him by Miss Scheffer. The composition would seem to emulate Taubert and Mendelsso[h]n; remarks on both accompaniment and new melody. Would also like to see the earlier version, whatever critics may have said about it. (2) Is unable to accept an invitation. More remarks on “the words” by Shakespeare, which that great poet must have put in an enthusiast’s mouth (“einem Enthusiasten in den Mund gelegt”). (cs 1542)

(1)   September 7, 1841. Letter from Berlin to H. F. Chorley, London.

English

Is pleased about Chorley’s last letter and what it said on a “Frühlingslied” of Mendelssohn. But which one did he mean? “I have composed such a heap of them, and every winter the evil will increase instead of being cured.” Refers to Chorley’s book (Chorley, Henry Fothergill (1808-1872) wrote Music and Manners in France and Germany (1841)), which he has not yet seen but only read about in the German papers. He will “think of some Shakespearian songs; but never did it before, and such things must have time with me.” Asks if Adelaide Kemble is still in England. [Franz] Liszt is being expected by the Berlin public. But what Burney said about Berlin is still “dreadfully true” - that “the people here made up for their defects in practising the arts, by their acuteness and correctness in critical observations.” But Mendelssohn has to be grateful to them for treating him kindly.

Acquired by Mr. Folger from Maggs Bros. in London (? date) (cs 1464)

(2)   December 2, 1843 [?]. Letter from Berlin, to Mr. Weissenborn.

German

Instructions to copyist of his Midsummer Night’s Dream music.

Text: Lieber Herr Weissenborn, beiliegend das Manuskript meiner Sommernachtstraummusik, das ich Sie nun schleunigst abzuschreiben bitte. Aber nehmen Sie mir das Manuskript recht in Acht, damit ich es unverändert wieder bekomme. Geben Sie es auch durchaus nicht aus Händen. Lassen Sie sich von Schwarz seine Abschrift zeigen und lassen Sie sich von ihm erklären wie ich die melodramatischen Stellen geschrieben haben will; so schreiben Sie sie auch, und bitten Sie zudem [...] Herrn C.M. David Ihnen seinen Band des Tieckschen Shakespeare worin der Sommernachtstraum steht zu leihen, damit Sie daraus die Dialogworte (die in meinem Ms. theils undeutlich theils ausgelassen sind) ebenso hineinschreiben können, wie das Schwarz aus meinem Exemplar gethan hat. Ich verlasse mich darauf, daß Sie das pünktlich befolgen, sonst wäre es möglich, daß ich die ganze Abschrift gar nicht brauchen könnte. Und schicken Sie mir Ms. und Abschrift baldmöglichst wieder. Und grüßen Sie Inten [?] und alle übrigen Leipziger Bläser. Herzlich von Ihrem ergebenen Felix Mendelssohn-Bartholdy.

Translation: Dear Mr. Weissenborn, Enclosed is the manuscript of my Midsummer Night’s Dream music, which I would ask you to copy as quickly as possible. But be careful with the manuscript, as I would like to have it back without alterations. And on no account let it out of your hands. Ask Schwarz to show you his copy and to explain to you how I would like the melodramatic passages written; write them in the same way, and also ask [...] C.M. David to lend you the volume of his Tieck Shakespeare containing A Midsummer Night’s Dream, from which you can copy the words of the dialogue (which in my manuscript are partly unclear, partly omitted) in the same way as Schwarz has done from my copy. I rely on you to do all this punctually, since otherwise it is possible that I might not need the copy at all. And send me both manuscript and copy at your earliest convenience. And give my greetings to all the other Leipzig wind intrumentalists. Sincerely from your devoted Felix Mendelssohn--Bartholdy.

No. 244 from some collection. Acquired by Mr. Folger from Paul Gottschalk, Antiquar. Berlin, May 1927 (cs 1683)

(3)   June 21, 1844. Envelope only addressed to G. A. Macfarren with an impression of Mendelssohn’s seal.

English

(4)   June 23, 1844. Autograph letter [from London?] to G. A. Macfarren [MacFarren, Sir George Alexander, composer (1813-1887)]

English

Has received a note saying that a parcel with MS music has arrived from Hamburg. Suspects “it is the Symphony.” He will send it on to MacFarren, along with the score of his D. Carlos and parts of Romeo and Juliet. Acquired by Mr. Folger from Maggs Bros. in London (? date) (cs 1741)

(5)   March 10, 1847. Letter from Leipzig to Benjamin Lumley.

English

His new opera The Tempest is being talked about in London and has been announced in an official prospectus issued by Her Majesty’s Theatre on February 20; Mendelssohn urges that a stop should be put to such announcements. Although he did express his readiness and desire to write such a work if there was enough time and if he could agree with the libretto, he will now not be able to produce the opera for 1847 (Mendelssohn died on November 4, 1847). [Letter published in Karl Klingemann: Felix Mendelssohn-Bartholdys Briefwechsel mit Legationsrat Karl Klingemann in London ... 1909, p. 326]. Acquired by Mr. Folger from Paul Gottschalk, Antiquar. Berlin 1914. (cs 628)

(1)   August 10, 1864. Letter of apologies to unidentified lady. (cs 960)

German

(2)  This letter was sent, after Mommsen’s death, by his daughter, Elisabeth Mommsen, to an unidentified lady, along with a note of May 26, 1901, written by the daughter on Tycho Mommsen’s obituary notice. (cs 960)

(1)   June, 1891. Letter from Chicago.

German

Asks if it would be possible for him to play guest performances as Hamlet and Othello with the recipient’s company. Morisson would play his part in German and the others theirs in English. This would guarantee full houses in both Chicago and Milwaukee. His uncle - Bogumil “Davison” (i.e. Dawison) - “the greatest German actor” - played Othello opposite Edwin Booth’s Iago in the 1860s (on Bogumil Dawison’s performances see Stahl, p. 231; W. Winter, Shakespeare on the Stage (New York, 1911-16), I, pp. 162, 268). Refers to the Chicago German press for appreciations of his acting. Assures the recipient that large audiences from the German population would be attracted to the Windsor Theatre if he were to play there. (Translation included in folder) (cs 1806)

(1)   November 5, 1890. Note on stationery of Bohemian Club, San Francisco, signed E.v.d. Osten

German

Inscribed with the following distich:

“Wer durchs Leben sich forsch will schlagen Muß zu Schutz und Trutz gerüstet sein.” Verse listed in Folger index of first lines. Accompanied by a newspaper cutting on von der Osten. (cs 980)

(1)   May 25, 1860. Letter from Arnstadt.

German

Is preparing to travel to Paris; would like to see recipient en route. He and his companion will leave for Brussels on May 30, 9 a.m. Remembers a previous meeting. Has been busy dealing with mail, manuscripts of young dramatists and queries by publishers addicted to Shakespeare. Has studied Kreysig and has now a clearer idea of his own plans besides having learnt that Shakespeare is the author of sonnets, too. But he does not like Kreysig’s schoolmasterly attitude. Will buy Bodenstedt [B.’s Shakespeare edition?]; is glad, however, that recipient has not conveyed Bodenstedt’s greetings. Recipient’s review of Hamlet was not printed, but Palleske would like to see the manuscript. Compliments and personal matters. His wife is not well; will meet her in Dresden on his return journey. (cs 1176)

(1)   May 16, 1883. Letter from Montrose [to F.G. Fleay]

English

Both Anglia and Englische Studien accept contributions in English by English scholars. Englische Studien, ed. Eugen Kölbing, might be more suitable for his purposes. Pogatscher would also be willing to translate contributions of recipient into German “and feel happy in having an opportunity of interpreting to my countrymen the views of a man who has contributed so largely to our knowledge of Shakespeare.” (cs 1270)

(1)   [May 18, 1855]. Letter from Maida Vale to [Charles J. Kean]

English

Appreciates last night’s performance of Kean’s production of Henry VIII. Although a foreigner, she is an ardent admirer of Shakespeare, whose tragedies she has seen in Dresden and Berlin. Translation housed with letter. (cs 712)

(1)   June 24, 1796. Autograph letter signed from Jena to an unidentified friend in Leipzig.

German

Apologies for belated reply; is delighted to have heard [from Caroline?] that recipient and his family are well. “Mir ist es, seit ich Leipzig verließ, ungemein wohl gegangen, ich habe eine Menge interessanter Bekanntschaften gemacht... und Jena wird für jetzt mein bleibender Aufenthalt.” [“Ever since I left Leipzig I have been uncommonly well, I have made many interesting acquaintances, and have been received splendidly, and Jena will remain, for the time being, my place of residence.”] Circumstances have rendered it advisable for him to hasten his marriage with Caroline. In a few days he will travel to Braunschweig, but he will be back in Jena in less than two weeks. They will live in a garden house with a nice view. He has not yet been in Weimar - “its attraction has diminished since Wieland has been absent, and Goethe has been here [in Jena] most of the time.” But he will go to Weimar before leaving for Braunschweig, and also to Göttingen to talk about the publication of the prospectus [of the Shakespeare translation?].

He has learnt some things to make him fear that there is something wrong with the bookseller Michaelis. “Should you [the recipient] hear anything about him, I should be obliged if you would let me know.” “Noch habe ich ihm kein Manuskript vom Shakespeare geschickt, und ich muß gestehen, ich schöbe es gern so lange auf, bis ich über seine Lage beruhigt sein könnte. Meine Übersetzung des Romeo hat bei Goethen, dem ich sie ganz vorgelesen, großen Beyfall gefunden.” [“I have not yet sent him a manuscript of the Shakespeare, and I must admit that I should prefer to postpone doing so until I am satisfied about his situation. My translation of Romeo was very well received by Goethe, to whom I read it in its entirety.”]

Then follow remarks concerning the edition of Wieland’s works. Final request: could recipient try to obtain for him, in Leipzig, a copy of the works of his uncle, Elias Schlegel? (cs 1293)

(2)   n.d. Autograph letter (or last part of a letter signed?) to Justizrath [Gottlieb] Hufeland in a different hand.

German

“Auf die Art wie der erste Band meines Shakespeare ist die neue Ausgabe des Eschenburgschen ebenfalls, unmittelbar nach der Erscheinung angepriesen, so als ob meine Übersetzung gar nicht vorhanden wäre, so daß jenes dadurch so gut wie zurückgenommen ist. Ich muß daher erklären, daß ich nicht mehr für die ALZ arbeiten werde, bis sie ihre Schulden gegen mich auf eine befriedigende Art abträgt...” Bookseller Fröhlich has repeated his wish that the Athenaeum should be reviewed in the [Jenaische] Allgemeine Lit. Zeitung. Schlegel bitterly complains that ALZ has not done justice to either his or his brother Friedrich’s work. And the new edition of Eschenburg’s Shakespeare translation was commended in a way that made it seem “as if my own translation did not exist.” He will no longer write for ALZ until justice is done to him. [translation included in folder] See also the [Folger] letter from [C.G.] Schütz (the editor) to Tieck, Y.c.1493 (1), urging him to write the review of Schlegel’s Shakespeare he has been promising for some time. However, Schütz calls Schlegel devil-ridden and arrogant for reacting so strongly, obviously with reference to the latter’s letter to Hufeland above. (cs 1723)

(3)   June 13, 1835. Bonn: autograph note signed in French.

Testifies that Professor [Barnas?] Sears has shown interest in his [Schlegel’s] scholarly and literary work and expresses his satisfaction in learning that it has not remained unknown in the USA. (cs 637)

(4)   n.d. Autograph library slip signed

Returns books: Euripides, vol. 1; Heidelberger Jahrbücher, 4. Orders books: Schiller’s essay on tragedy; Die Horen (containing his own essay on Shakespeare); his own translation of Shakespeare, vols. 1-8. (cs 1267)

Manuscript (fair copy? transcript?) from his Vorlesungen über die Geschichte der Litteratur, June 8, 1812, 20 fols

German

Entire twelfth lecture, containing the passages on Shakespeare. [Vorlesungen appeared in print in 1814.] (cs 568)

August 2, 1874. Autograph letter signed from Königsberg to [F. G. Fleay].

English

Sends thanks for comments on [the first edition of] his Shakespeare Lexicon. (cs 1259)

Autograph manuscript poem. Addressed by actors to the audience. Followed by a note by Ludwig Löwe confirming that the above verses were written by his friend Schreivogel (sic).

German

First line: “Nach alter Sitte treten wir heraus.” Poem listed in the Folger index of first lines. (cs 1686)

(1)   n.d. Autograph letter signed Schröder to a professor.

German

He cannot play Lear, much as he would have enjoyed the recipient’s appreciation. Will play Hamlet next Monday, but allowances must be made on account of his poor health. [The dating is problematical. Schröder played Hamlet several times in his career. He first played the role in 1776 in Hamburg.] (cs 1855)

(2)   March 15, 1778. Four lines of verse quoted from Shakespeare (Lear III.2) and copied and signed by Schröder onto fol. 68 of Brockman’s album. (cs 1723)

n.d. Letter signed Schütz to Johann Ludwig Tieck.

Asks Tieck to review Schlegel’s Shakespeare translation urgently. Schlegel himself is impatient [cf. A. W. Schlegel’s (Folger) letter to Hufeland, Y.c.1488 (2)]. Schütz describes Schlegel as arrogant. Printed German transcript included in folder. (cs 1616)

June 23, [180]8, Autograph letter signed Schulz from Dresden.

German

Expresses thanks for copy of the Journal. Fears that he himself has contributed much in quantity but little in quality, especially when he considers the fine contributions by [?] and Mr. [Byseldt?]. But since most journals need filler items, and since the addressee has asked him, he will again write something, but doesn’t yet know if it will be tragical or comical. - Mentions annoyance about Cotta [the publisher]. Hopes that the farces (“Possenspiele”) are now in the addressee’s hands; the reader has to be in a special mood to appreciate them. Mentions books he has received from Mr. Göschen [publisher], and sends regards to the latter. Had a letter from [Apel? - Axel?] yesterday and was alarmed to hear that Neven has produced Shakespear in the Leipzig theatre. Shakespear would have been the first to laugh had he seen his work there. Has browsed through Heid’s[?] poems in a bookshop. (cs 1707)

(1)   February 17, 1871. Letter [from New York?] to [William] Winter.

German

Thanks Mr. Winter for his interest in her performance of Ophelia; she loves this pure, tender mayflower, as she does Desdemona. She only regrets that her partner is not Booth or Fetcher playing Hamlet or Othello. Daily rehearsals prevent her from seeing Mrs. and Mr. Winter, but she hopes she will be able to do so before her benefit in a week. (cs 1515)

February 10, 1887. Autograph letter signed from Vienna to Emil Klaar, theatre director in Frankfurt.

German

Discusses details of stage design for his guest performance of Hamlet. There is to be no trap for the ghost’s disappearance. (cs 1079)

(1)   April 11, 1893. Autograph letter signed from Berlin to unidentified person.

German

Written in answer to a letter asking Spielhagen to name works he has taken “as a standard of conduct.” Translation included in folder. (cs 1515)

(2)   November 28, 1893. Visiting card with autograph note signed in English, apparently accompanying a letter he had delayed finishing. (cs 1515)

(1)   June (?), 1842. Autograph piece of paper from London.

English

Inscribed “to Emily Smart from J. Staudigl.”

(1)   July 15, 1856. Autograph letter signed from Berlin to an unidentified person.

German

Mentions his songs for The Tempest. (cs 114)

(2)  A draft of a Life of Taubert (in French) written during his lifetime. 5 pp. (cs 114)

December 5, 1862. Autograph letter signed to editor of the Athenaeum, [W. H. Dixon].

English

Sends him a review copy of the English translation of Gervinus’s Shakespeare and points out that the original enjoys a high reputation in Germany. (cs 2079)

(1)  February 1, 1843. Letter from Berlin to Mr. [Christoph] Arnold, bookseller in Dresden

Asks Arnold to put up with partial payments of the remainder of his bill in mid-July and mid-October, owing to expenses connected with his move to Berlin. Gives his new Berlin address. At the end there is a note in a different hand saying “no!”. (cs 1659)

(2)  July 3, 1824. Letter from Dresden to Dr. Carus

Is about to depart for Teplitz and has only time to say good-bye and to thank the addressee for the specimen of someone’s translation. Will write to the talented author at more leasure. Has had no answer from booksellers he had consulted on his behalf. Apologies for his brevity; has been unwell and overworked. Hopes to see addressee when returning in August. (cs 1659)

(3)  n.d. (Tuesday morning). Letter [from Dresden] to Dr. Carus

Apologies for not being able to take part in a soirée to which he had been invited. For one thing he must devote time to a friend who has arrived for a brief stay, and for another thing he is afraid of the German measles. Hopes to see Carus before the latter’s departure. (cs 1659)

(4)  n.d. [watermark dated 1833]. Letter [from Dresden] to Dr. Carus

Hopes that Carus will see him this morning to inform him about the programme for a reading in the evening. Tieck also needs consolation, because the event, considering that the Grand Duke will be present, will be rather late, which is a disadvantage at his age. (cs 1659)

(5)  n.d. (Monday morning). Letter [from Dresden] to Dr. Carus

Has been indisposed for some time and thus unable to see the exhibition and to look at the picture they had talked about. Would like to discuss the matter; thinks that Carus does not consider beauty by itself. Expects to see him this evening; Steffen will be around, hoping to meet Carus before he travels to Breslau. (cs 1659)

(6)  n.d. (Tuesday morning) [watermark dated 1833]. Letter [from Dresden] to [Dr. Carus]

Letter of condolences. Deplores the affliction of his friend, who will never overcome the loss he has suffered, but should keep in good shape to console his family and to give an example to the world and to scholarship. (cs 1659)

(7)  n.d. (Saturday morning). Letter [from Dresden] to Dr. Carus

Graf Baudissin was his guest last Thursday and will shortly travel to Leipzig. They will have to wait for his return before arranging an (unidentified) function. (cs 1659)

(8)  n.d. Letter [from Dresden] to Dr. Carus

Has had a confusing day. Some elderly ladies announced themselves, although he would have thought they could have