it would have been as well if there had been no expunging, at least we may dare to say so on this side of the water, where less and less divinity hedges the person of the great man-god of letters every day. Hauff, however, had a tender heart, and did not like to see what a big hole he had made by casting a stone at the man-god; and with the modesty of twenty-four he begged pardon. History does not say whether the man-god took any notice of him.
It is not, however, with the Memoirs of Satan, or with any but one of Hauff's works that we are now concerned. The 'Man in the Moon' was a scathing satire upon a school of story-book makers, popular at the time, and headed by one H. von Clauren, whose works we have not perused. 'Lichtenstein,' which has been dramatised, is not inferior to an inferior Waverley novel. These and many more are well known to English readers, but the 'Phantasien im Bremer Rathskeller' has never been translated, no doubt because of its dreadfully Rabelaisian morality in the matter of strong drink. What can you think of a man who dedicates his book to the 'lovers of wine,' and takes for his motto the passage from Othello which appears at the head of the story? We do not intend to defend him; we ourselves are by no means the pair of ultra-Pickwickian topers, that a cursory perusal of the motto and dedication would lead the reader to believe: and we are quite aware that there are to be no more cakes and ale in this world; we are a little sorry for it, that is all. As for Hauff we will let him speak for himself; we have no reason whatever to believe that he had more than a poetical and literary affection for the juice of the grape.
Hauff had grown tired of being a private tutor in 1826, and spent the profits of Lichtenstein in a journey to the North of Germany and to Paris in the latter half of that year. It was upon that occasion that he visited Bremen, although not upon the errand imagined in the text. On his return to the South in 1827 he became Editor of the 'Morning News for the Educated Classes,' to which his brother, who succeeded him in the editorship, was already a contributor. This paper survived till 1865, when it expired a few months after the death of Hermann Hauff, whom from all we know of him we imagine to have been a much more business-like editor than Wilhelm. Contemporarily with this responsible post Wilhelm took to himself a wife, one of his own cousins, who bore him a daughter but a few days before his death. He died of fever on the 18th November, 1827. Prefixed to the edition of 1853 is a very pretty little poem of L. Uhland's on the occasion, and also a funeral oration by Mr. Court Chaplain Grüneisen, who was his cousin, both of which were recited over his grave in true German fashion. If we could believe all that this worthy priest said–and we have not a scrap of evidence to the contrary–Wilhelm Hauff's life must indeed have been a bright and happy one; 'Wonnezeit voll holder Träume,' as he himself called the season of youth. Apparently he made no enemies, and he made every one whom he chose his friend; his tender affection for his mother seems to have been the mainspring of his existence; to his bride he had been long attached in a half playful spirit, that wanted only the shadow of a difficulty to withdraw their love into those regions of romance in which his mind delighted to dwell. It was about a month before his death that he produced, as a reminiscence of his northern journey, the following story, entitled–
NOTE (written before the late incorporation of the Hanse towns with the Empire).
It may seem a little superfluous here to attempt to describe the Rathskeller at Bremen, for it is well known to many travellers. But from the method by which travellers are usually conducted through the vaults, in which Hauff spent his grandfather's Schalttag in that bygone October, little acquaintance with the object of his story is to be derived. The Rathhaus at Bremen, then, is by far the most conspicuous object in the town. It contains some of the most beautiful of the German efforts, both in stone and wood carving, of the fifteenth and sixteenth centuries. Whether there is any connection between the fact that the fifteenth century preferred stone, the sixteenth wood, and the other fact that the former of these centuries was to the Hanse towns the epoch of glory, the latter the epoch of decay, we must leave for Mr. Ruskin to decide. Anyhow, the men who embellished that Rathhaus inside were as little conscious of the decay of their city as those who built it and decorated it outside. So far as Germany is concerned, even in the best examples of Lübeck, Augsburg, or Nuremberg, the force of Art could no further go. But descend the steps on the left of the building, and you will find a very different state of things. The cellar is built as a cellar should be, strictly with a view to the practical–that is, to the comfort of its inhabitants, the mighty spirits imprisoned in the mighty casks. For the comfort of those who came to commune with those mighty spirits, a broad oak settle with strong arms would and did suffice; and the steps were made strictly with a view to be easy of ascent. Since Hauff's time, and partly in consequence of his story, the internal arrangements appear to have been much altered. Some of the cellar chambers have been painted in the true modern German style, about which we should prefer not to say too much. Some of the mural paintings profess to be representations of scenes in the story. There is no longer a passage straight through from the Apostle cellar to the boudoir of Frau Rosa herself, and of the other vaults the cellar of Bacchus is alone unaltered. Bacchus, indeed, is the hero of the place. No better description could possibly be given of him than that which Hauff gives, and therefore we will not attempt to amplify it. But the same Bacchus does not actually 'in the wood,' so to speak, sit there. He was taken down ten years ago, and a new one put up in his place–why, I failed to discover. His cask is, however, like all the other casks except Frau Rosa (who has disappeared altogether), the old one, a veritable Thirty Years War cask, beautifully carved with fantastic figures in relief. In the Apostle cellar all the wine is Hochheimer or Rüdesheimer, and the names are still graven on each cask, and 'Herr Judas, 1729,' is said to contain the best wine. But from a somewhat limited experience it is difficult cordially to endorse the reported opinion of the late King Ludwig of Bavaria, that the finest Rhine wines would keep for ever. Let the man who wishes to know what wine can be, by all means go daily for a few weeks to the Rathskeller in Bremen. Let him pay due homage to the worthies of old time there by tasting them, one glass of each per diem; but let him not fail to wash them down speedily with a bottle of twenty-year old Niersteiner or Rüdesheimer. If you ask, thirsty reader, why these things are to be found at their best in Bremen, we can only say that North Germany is a right conservative country; and because the Burgomasters of Bremen thought it their duty in the seventeenth century to lay down cask upon cask of the best vintages, their successors think it is their duty likewise; which is a very practical and righteous feeling. Bacchus, however, and the two mighty casks which guard his right hand and his left (like those trusty comrades who stand up in the halls of the Colleges of our Universities on each side of the drinker, when the loving cup is passed round, to prevent his being stabbed in the back), are now empty. The right hand cask was broken open and drained by the French soldiers in 1806, after the defeat of Prussia at Auerstädt; a loss which one can well imagine that the Town Council of Bremen bore less philosophically than many another act of power of those merciless freebooters. Bacchus himself, who dates from 1624, has been empty for 100 years. But what has become of the Rose herself? There are many old casks in the cellar called after her, but none that I could identify with the heroine of the story. She is still painted on the ceiling–a sufficiently ugly specimen (of the variety known as 'La France,' she appears to be)–very fat and round, with very dirty green foliage, and round her the following inscription:–
'Cur Rosa Flos Veneris Bacchi depingitur antro,
Causa quod absque mero frigiat ipsa Venus.'
Other bad hexameters follow in other parts of the vault known as the Rose cellar; as for instance:
'Haec Rosa Luminibus Veneres Nectarque Palato
Objicit, exhalans pocula grata cadis:
Vina vetusta tenet, grandævi munera Bacchi;
Sint procul hinc juvenes; vos decet iste senes.'
They are in fact the sort of verses that the traditional Eton boy, who wrote verses for the whole of his Dame's house, could turn out at the rate of a couplet a minute, adding a few false quantities and concords by desire of the accomplice for whom they were written, 'because if you don't, you know, my tutor will never believe they're my own composition.' Finally, over the entrance door, on the other
