and others, descriptions of Nature and travel, and Grimm’s fairy tales.
On other winter evenings my mother—this will surprise many in the case of so sensible a woman—took us to the theatre. Two of our relatives, Frau Amalie Beer and our beloved Moritz von Oppenfeld, subscribed for boxes in the opera-house, and when they did not use them, which often happened, sent us the key.
So as a boy I heard most of the operas produced at that time, and I saw the ballets, of which Frederick William IV was especially fond, and which Taglioni understood how to arrange so admirably.
Of course, to us children the comic “Robert and Bertram,” by Ludwig Schneider, and similar plays, were far more delightful than the grand operas; yet even now I wonder that Don Giovanni’s scene with the statue and the conspiracy in the Huguenots stirred me, when a boy of nine or ten, so deeply, and that, though possessing barely the average amount of musical talent, Orpheus’s yearning cry, “Eurydice!” rang in my ears so long.
That these frequently repeated pleasures were harmful to us children I willingly admit. And yet—when in after years I was told that I succeeded admirably in describing large bodies of men seized by some strong excitement, and that my novels did not lack dramatic movement or their scenes vividness, and, where it was requisite, splendour—I perhaps owe this to the superb pictures, interwoven with thrilling bursts of melody, which impressed themselves upon my soul when a child.
Fortunately, the outdoor life at Keilhau counteracted the perils which might have arisen from attending theatrical performances too young. What I beheld there, in field and forest, enabled me in after life, when I desired a background for my stories, not to paint stage scenes, but take Nature herself for a model.
I must also record another influence which had its share in my creative toil—my early intercourse with artists and the opportunity of seeing their work.
The statement has been made often enough, but I should like to repeat it here from my own experience, that the most numerous and best impulses which urge the author to artistic development come from his childhood. This law, which results from observing the life and works of the greatest writers, has shown itself very distinctly in a minor one like myself.
There was certainly no lack of varied stimulus during this early period of my existence; but when I look back upon it, I become vividly aware of the serious perils which threaten not only the external but the internal development of the children who grow up in large cities.
Careful watching can guard them from the transgressions to which there are many temptations, but not from the strong and varying impressions which life is constantly forcing upon them. They are thrust too early from the paradise of childhood into the arena of life. There are many things to be seen which enrich the imagination, but where could the young heart find the calmness it needs? The sighing of the wind sweeping over the cornfields and stirring the tree-tops in the forest, the singing of the birds in the boughs, the chirping of the cricket, the vesper-bells summoning the world to rest, all the voices which, in the country, invite to meditation and finally to the formation of a world of one’s own, are silenced by the noise of the capital. So it happens that the latter produces active, practical men, and, under favorable circumstances, great scholars, but few artists and poets. If, nevertheless, the capitals are the centers where the poets, artists, sculptors, and architects of the country gather, there is a good reason for it. But I can make no further digression. The sapling requires different soil and care from the tree. I am grateful to my mother for removing us in time from the unrest of Berlin life.
FIRST STUDIES.—MY SISTERS AND THEIR FRIENDS.
My mother told me I was never really taught to read. Ludo, who was a year and a half older, was instructed in the art. I sat by playing, and one day took up Speckter’s Fables and read a few words. Trial was then made of my capability, and, finding that I only needed practice to be able to read things I did not know already by heart, my brother and I were thenceforth taught together.
At first the governess had charge of us, afterward we were sent to a little school kept by Herr Liebe in the neighbouring Schulgarten (now Koniggratz) Strasse. It was attended almost entirely by children belonging to the circle of our acquaintances, and the master was a pleasant little man of middle age, who let us do more digging in his garden and playing or singing than actual study.
His only child, a pretty little girl named Clara, was taught with us, and I believe I have Herr Liebe to thank for learning to write. In summer he took us on long walks, frequently to the country seat of Herr Korte, who stood high in the estimation of farmers.
From such excursions, which were followed by others made with the son and tutor of a family among our circle of friends, we always brought our mother great bunches of flowers, and often beautiful stories, too; for the tutor, Candidate Woltmann, was an excellent story-teller, and I early felt a desire to share with those whom I loved whatever charmed me.
It was from this man, who was as fond of the beautiful as he was of children, that I first heard the names of the Greek heroes; and I remember that, after returning from one of these walks, I begged my mother to give us Schwab’s Tales of Classic Antiquity, which was owned by one of our companions. We received it on Ludo’s birthday, in September, and how we listened when it was read to us—how often we ourselves devoured its delightful contents!
I think the story of the Trojan War made a deeper impression upon me than even the Arabian Nights. Homer’s heroes seemed like giant oaks, which far overtopped the little trees of the human wood. They towered like glorious snow mountains above the little hills with which my childish imagination was already filled; and how often we played the Trojan War, and aspired to the honor of acting Hector, Achilles, or Ajax!
Of Herr Liebe, our teacher, I remember only three things. On his daughter’s birthday he treated us to cake and wine, and we had to sing a festal song composed by himself, the refrain of which changed every year:
“Clara, with her fair hair thick,
Clara, with her eyes like heaven,
Can no more be called a chick,
For to-day she’s really seven.”
I remember, too, how when she was eight years old we had to transpose the words a little to make the measure right. Karl von Holtei had a more difficult task when, after the death of the Emperor Francis (Kaiser Franz), he had to fit the name of his successor, Ferdinand, into the beautiful “Gotterhalte Franz den Kaiser,” but he got cleverly out of the affair by making it “Gott erhalte Ferdinandum.”—[God save the Emperor Francis.]
My second recollection is, that we assisted Herr Liebe, who was a churchwarden and had the honour of taking up the collection, to sort the money, and how it delighted us to hear him scold—with good reason, too—when we found among the silver and copper pieces—as, alas! we almost always did—counters and buttons from various articles of clothing.
In the third place, I must accuse Herr Liebe of having paid very little attention to our behaviour out of school. Had he kept his eyes open, we might have been spared many a bruise and our garments many a rent; for, as often as we could manage it, instead of going directly home from the Schulgartenstrasse, we passed through the Potsdam Gate to the square beyond. There lurked the enemy, and we sought them out. The enemy were the pupils of a humbler grade of school who called us Privy Councillor’s youngsters, which most of us were; and we called them, in return, ‘Knoten,’ which in its original meaning was anything but an insult, coming as it does by a natural philological process from “Genote,” the older form of “Genosse” or comrade.
But to accuse us of arrogance on this
