CHAPTER VII. WHAT A BERLIN CHILD ENJOYED ON THE SPREE AND AT HIS GRANDMOTHER'S IN DRESDEN.

CHAPTER VIII. THE REVOLUTIONARY PERIOD BEFORE THE REVOLUTION

CHAPTER IX. THE EIGHTEENTH OF MARCH.

ETEXT EDITOR'S BOOKMARKS:

Title: The Story of My Life, Volume 2.

Author: Georg Ebers

Edition: 10

Language: English

This eBook was produced by David Widger <widger@cecomet.net>

[NOTE: There is a short list of bookmarks, or pointers, at the end of the file for those who may wish to sample the author's ideas before making an entire meal of them. D.W.]

THE AUTOBIOGRAPHY OF GEORG EBERS

THE STORY OF MY LIFE FROM CHILDHOOD TO MANHOOD

Volume 2.

CHAPTER VI.

MY INTRODUCTION TO ART, AND ACQUAINTANCES GREAT AND SMALL IN THE LENNESTRASSE.

The Drakes mentioned in my sister's journal are the family of the sculptor, to whom Berlin and many another German city owe such splendid works of art.

He was also one of our neighbours, and a warm friendship bound him and his young wife to my mother. He was kind to us children, too, and had us in his studio, which was connected with the house like the other and larger one in the Thiergarten. He even gave us a bit of clay to shape. I have often watched him at work for hours, chattering to him, but happier still to listen while he told us of his childhood when he was a poor boy. He exhorted us to be thankful that we were better off, but generally added that he would not exchange for anything in the world those days when he went barefoot. His bright, clear artist's eyes sparkled as he spoke, and it must indeed have been a glorious satisfaction to have conquered the greatest hindrances by his own might, and to have raised himself to the highest pinnacle of life—that of art. I had a dim impression of this when he talked to us, and now I consider every one enviable who has only himself to thank for all he is, like Drake, his friend in art Ritschl, and my dear friend Josef Popf, in Rome, all three laurel-crowned masters in the art of sculpture.

In Drake's studio I saw statues, busts, and reliefs grow out of the rude mass of clay; I saw the plaster cast turned into marble, and the master, with his sure hand, evoking splendid forms from the primary limestone. What I could not understand, the calm, kindly man explained with unfailing patience, and so I got an early insight into the sculptor's creative art.

It was these recollections of my childhood that suggested to me the character of little Pennu in Uarda, of Polykarp in Homo Sum, of Pollux in The Emperor, and the cheery Alexander in Per Aspera.

I often visited also, during my last years in Berlin, the studio of another sculptor. His name was Streichenberg, and his workshop was in our garden in the Linkstrasse.

If a thoughtful earnestness was the rule in Drake's studio, in that of Prof. Streichenberg artistic gaiety reigned. He often whistled or sang at his work, and his young Italian assistant played the guitar. But while I still know exactly what Drake executed in our presence, so that I could draw the separate groups of the charming relief, the Genii of the Thiergarten, I do not remember a single stroke of Streichenberg's work, though I can recall all the better the gay manner of the artist whom we again met in 1848 as a demagogue.

At the Schmidt school Franz and Paul Meyerheim were among our comrades, and how full of admiration I was when one of them—Franz, I think, who was then ten or eleven years old—showed us a hussar he had painted himself in oil on a piece of canvas! The brothers took us to their home, and there I saw at his work their kindly father, the creator of so many charming pictures of country and child life.

There was also a member of the artist family of the Begas, Adalbert, who was one of our contemporaries and playmates, some of whose beautiful portraits I saw afterward, but whom, to my regret, I never met again.

Most memorable of all were our meetings with Peter Cornelius, who also lived in the Lennestrasse. When I think of him it always seems as if he were looking me in the face. Whoever once gazed into his eyes could never forget them. He was a little man, with waxen-pale, and almost harsh, though well-formed features, and smooth, long, coal-black hair. He might scarcely have been noticed save for his eyes, which overpowered all else, as the sunlight puts out starlight. Those eyes would have drawn attention to him anywhere. His peculiar seriousness and his aristocratic reserve of manner were calculated to keep children at a distance, even to repel them, and we avoided the stern little man whom we had heard belonged to the greatest of the great. When he and his amiable wife became acquainted with our mother, however, and he called us to him, it is indescribable how his harsh features softened in the intercourse with us little ones, till they assumed an expression of the utmost benevolence, and with what penetrating, I might say fatherly kindness, he talked and even jested with us in his impressive way. I had the best of it, for my blond curly head struck him as usable in some work of his, and my mother readily consented to my being his model. So I had to keep still several hours day after day, though I confess, to my shame, that I remember nothing about the sittings except having eaten some particularly good candied fruit.

Even now I smile at the recollection of his making an angel or a spirit of peace out of the wild boy who perhaps just before had been scuffling with the enemy from the flower-cellar.

There was another celebrated inhabitant of the Lennestrasse whose connection with us was still closer than that of Peter Cornelius. It was the councillor of consistory and court chaplain Strauss, who lived at No. 3.

Two men more unlike than he and his great artist-neighbour can hardly be imagined, though their cradles were not far apart, for the painter was born in Dusseldorf, and the clergyman at Iserlohn, in Westphalia.

Cornelius appears to me like a peculiarly delicate type of the Latin race, while Strauss might be called a prototype of the sturdy Lower Saxons. Broad-shouldered, stout, ruddy, with small but kindly blue eyes, and a resonant bass voice suited to fill great spaces, he was always at his ease and made others easy. He had a touch of the assured yet fine dignity of a well-placed and well-educated Catholic prelate, though combined with the warlike spirit of a Protestant.

Looking more closely at his healthy face, it revealed not only benevolent amiability but superior sense and plain traces of that cheery elasticity of soul which gave him such power over the hearts of the listening congregation, and the disposition and mind of the king.

His religious views I do not accept, but I believe his strictly orthodox belief was based upon conviction, and cannot be charged to any odious display of piety to ingratiate himself with the king. It was in the time of our boyhood that Alexander von Humboldt, going once with the king to church, in Potsdam, in answer to the sneering question how he, who passed for a freethinker at court, could go to the house of God, made the apt reply, "In order to get on, your Excellency."

When Strauss met us in the street and called to us with a certain unction in his melodious voice, "Good-morning, my dear children in Christ!" our hearts went out to him, and it seemed as if we had received a blessing. He and his son Otto used to call me "Marcus Aurelius," on account of my curly blond head; and how often did he put his strong hand into my thick locks to draw me toward him!

Strauss was in the counsels of the king, Frederick William IV, and at important moments exercised an influence on his political decisions. Yet that somewhat eccentric prince could not resist his inclination to make cheap jokes at Strauss's expense. After creating him court-chaplain, he said to Alexander von Humboldt: "A trick in natural history which you cannot copy! I have turned an ostrich (Strauss) into a bullfinch (Dompfaffer)"—in allusion to Strauss's being a preacher at the cathedral (Dom).

Fritz, the worthy man's eldest son, came to see me in Leipsic. Our studies in the department of biblical geography had led us to different conclusions, but our scientific views were constantly intermingled with recollections of the Lennestrasse.

But better than he, who was much older, do I remember his brother Otto, then a bright, amiable young man, and his mother, who was from the Rhine country, a warm-hearted, kindly woman of aristocratic bearing.

Our mother had a very high opinion of the court chaplain, who had christened us all and afterward confirmed my sisters, and officiated at Martha's marriage. But, much as she appreciated him as a friend and counsellor, she could not accept his strict theology. Though she received the communion at his hands, with my sisters, she preferred the sermons of the regimental chaplain, Bollert, and later those of the excellent Sydow. I well remember her grief when Bollert, whose free interpretation of Scripture had aroused displeasure at court, was sent to Potsdam.

I find an amusing echo of the effect of this measure in Paula's journal, and it would have been almost impossible for a growing girl of active mind to take no note of opinions which she heard everywhere expressed.

Our entire circle was loyal; especially Privy-Councillor Seiffart, one of our most intimate friends, a sarcastic Conservative, who was credited with the expresssion, "The limited intellect of subjects," which, however, belonged to his superior, Minister von Rochow. Still, almost all my mother's acquaintances, and the younger ones without exception, felt a desire for better political conditions and a constitution for the brave, loyal, reflecting, and well-educated Prussian people. In the same house with us lived two men who had suffered for their political convictions—the brothers Grimm. They had been ejected from their chairs among the seven professors of Gottingen, who were sacrificed to the arbitrary humour of King Ernst August of Hanover.

Their dignified figures are among the noblest and most memorable recollections of the Lennestrasse. They were, it might be said, one person, for they were seldom seen apart; yet each had preserved his own distinct individuality.

If ever the external appearance of distinguished men corresponded with the idea formed of them from their deeds and works, it was so in their case. One did not need to know them to perceive at the first glance that they were labourers in the department of intellectual life, though whether as scientists or poets even a practised observer would have found it difficult to determine. Their long, flowing, wavy hair, and an atmosphere of ideality which enveloped them both, might have inclined one to the latter supposition; while the form of their brows, indicating deep thought and severe mental labor, and their slightly stooping shoulders, would have suggested the former. Wilhelm's milder features were really those of a poet, while Jakob's sterner cast of countenance, and his piercing eyes, indicated more naturally a searcher after knowledge.

But just as certainly as that they both belonged to the strongest champions of German science, the Muse had kissed them in their cradle. Not only their manner of restoring our German legends, but almost all their writings, give evidence of a poetical mode of viewing things, and of an intuition peculiar to the spirit of poetry. Many of their writings, too, are full of poetical beauties.

That both were men in the fullest meaning of the word was revealed at the first glance. They proved it when, to stand by their convictions, they put themselves and their families at the mercy of a problematical future; and when, in advanced years, they undertook the gigantic work of compiling so large and profound a German dictionary. Jakob looked as if nothing could bend him;

Wilhelm as if, though equally strong, he might yield out of love.

And what a fascinating, I might almost say childlike, amiability was united to manliness in both characters! Yes, theirs was indeed that sublime simplicity which genius has in common with the children whom the Saviour called to him. It spoke from the eyes whose gaze was so searching, and echoed in their language which so easily mastered difficult things, though when they condescended to play with their children and with us, and jested so naively, we were half tempted to think ourselves the wiser.

But we knew with what intellectual giants we had to do; no one had needed to tell us that, at least; and when they called me to them I felt as if the king himself had honoured me.

Only Wilhelm was married, and his wife had hardly her equal for sunny and simple kindness of heart. A pleasanter, more motherly, sweeter matron I never met.

Hermann, who won good rank as a poet, and was one of the very foremost of our aesthetics, was much older than we. The tall young man, who often walked as if he were absorbed in thought, seemed to us a peculiar and unapproachable person. His younger brother, Rudolf, on the other hand, was a cheery fellow, whose beauty and brightness charmed me unspeakably. When he came along with elastic tread as if he were challenging life to a conflict, and I saw him spring up the stairs three steps at a time, I was delighted, and I knew that my mother was very fond of him. It was just the same with "Gustel," his sister, who was as amiable and kindly as her mother.

I can still see the torchlight procession with which the Berlin students honoured the beloved and respected brothers, and which we watched from the Grimms' windows because they were higher than ours. But there is a yet brighter light of fire in my memory. It was shed by the burning opera house. Our mother, who liked to have us participate in anything remarkable which might be a recollection for life, took us out of our beds to the next house, where the Seiffarts lived, and which had a little tower on it. Thence we gazed in admiration at the ever-deepening glow of the sky, toward which great tongues of flame kept streaming up, while across the dusk shot formless masses like radiant spark-showering birds. Pillars of smoke mingled with the clouds, and the metallic note of the fire-bells calling for help accompanied the grand spectacle. I was only six years old, but I remember distinctly that when Ludo and I were taken to the Lutz swimming-baths next day, we found first on the drill-ground, then on the bank of the Spree, and in the water, charred pieces, large and small, of the side-scenes of the theatre. They were the glowing birds whose flight I had watched from the tower of the Crede house.

This remark reminds me how early our mother provided for our physical development, for I clearly remember that the tutor who took us little fellows to the bath called our attention to these bits of decoration while we were swimming. When I went to Keilhau, at eleven years old, I had mastered the art completely.

I did, in fact, many things at an earlier age than is customary, because
I was always associated with my brother, who was a year and a half older.

We were early taught to skate, too, and how many happy hours we passed, frequently with our sisters, on the ice by the Louisa and Rousseau Islands in the Thiergarten! The first ladies who at that time distinguished themselves as skaters were the wife and daughter of the celebrated surgeon Dieffenbach—two fine, supple figures, who moved gracefully over the ice, and in their fur-bordered jackets and Polish caps trimmed with sable excited universal admiration.

On the whole, we had time enough for such things, though we lost many a free hour in music lessons. Ludo was learning to play on the piano, but I had chosen another instrument. Among our best friends, the three fine sons of Privy-Councillor Oesterreich and others, there was a pleasant boy named Victor Rubens, whose parents were likewise friends of my mother. In the hospitable house of this agreeable family I had heard the composer Vieuxtemps play the violin when I was nine years old. I went home fairly enraptured, and begged my mother to let me take lessons. My wish was fulfilled, and for many years I exerted myself zealously, without any result, to accomplish something on the violin. I did, indeed, attain to a certain degree of skill, but I was so little satisfied with my own performances that I one day renounced the hope of becoming a practical musician, and presented my handsome violin—a gift from my grandmother— to a talented young virtuoso, the son of my sisters' French teacher.

The actress Crelinger, when she came to see my mother, made a great impression on me, at this time, by her majestic appearance and her deep, musical voice. She, and her daughter, Clara Stich, afterward Frau Liedtcke, the splendid singer, Frau Jachmann-Wagner, and the charming Frau Schlegel-Koster, were the only members of the theatrical profession who were included among the Gepperts' friends, and whose acquaintance we made in consequence.

Frau Crelinger's husband was a highly respected jurist and councillor of justice, but among all the councillors' wives by whom she was surrounded I never heard her make use of her husband's title. She was simply "Frau" in society, and for the public Crelinger. She knew her name had an importance of its own. Even though posterity twines no wreaths for actors, it is done in the grateful memory of survivors. I shall never forget the ennobling and elevating hours I afterward owed to that great and noble interpreter of character.

I am also indebted to Frau Jachmann-Wagner for much enjoyment both in opera and the drama. She now renders meritorious service by fitting on the soundest artistic principles—younger singers for the stage.

Among my mother's papers was a humorous note announcing the arrival of a friend from Oranienburg, and signed:

                   "Your faithful old dog, Runge,
                    Who was born in a quiet way
                    At Neustadt, I've heard say."

He came not once, but several times. He bore the title of professor, was a chemist, and I learned from friends versed in that science that it was indebted to him for interesting discoveries.

He had been an acquaintance of my father, and no one who met him, bubbling over with animation and lively wit, could easily forget him. He had a full face and long, straight, dark hair hanging on his short neck, while intellect and kindness beamed from his twinkling eyes. When he tossed me up and laughed, I laughed too, and it seemed as if all Nature must laugh with us.

I have not met so strong and original a character for many a long year, and I was very glad to read in the autobiography of Wackernagel that when it went ill with him in Berlin, Hoffman von Fallersleben and this same Runge invited him to Breslau to share their poverty, which was so great that they often did not know at night where they should get the next day's bread.

How many other names with and without the title of privy-councillor occur to me, but I must not allow myself to think of them.

Fraulein Lamperi, however, must have a place here. She used to dine with us at least once a week, and was among the most faithful adherents of our family. She had been governess to my father and his only sister, and later was in the service of the Princess of Prussia, afterward the Empress Augusta, as waiting-woman.

She, too, was one of those original characters whom we never find now.

She was so clever that, incredible as it sounds, she made herself a wig and some false teeth, and yet she came of a race whose women were not accustomed to serve themselves with their own hands; for the blood of the venerable and aristocratic Altoviti family of Florence flowed in her veins. Her father came into the world as a marquis of that name, but was disinherited when, against the will of his family, he married the dancer Lamperi. With her he went first to Warsaw, and then to Berlin, where he supported himself and his children by giving lessons in the languages. One daughter was a prominent member of the Berlin ballet, the other was prepared by a most careful education to be a governess. She gave various lessons to my sisters, and criticised our proceedings sharply, as she did those of her fellow-creatures in general. "I can't help it—I Must say what I think," was the palliating remark which followed every severe censure; and I owe to her the conviction that it is much easier to express disapproval, when it can be done with impunity, than to keep it to one's self, as I am also indebted to her for the subject of my fairy tale, The Elixir.

I shall return to Fraulein Lamperi, for her connection with our family did not cease until her death, and she lived to be ninety. Her aristocratic connections in Florence—be it said to their honour— never repudiated her, but visited her when they came to Berlin, and the equipage of the Italian ambassador followed at her funeral, for he, too, belonged to her father's kindred. The extreme kindness extended to her by Emperor William I and his sovereign spouse solaced her old age in various ways.

One of the dearest friends of my sister Paula and of our family knew more of me, unfortunately, at this time than I of her. Her name was Babette Meyer, now Countess Palckreuth. She lived in our neighbourhood, and was a charming, graceful child, but not one of our acquaintances.

When she was grown up—we were good friends then—she told me she was coming from school one winter day, and some boys threw snowballs at her. Then Ludo and I appeared—"the Ebers boys" and she thought that would be the end of her; but instead of attacking her we fell upon the boys, who turned upon us, and drove them away, she escaping betwixt Scylla and Charybdis.

Before this praiseworthy deed we had, however, thrown snow at a young lady in wanton mischief. I forgive our heedlessness as we were forgiven, but it is really a painful thought to me that we should have snowballed a poor insane man, well known in the Thiergarten and Lennestrasse, and who seriously imagined that he was made of glass.

I began to relate this, thinking of our uproarious laughter when the poor fellow cried out: "Let me alone! I shall break! Don't you hear me clink?" Then I stopped, for my heart aches when I reflect what terrible distress our thoughtlessness caused the unfortunate creature. We were not bad-hearted children, and yet it occurred to none of us to put ourselves in the place of the whimpering man and think what he suffered. But we could not do it. A child is naturally egotistical, and unable in such a case to distinguish between what is amusing and what is sad. Had the cry, "It hurts me!" once fallen from the trembling lips of the "glass man," I think we should have thrown nothing more at him.

But our young hearts did not, under all circumstances, allow what amused us to cast kinder feelings into the shade. The "man of glass" had a feminine 'pendant' in the "crazy Frau Councillor with the velvet envelope." This was a name she herself had given to a threadbare little velvet cloak, when some naughty boys—were we among them?—were snowballing her, and she besought us not to injure her velvet envelope. But when there was ice on the ground and one of the boys was trying to get her on to a slide, Ludo and I interfered and prevented it. Naturally, there was a good fight in consequence, but I am glad of it to this day.