Page:The Atlantic Monthly, Volume 18.djvu/264

256 imbued with the importance of his theme. One, therefore, suffers a great deal from him, in the way of unnecessary detail, without a murmur, and now and then willingly accepts an old story from him, charmed by the simplicity and good faith with which he attempts to pass it off as new.

The style of the book is clear and direct, except in those parts where light and humorous narration is required. There it is bad, and seems to have been formed upon the style of the sporting newspapers and the local reporters, with now and then a hint from the witty passages of the circus, as in this colloquy:—

Mought you be the boss hossifer of that thar army?'

I am the commanding officer of that detachment, sir.'

Wall, Mr. Hossifer, be them sure 'nuff sogers, or is they only make-believe chaps, like I see down to Orleans?'

They have passed through the Mexican war, and I trust have proved themselves not only worthy of the appellation of real, genuine soldiers, but of veterans, sir.

And so forth. We like Colonel Mercy when he talks of himself better than when he talks for himself. In the latter case he is often what we see him above, and in the former he is always modest, discreet, and entertaining.

, as Heine says, Napoleon, who was Classic like Cæsar and Alexander, fell to the ground, and Herren August Wilhelm and Friedrich Schlegel, who were Romantic like Puss in Boots, arose as victors, Baron von Eichendorff was one of those who shared the triumph. He wrote plays and poems and novels to the tunes set by the masters of his school, but for himself practically he was a wise man,—held comfortable offices all his life long, and, in spite of vast literary yearning, sentiment, and misanthropy, was a Philister of the Philisters. The tale which Mr. Leland translates so gracefully is an extravaganza, in marked contrast to all the other romances of Eichendorff, in so far as it is purposely farcical, and they are serious; but we imagine it does not differ from them greatly in its leading qualities of fanciful incoherency and unbridled feebleness. An idle boy, who is driven from home by his father, the miller, and is found with his violin on the road to nowhere by two great ladies and carried to their castle near Vienna,—who falls in love with one of these lovely countesses, and runs away for love of her to Italy, and, after passing through many confused adventures there, with no relation to anything that went before or comes after, returns to the castle, and finds that his lovely countess is not a countess, but a poor orphan adopted by the great folk,—and so happily marries her,—this is the Good-for-Nothing and his story. A young student of the German language, struggling through the dusty paths of the dictionary to a comprehension of the tale, would perhaps think it a wonderful romance, when once he had achieved its meaning; but being translated into our pitiless English, its poverty of wit and feeling and imagination is apparent; and one is soon weary of its mere fantasticality.