The Story of My Life. Georg Ebers
Читать онлайн книгу.
year, I neglected to inquire.
The Easter holidays always brought Brother Martin home. Then he told us about Keilhau, and we longed to accompany him there; and yet we had so many good schoolmates and friends at home, such spacious playgrounds and beautiful toys! I recall with especial pleasure the army of tin soldiers with which we fought battles, and the brass cannon that mowed down their ranks. We could build castles and cathedrals with our blocks, and cooking was a pleasure, too, when our sisters allowed us to act as scullions and waiters in white aprons and caps.
Martha, the eldest, was already a grown young lady, but so sweet and kind that we never feared a rebuff from her; and her friends, too, liked us little ones.
Martha’s contemporaries formed a peculiarly charming circle. There was the beautiful Emma Baeyer, the daughter of General Baeyer, who afterward conducted the measuring of the meridian for central Europe; pretty, lively Anna Bisting; and Gretchen Bugler, a handsome, merry girl, who afterward married Paul Heyse and died young; Clara and Agnes Mitscherlich, the daughters of the celebrated chemist, the younger of whom was especially dear to my childish heart. Gustel Grimm, too, the daughter of Wilhelm Grimm, was often at our house. The queen of my heart, however, was the sister of our playmate, Max Geppert, and at this time the most intimate friend of my sister Paula. The two took dancing lessons together, and there was no greater joy than when the lesson was at our house, for then the young ladies occasionally did us the favour of dancing with us, to Herr Guichard’s tiny violin.
Warm as was my love for the beautiful Annchen, my adored one came near getting a cold from it, for, rogue that I was, I hid her overshoes during the lesson on one rainy Saturday evening, that I might have the pleasure of taking them to her the next morning.
She looked at that time like the woman with whom I celebrated my silver wedding two years ago, and certainly belonged to the same feminine genre, which I value and place as high above all others as Simonides von Amorgos preferred the beelike woman to every other of her sex: I mean the kind whose womanliness and gentle charm touch the heart before one ever thinks of intellect or beauty.
Our mother smiled at these affairs, and her daughters, as girls, gave her no great trouble in guarding their not too impressionable hearts.
There was only one boy for whom Paula showed a preference, and that was pretty blond Paul, our Martin’s friend, comrade, and contemporary, the son of our neighbour, the Privy-Councillor Seiffart; and we lived a good deal together, for his mother and ours were bosom friends, and our house was as open to him as his to us.
Paul was born on the same November day as my sister, though several years earlier, and their common birthday was celebrated, while we were little, by a puppet-show at the neighbour’s, conducted by some master in the business, on a pretty little stage in the great hall at the Seiffarts’ residence.
I have never forgotten those performances, and laugh now when I think of the knight who shouted to his servant Kasperle, “Fear my thread!” (Zwirn), when what he intended to say was, “Fear my anger!” (Zorn). Or of that same Kasperle, when he gave his wife a tremendous drubbing with a stake, and then inquired, “Want another ounce of unburned wood-ashes, my darling?”
Paula was very fond of these farces. She was, however, from a child rather a singular young creature, who did not by any means enjoy all the amusements of her age. When grown, it was often with difficulty that our mother persuaded her to attend a ball, while Martha’s eyes sparkled joyously when there was a dance in prospect; and yet the tall and slender Paula looked extremely pretty in a ball dress.
Gay and active, indeed bold as a boy sometimes, so that she would lead in taking the rather dangerous leap from a balcony of our high ground floor into the garden, clever, and full of droll fancies, she dwelt much in her own thoughts. Several volumes of her journal came to me after our mother’s death, and it is odd enough to find the thirteen-year-old girl confessing that she likes no worldly pleasures, and yet, being a very truthful child, she was only expressing a perfectly sincere feeling.
It was touching to read in the same confessions: “I was in a dreamy mood, and they said I must be longing for something—Paul, no doubt. I did not dispute it, for I really was longing for some one, though it was not a boy, but our dead father.” And Paula was only three years old when he left us!
No one would have thought, who saw her delight when there were fireworks in the Seiffarts’ garden, or when in our own, with her curls and her gown flying, her cheeks glowing, and her eyes flashing, she played with all her heart at “catch” or “robber and princess,” or, all animation and interest, conducted a performance of our puppet-show, that she would sometimes shun all noisy pleasure, that she longed with enthusiastic piety for the Sunday churchgoing, and could plunge into meditation on subjects that usually lie far from childish thoughts and feelings.
Yet who would fancy her thoughtless when she wrote in her journal: “Fie, Paula! You have taken no trouble. Mother had a right to expect a better report. However, to be happy, one must forget what cannot be altered.”
In reality, she was not in the least “featherheaded.” Her life proved that, and it is apparent, too, in the words I found on another page of her journal, at thirteen: “Mother and Martha are at the Drakes; I will learn my hymn, and then read in the Bible about the sufferings of Jesus. Oh, what anguish that must have been! And I? What do I do that is good, in making others happy or consoling their trouble? This must be different, Paula! I will begin a new life. Mother always says we are happy when we deny self in order to do good. Ah, if we always could! But I will try; for He did, though He might have escaped, for our sins and to make us happy.”
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,