And misery, though it beggar me of all, I'll honor still, for it hath taught me truth. ANTONIO. I hear thee with amazement, though I know TASSO. Oh, speak not to me with a gentle lip, ANTONIO. In thine extremity I will not leave thee; TASSO. And must I then Yield myself up a prisoner to thee? The riders in advance-ay, there they go E'en to the very place from whence I came ! That I could only falter out 'forgive! 'go, thou'rt forgiven! Alas! I hear it not; — I ne'er shall hear it ANTONIO. Yet hear the voice of one, Who, not without emotion, stands beside thee! TASSO. And am I then as wretched as I seem? Am I as weak as I do show myself? Say, is all lost? Has sorrow's direful stroke, As with an earthquake's sudden shock, transform’d The stately pile into a ruin'd heap? Is all the genius flown that did erewhile So richly charm, and so exalt my soul? Is all the power extinguish'd which of yore ANTONIO. Though to thyself thou seemest so forlorn, Be calm, and bear in mind what still thou art ! TASSO. Ay, in due season thou remindest me! Hath history no example for mine aid ? [Antonio approaches him and takes his hand. TASSO. Oh, noble friend, thou standest firm and calm, She sends her storm, the passive wave is driven, The helm is broken, and on every side The reeling vessel splits. The riven planks, Bursting asunder, yawn beneath my feet! Thus with my outstretch'd arms I cling to thee ! So doth the shipwreck'd mariner at last, Cling to the rock whereon his vessel struck. Even in this inadequate analysis the reader will perceive the ground there is for Madame de Stael's remark, that les couleurs du Midi ne sont pas assez prononcées.' The piece is indeed thoroughly German; and whatever the amount of historical detail woven into it, the spirit is throughout unlike that of Italy in the days of Tasso. The Princess is a purely German figure, analyzing her feelings more than she indulges in them; and Tasso, with his vacillations and reflections, would have astonished no one more than the real Torquato, whose wayward, passionate, impetuous nature would have despised the reflective, self-interrogating German. Nor would he have at all understood the German's conception of poetry as the urn wherein are contained the ashes of past sufferings, the confidant of secret thoughts. Obliged to employ a thin disguise in the expression of his sentiments for the Princess, Tasso employed a disguise as transparent as possible; and in other matters employed no disguise at all. CHAPTER X. THE POET AS A MAN OF SCIENCE. TASSO was completed shortly after the rupture with the Frau von Stein. He then began the study of Kant. The Kritik der reinen Vernunft is written in an esoteric language he was quite unable to follow; and could he have followed it, the matter was more metaphysical than suited his tendencies; but he read in it, as he read in Spinoza ; and the Kritik der Urtheilskraft, especially in its æsthetical sections, greatly interested him. Kant was a means of bringing him nearer to Schiller, who still felt the difference between them to be profound; as we see in what he wrote to Körner: His philosophy draws too much of its material from the world of the senses, where I only draw from the soul. His mode of presentation is altogether too sensuous for me. But his spirit works and seeks in every direction, striving to create a whole, and that makes him in my eyes a great man.' Remarkable indeed is the variety of his strivings. After completing Tasso, we find him writing on the Roman Carnival, and on Imitation of Nature, and studying with strange ardor the mysteries of botany and optics. In poetry it is only necessary to name the Roman Elegies, to show what productivity in that direction he was capable of; although, in truth, his poetical activity was then in subordination to his activity in science. He was, socially, |