Handwritten letter from Maximilian Harden to Schenker, undated [Printed header:] [decorative rule] Sehr geehrter Herr, Minnas Zofe sagt daß man am liebsten von den Eigenschaften spricht, die man nicht hat.1 Warum also soll Herr Bahr,2 dieses routinirte Nichts, nicht von „Empfindung“ und „Leidenschaft“ schwärmen und die Routine verdammen? Dabei ist nichts zu verwundern. Franziska,3 noch besser Dortchen Lakenreißer4 hat ihn charakterisirt. („Weil Ihr einer armen Hure u.s.w.“)5 Ich fürchte, ich werde Ihrem Artikel6 nicht leicht Raum schaffen können. Wenn Sie aber die Güte haben, ihn zu senden, will ich Ihnen gleich meine Ansicht sagen. Mit besten Grüßen aus qualvoller Hitze © Permission applied for. |
Handwritten letter from Maximilian Harden to Schenker, undated [Printed header:] [decorative rule] Dear Sir, Minna’s chambermaid says that people most enjoy talking about qualities they don’t possess.1 So why shouldn’t Herr Bahr,2 that proficient non-entity, extol “sensibility” and “passion” and condemn proficiency? There is nothing remarkable in it. Franziska,3 or even better, Doll Tearsheet4 sketched his character well. (“For [...] a poor whore’s etc.”)5 I’m afraid I won’t easily be able to make space for your article.6 If you would be so kind as to send it, however, I will give you my opinion straight away. With best regards from the depths of distraction, © Translation William Pastille 2006. |
COMMENTARY: FOOTNOTES: 1 Minna is the title character in Gotthold Ephraim Lessing’s 1767 comedy Minna von Barnhelm. The passage Harden has in mind occurs in Act II, Scene 1, where the maid says to her mistress, “Man spricht selten von der Tugend, die man hat; aber desto öftrer von der, die uns fehlt.” (“We seldom talk about virtue we possess, but more often about the virtue we lack.”) 2 Hermann Bahr (1863-1934), a prolific music and theater critic who wrote for many leading magazines, and was an editor of the Viennese magazine Die Zeit, held an extremely progressive aesthetic of continual artistic revolution against existing styles, for which view Harden dubbed him the “Man of The-Day-After-Tomorrow” (“der Mann von Übermorgen”). [create biogfile and link] 3 Franziska is the name of Minna’s maid in Lessing’s Minna von Barnhelm. 4 Dortchen Lakenreißer is the German equivalent of Doll Tearsheet in the translation of Shakespeare’s Henry IV, Part II by August Wilhelm Schlegel (1867-1845). 5 The passage indicated by Harden, from Henry IV, Part II, Act II, Scene 4, lines 1398-1406, is Doll Tearsheet’s response to Mistress Quickly’s use of the title “captain” in reference to the scoundrel Pistol:
6 The article in question is uncertain. SUMMARY: © Commentary, Footnotes, Summary William Pastille, 2006
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