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SSoran eine SXbIjanblung:
*
A concise examination of the value and the merits of &. H. Lewes’
celebrated inquiry into the life and works of Goethe
ücn Dr. Rreyenberg.
3 m M ä r } 1866.
■
-icfnoh \h/ ' ni fi'/fih
• ’J i ■ 1 ' ;
A concise e x a m in a tio n
of the yalue and the rnerits of G. H. Lewes’ celebrated inquiry info the life and works of Goethe.
By DR. GOTTHOLD KREYENBERG.
--- ■
I f any one, at the present time, were to attempt to write about Schiller, the public might witli some reason ans wer to tliis cali madę upon it: Moutarde apres diner. For liow much activity has been manifested in regard to him, within the last ten years; and what popular enthusiasm developed!
In proof of tliis we need only point to tlie Weimar celebration in 1857, and the universally renowned Schiller festival in 1859.
The strong sympathy which welcomed the first, expressed itself here in action. Yet the public is probably only right for tlie moment, if it declares itself sated with Schiller books, and Schiller orations. We indeed shall ever reckon it to our honour, — as it is reproachfully said of us in other countries, to have founded a real Schiller apotheosis.
These Schiller festivals were, however, something morę than honours paid to literary merit. There was need of some display of popular feeling to place Germany in her true light in the eyes of other nations. To honour Schiller, then, was the object, though not the exclusive object of these manifestations.
For the people had not yet forgotten these verses from the „Xenienbund“
of the two great poets:
Deutschland, aber wo liegt es? Ich weisz das Land nicht zu finden.
Wo das gelehrte beginnt, hört das politische auf.“
And:
„Zur Nation Euch zu bilden, Ihr suchtet es, Deutsche, vergebens.
Bildet, Ihr könnt es, dafür freier zu Menschen Euch aus.“ —
In these lines we find no feeling of fresh national selfconsciousness, which indeed at tliat time had sunk into a lethargy deeper than sleep. — To fester this feeling is the legitimate tendency of our times. Schiller is, however, of
4
great national importance. And, moreover, for the critical student of his works also, there remains still enough, to occupy his finest researches.
There are still many specialities, the thorough discussion and final decision of which will be rewarded by the thanks of a grateful public; besides the new and critical edition of Schiller’s works by Prof. Meyer in Nürnberg will doubt- lessly raise new points for investigation.
If, however, this be true in regard to Schiller, how is it, — may we not reasonably ask, with regard to Goethe, who, for the moment, on account of the honour done to Schiller, bas been left by the masses in the background? —
The number of publications in regard to bim is also legion. Unfortunately, however, as public opinion often errs, so it has in this case, in giving preference to some which do not deserve it, and leaving others in forgetfulness, even though these were the sources from which those have drawn their material and derived their chief merit.
This is especially true in regard to a contribution from abroad, the praises of which, in the last years, have been in the mouths of all Germans.
It is a fact to he admitted that Germans have studied Goethe, his life, genius, and writings in all their branches earnestly and thorouglily. So much the more to be regretted is it then, when the patient labours of our own countrymen must yield precedence to the light though — we do not deny it
— agreeably written work of a foreigner; and for no ot'ner reason perhaps than because we feel öurselves under the singulär Obligation of preferring the Claims of a foreigner to home merit.
We refer here especially to the Biography of Goethe by Mr. Lewes, an Englishman.*)
If we make öurselves by close and attentive study capable of judging, we shall see by a nearer exaniination of this work, that its reputation rests more upon its style, a pleasing smooth manner of sometimes perverting facts,
— than upon real merit. This merit (a pleasing style), without the attending faults, belongs also to other works from German authors, richer in contents, much more pure and correct, and which deserve therefore preference before the novel-style-written work of Mr. Lewes.
In addition to the provei'bial conscientiousness of German writers their essays on Goethe have the advantage of a philosophical understanding of the subject treated.
Lewes’ work shows no traces of a philosophical knowledge of the true spirit and intent of Goethe’s writings. It is written in the manner in which one would write the life of an adventurer, not such as is suited for Goethe.
Of this weakness Lewes was himself conscious. He feit that he did not possess that scientific culture, necessary to fit him for the task undertaken.
The manner, however, in which he seeks to conceal this deficiency, — the
*) The life and works of Goethe: with sketehes of his age and contemporaries, from published and unpublished sources. By G. H. Lewes. Second edition, revised by the author. 2 vol. Leipzig ls58.
5
bo Id rnanner — not to use a harder expression that would not be out of place here, at all, — in whicli he makes a virtue of necessity, is, to say the least, unworthy of a truth-loving Englishman, and the morę unjust, inasmuch as he must have but too well known how many suggestions he owed to him whom he seeks to disparage. That we may not appear to be unjust ourselves, let us examine the point morę closely.
We read at the beginning of Lewes’ preface :*) „There was no life of Goethe in existence when I first began minę, no w nearly ten years ago; (1845?).
The meager notices by Schütz and Döring were little morę than abridgements of the autobiographical sketch published under the title of „Poetry and Truth from my Life;“ (?). Readers unacquainted with this autobiography may perhaps imagine that the existence of such a work, coupled with the absence of any attempt at a fuller biography, is a proof that, by Germans at least, no bio- graphy was wanted. I will not pause to show in detail how false such a conclusion would be, but content myself with the proof which is carried in the fact that, sińce my intended undertaking was madę known, two substantial biographies have appeared, one in four volumes, the other in two. Herr V i e h off declares in his preface that he considered the honour of German literaturę was at stäke if an Englishman were allowed to be the first biographer of the great German; and to prevent such a scandal (?), he resolved on the devotion of
„German diligence and German fidelity“ to the task.“
Now Yiehoff does not say that, although he might with right have said it. Here, however, we have an example of Lewes’ manner. Yiehoff expresses himself in his preface, found at the beginning of part s e c o n d , as follows:
„The centennial celebration of Goethe’s birthday was approaching, and still no author of our country announced an attention of greeting that day, which, I trust, is to be celebrated as one dear to the whole nation, — with a biography of the man theu honoured. Then came the news from over the channel that an Englishman was preparing to rob us of the honour of the first attempt. The unpleasautness of this information overcame my timidity and indecision. What morę gifted men neglected to do I determined to attempt.
I hoped at least, with German diligence, G e r m a n s o l i c i t u d e , and c o n s c i e n t i o u s n e s s (here Lewes misquotes) t obe able topiące a respectable weight in the scale against that of Britons and Frenchmen who are famed for composing with light hand a correspondent biography. (It is remarkable with what accuracy Viehoff judges of a work which at the time was still in embryo.)
The undertaking was perhaps too bohl, though the motives which prompter!
me to it are not to be condemned.“
(Das Säcularfest von Göthe’s Geburtstage rückte heran, und noch ver
lautete von keinem der Schriftsteller unseres Vaterlandes, dasz er sich anschicke den Tag, der hoffentlich als ein Nationalfest begangen wird, mit einer Biographie des Gefeierten zu begrüszen. Da kam über den Canal her die Kunde, ein
‘) G. H. Lewes etc..- I., m (preface.)
6
Engländer rüste sich uns den Ruhm des Erstlingsversuchs zu entreiszen. Der Unmut über diese Nachricht besiegte mein Zagen und Zaudern. Was Begabtere zu thun versäumten, das bcschlosz ich zu wagen; von d e u t s c h e m F l e i s z e , d e u t s c h e r S o r g f a l t u n d G e w i s s e n h a f t i g k e i t hoffte ich wenigstens ein achtbares Pfund in die Wagschaale legen zu können gegen jenes den Britten und Franzosen nachgerühmte Talent, mit leichter Hand ein entsprechendes Lebensbild zu liefern. Das Wagnisz war vielleicht zu kühn; so ist doch der Mut und die Quelle, woraus er mir geflossen, nicht zu verwerfen.)
Here it, is seen {hat ViehofFs practice with foreign writers upon the same subject is different from what Lewes would make it. The envy which Lewes seems to wish to put into these words is imperceptible even to the sharpest impartial eye. On the contrary, Viehoff closes his preface in the following language: „I shall succeed in participating in the general national joy, if my work must yield precedence to a biography thoroughly worthy of our greatest poet,“
(Ich werde es über mich gewinnen die Freude- der Nation mitzufühlen, wenn meine Arbeit einem vollkommen würdigen Lebensbilde unsres gröszten Dichters weichen musz.)
It was doubtlcss to the interest of the translator of G. H. Lewes, Herr Frese, to place the work of Lewes above those of his own nation. He, accor- dingly, thinks that ViehofFs production is entitled to no higher Claims tlian what may be awarded to a rieh collection of material, — a judgment entirely ungrounded; — and also that the work written by the accomplished Śchaefer is wanting in comprehension of a Personality like Goethe’s, and in the freshness of representation which such a subject demands and deserves.
This remark, supposing it to be true, wants even the charm of originality.
But Herr Frese comes with his groundless verdict, inconsiderately it seems to us, in contradiction with Lewes’ opinion of the two biographies. In regard to the first of these works Lewes says in his preface:*)
„Yet, voluminous as this wörk is, much valuable material finds no place in its pages: partly because this material has been published since he wrote, and partly because he had no access to unpublished sources. Indeed, hc has confined himself so exclusively to printed matter, that he has not even visited Weimar, where seven-and-fif’ty years of Goethe’s life were passed. Thus he writes of Goethe as he might write of Cicero. — A similar defect is noticeable in Herr Schaefer’s Biography; which, however, by means of more compact treatment, and the omisSion of critical considcrations of the various works, a c c o m p l i s h e s its aim in two volumes.“
The censured want of local knowledge in the one, if it be actually true, was more than counterbalanced by the thorough and accurate preliminary stu- dies of the works, which quaiified Viehoff, perhaps with the exception of H. Düntzer, better than any one eise, for writing a biography of Goethe. — Lewes seems to lay great stress up,on his stay in Weimar. Some time thus
') G. H. Lewes etc.; preface VI.
7
spent was absolutely necessary for a foreigner, that he might become somewhat acquainted with German manners, witliout which he could scarcely hope to succeed in writing the life of a German.
If we take into consideratiou also, that, already before Lewes wrote, the sources of information still unpublished were either of no great weight or are of such a naturę as still excludes thern from the eye of the public, we may at once see, that the advantage derived by Lewes from such sources is of no very great importance. At any rate we dare affirm, in spite of Mr. Lewes' assertion to the contrary, that Viehoff as well derived information from unprinted matter. In proof of this we need only mention the written Communications to Viehoff from Varnhagen von Ense.
We wonder all the more at this sojourn in Weimar to which Mr. Lewes seems to attach so much importance, when we see that in the description of Weimar localities he himself has beeu so much influenced by „printed“ sources of information.
In his description of the park, the garden-houses etc. we recognise almost linę for line Adolf Stahr’s „Weimar and Jena.“*) Lewes even acknowledges that this finely written wórk has been very useful to him.**)
In other parts of his work, and especially the s ec on d volume, the same mighty influence may be traced back to Viehoff and Schaefer, which in this part wre flnd to have been exercised by Stahr’s Weimar and Jena.
Nevertheless Lewes has the presumption of telling us: „It would ill become me to express any opinion on the merits of these performances ;“***) though he cannot but confess in the same period: „it would be still wmrse to omit the amplest acknowledgment of th e aid I h a v e d e r i v e d from th em .“****) And: „I h a v e ma de t he f r e e s t use b o t h of his ( V i e h o f f s ) and S c h ae - f e r ’s w o rk .“ *****)
Thus he twists and turns to come at last to the truth, that he has used the material wrought out by German industrv in erecting a structure, in the pleasant manner of the French and Engiish. Then, as if he would save his honour from this charge, he turns again, and says: „my book is in spirit, form, and matter, so widely different from those of Viehoff and Schaefer, con- taining so much which they have not, and omitting so much which they contain, that a reader who should make a comparison, remembering that the s a me (!) sources were open to me as to them, would probably form no idea of the assistance I have received.“******)
Nowy on the contrary, if any one will take the trouble of comparing G. H. Lewes with the different German authors on the same subject. it is very
*) A. >Stahr. Weimar und Jena. Oldenburg- 1S49.
**) G. H. Lewes, I., 2S0.
***) G. H. Lewes, pref. VI.
****) G. H. Lewes, pref. VI.
*****) G. H. Lewes, pref. VII.
******) G. H. Lewes, pref. VII.
8
easy to form an „idea of the assistance received“, and whence it came in the diverse p a r ts .---
We wish, however, to make it a p p a r e n t , how improper it is for Ger
mans to be making such an ado about this foreign production. —
Towards the end of bis preface Lewes says:*) „Considerable space has been allotted to analyses and criticisms of Goethe’s works. In the life of a great Captain, much space is necessarily occupied by his campaigns.“
„Tlie scientific writings have been treated with what proportionately may seein great length.“
„Even in Germany, there is nothing like a full exposition of his aims and achievements in this direction.“**)
Now, in the first place, the scientific writings are treated neither with great length nor even with accuracy. For example in his critique on the theory of colours he vacillates from one party to the other, and is undecided which to favour. His veneration of Goethe is great, but the opinions of natural philo- sophers puzzle him.
We add the judgment against Lewes of one of our greatest literary men:***)
„Wollte man aber glauben, dasz Shakspere’s anachronistischer Mutwille im Sommernachtstraum oder im Wintermärchen aus baarer Unwissenheit stamme, so würde man dieselbe Albernheit begehen, wie jener englische Kritiker, der Göthen in allem Ernste den Aberglauben vorwarf, mit dem er im Eingänge seiner Lebensbeschreibung die Constellation seiner Geburtsstunde besprochen habe.“****) —
Let us also see, how it Stands in regard to the „analyses and criticisms.“
We open the second volume of Lewes’ work, and find the 4th chapter of the 6th book dedicated to Herman and Dorothea, th e m o s t f i n i s h e d of G o e t h e ’s p r o d u c t i o n s . Let us take this as a sample of Lewes’ way of investigation.*****)
He commences here with the general observations: that there is no lack of subjects for the artist if he have but the eye to see them, and also, that great poets are not accustomed to cast about for material worthy of treatment, but that, on the contrary, the merest hint is enough for the nucleus of a great work, etc.
These remarks may be true, in general though they are not quite applicable to Goethe. From the peculiar Constitution of his poetic naturę Goethe was not in this manner influenced. On the contrary, he selected his subjects, as can be proved, with the greatest care, and after long thought and investigation.
This is especially true with regard to Herman and Dorothea. —
*) G. H. Lewes, pref. XI.
**) G. H. Lewes, pref. XII.
***) Gervinus. Shakspere. I., 35.
****) G. H. Lewes. L, 15.
*****) G. H. Lewes. II., 195.
9
One slionld not hastily conclude, that because the story of the Salzburg eniigrants had fallen into bis hands, he was iramediately fired with the determi- nation of composing a poem upon that novel. He was not prompted to the choice by momentary impulse, but after long study and consideration he chose it araong a hundred other subjects, because he found it adapted to his genius and mode of thinking.
It might also be expected from a writer, who sets out to analyse and criticise, as Lewes does: that he should teil us soinething of the sources from whicli Goethe has drawn in the creatiou of this beautiful epic poem. Lewes, however, gives us the title only of the writing which, p r o b a b l y . suggested the idea of this poem to Goethe, and then assümes this probability as an established fact.
Yiehoff on the other hand calls our attention to the other sources, in pointing out two special researches contained in the „Archiv für den deutschen Unterricht, Jahrgang 1844“, and in the „Archiv für das Studium neuerer Sprachen und L iteratu ren, lieft I.“
After Lewes and Yiehoff have given an epitome of the story, Lewes euphonic, Yiehoff euphonic and true, the course of thought remains with both somewhat the same. Tliey both point out the changes made by Goethe in time and place. Viehoff then enters into a discussion of the naturę of the poem.
We find nothing of the kind in Lewes. He gives, it is true, an outline of the cantos, which, though deficient in some places, reflects, in a plastic manner, the e s s e n t i a l points of their contents.
When, however, Lewes says:
„With all drawbacks, the analysis enables a reader of imagination to form a better conception of a poem than he would form from an esthetical discus
sion such as philosophical criticism indulges in.“*) And at the end: „Such is the story of Herman and Dorothea, which is written in Homeric hexameters, with Homeric simplicity. In the ordinary course of things, I should be called upon to give some verdict on the much vexed question whether, properly speaking, this poem is an Epic or an Idyll, or, by way of compromise, an Idyllic Epic. The critics are copious in distiuctions and classitications. They teli us in what consists the Epos proper, which they distinguish from the Ro- niantic Epos, and from the Bourgeos Epos; and then these heavy batteries are brought to bear on Herman and Dorothea. Well! if these discussions gratifv the mind, and further any of the purposes of literaturę, let those whose bent lies that way, occupy themselves therewith. To me it seems idle to trouble oneselt whether Herman and Dorothea is or is not' an Epic, or what kind of Epic it should be called It is a poem. One cannot say morę for it“. . .**)
When he thus expresses himself, and then makes sport of the esthetical researches of Hegel and of Rosenkranz,***) it must indeed have beeil done from
*) Lewes, II, 202.
**) G. H. Lewes, 11, 204.
***) G. II. Lewes, II, 207.
0
10
a point of view, at which, it must be confessed, our critics once stood too, but which, we think, we have fortunately long passed. —
In fact, a method as it seems to be laid down in this criticism, should be met with the same feeling as an attempt to transform the poems of Goethe into simple, only readable prose, as indeed bas been done with Herman and Dorothea.*) The author was prudent enough, however, not to give his name.
In such a case a writer should not in the beginning speak of analyses and criticisms: if he does not intend to give tliem. —
Viehoff bas an esthetic analysis of the poem, Lewes has nonę. Yiehoff then enters into a sufficient critical discussion, Lewes offers us no critique.
Or does he reckon this for his criticism: „Herman and Dorothea is — a poem?“
One indeed in those words inay mean a great deal, or — ver y little! Then, what great truth did our biographer intend to reveal to us in the following lines: „If it be unlike all other poems, there is no harm in that; if it resemble some other poems, the resemblance does not enhance its charm?“ —**)
It is, moreover, not true, when he says: „of all idylls, it is the most truły idyllic.“***) For nobody ever doubted that Goethe’s Herman and Dorothea was no i dyl l at all. It is equallv as far from fact when he affirms: „Of all poems describing country life and country people it is the most truthful“,****) sińce it describes neither country life nor country people.
But one of his greatest blunders is contained in the following assertion:
„One feels that the invigorating breezes of Ilmenau, where in a space of six months this poem was mainly composed, have roused the poet out of the flaccid moods of prose, and given him all his quiet strength.“*****)
Now the poem in question was not composed in Ilmenau; but the outline, also the principal part, was written in a s i n g l e month in J e n a , namely the month of September 1796; not then in six months. Moreover, it was finished, as can be shown, neither in Ilmenau nor within a space of six months, but in Jena, Weimar, and upon the Leipzig-Dessauer journey, during a space of more than eight months, including a part of June 1797; so that it is difficult to see how Lewes could have adopted the above-mentioned idea unless from a Sug
gestion given by the work of Viehoff to the effect that Goethe during his sojourn in Ilmenau 1795 had busied himself with this subject. Viehoff does not, however, mean to say that it was actually written then, but merely that it was an object of thought for Goethe at this time, as the similarity of loca- lities described in the Epic afterwards shows.
Lewes has probably misunderstood here the source of Viehoff.
The following passages from letters written in October 1796 give us no sustaining proof for the idea of the English biographer:
*) Herman und Dorothea. (Nach Göthe). Leipzig 1822.
**) G. H. Lewes, II, 204.
***) G. H. Lewes, II, 204.
, ***») ibidem.
*****) G. H. Lewes, II, 207.
V . / A ) 11 di.
Goethe writes to Schiller the 29th of October:
„I have been compelled to go to Ilmenau for a few days. I shall reckon it to my good luck, if I succeed there with a part of the epic poem. (?)“
Schiller answers on the 31st of the same month:
„Accept in your lonely valley my greetings, accompanied with the wish, that you may meet the most propitious of all Muses there. You can at least find the village of your Herman there, probably also an apothecary, and a green painted stuccoed house.“ —
Now how Lewes from these „few days“ can figurę out a six months’ stay at Ilmenau, is inexplicable. It is only possible, that he found it out, as be has done in many parts of his work, by the role of probabilities.
Did he learn this rule also in Weimar? It is hardly „probable“. Let us, notwithstanding all these deficiencies, not close with a censure. —
We have, indeed, acknowlcdged the merit of G. II. Lewes’ work: that of a beautiful style, a pleasing smooth manner of representing facts; and we only wish that the original researches of our German authors may meet with the same approbation. Then Viehoff’s book, and the laborious writings of our learned men would, as they should, take their proper place b e f o r e the bio-
graphy of G. II. Lewes.
✓
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15
4. Die Iföfjere ^ödjterfdjule.
© cdjśte Ä la ffc .
Älaffenleljrerin: Fräulein 30^a11teS .
' 1. S ie lig io n . 2 © t. w. kleine moralifdje ©rgäfjlungen unb außgewälflte BiBlifcfye ©efdfidften beß alten unb neuen Steftamentß nad) „.£>änelß freunblidje
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3. S chreiben, 6 © t. w. ©dfreibeüBungeit auf ber ©dfiefertafel nad) Sor=
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100. ©ine © e m in a r if t in .
f ü n f t e k la ffe .
•ftlaffenlefwerin: gräulein Slnbreß.
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£)enf= unb ©pred;übungen Benutzt. gräulein 9 Jla ttt;ie ß .
3. 9led;ttCtt. 4 © t. m. ©Weiterung beß 3al;lenlreifeß Biß 1,000,000. Sefen unb ©dmeiBen größerer Bot^fert. Slbbition, ©uBtraction, baß ©tnmaleinß unb bie SJiultiplication. 3 m ©ommer gräulein S lnbreß , im SSinter .Sperr ,£) e rrm a n n .
4. S d jte ib e tt. 5 © t. m. SDurdfüBung aller Älein= unb ©rofBudjftaBen in beutfdfer unb lateinifd;er © d)rift. gräulein S lnbreß.
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S ie rte Ä la ffc .
.ülaffenlebrcrin: Fräulein 93iattbie§.
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2. S c u ffd ). 6 S t. m. Sauoit 2 S t. m. Sefeu im ^inberfreunbe non [Preufj unb Setter. — 2 S t. m. Sefeftigung in ber £)rt§Dgrapf)ie. 9lbfd)riften unb Sictate, meiftenb non ©ebicfjten, bie fiuSmenbig gelernt unb beclamirt mürben. — 1 S t. m.
Abgabe unb Sefpredjttng ber oon beit .fviitbern angefertigten, bemitäd)[t genau Der*
belferten Stuffähe. — 1 S t. m. auSfcbliefdidi Sfrad/lebre, morin bie Sebetbetle, ber einfache, erweiterte unb gufammertgejogene S a h burcfogenommcu mürben, fytäulein tö ia ttb ie S .
3. ^ ra n jö ftfc l). 4 S t. m. S ie beibeit erften ^Ibfcfnitte au§ bem erften ©ur=
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4. © e fd jid ’ te. 1 S t. m. 3 m Sommer§aIbjal;r: Stogra|.^i|d)e S iittb e ilu m gen. Fräulein 93tattl;ieS. — 3 m Sßinterl)albjaf;r: lleberfidit über bie im ’ufstfd'c
@efd)id)te. p e rr p e r r m a ttn .
5. © eogvapbic. 1 S t. tu. 3 m Som m erfjalbjalir: Sorbegriffe, ber ©tobu§,
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7. Schreiben. 4 S t. m. 9bad) Sorfdfrtften. 3 m Sommer Fräulein 91n=
b re », im SSinter p e rr p e r r m a n n .
8. P3eftrag. 2 S t. m. S ie SCnfangbgrünbe ber Sbeorie. ©infttmmtge S o lftu lieber unb ©bördle, .perr © re g e r.
0. p a n b a rb e it, 4 S t. w. Striefen, SBäfcbefäumen, Beidmeit int paartudje;
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lein S to r c b unter Sedmlfe einer S e m iu a r if t in .
S v itte Ä la ffc .
.flaffenlebrer: p e rr p o tb e r= @ g g e r.
1. R e lig io n . 2 S t. m. ©eograbbte oon fpaläftina, Sepetitton ber bibli=
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bem mürben bie oier im Seboplan oorgefdmebeneit Ä ir dien lieber unb ein Sbetl ber Sergprebigt .gelernt, p e rr p o lb e r= © g g e r.
17
2. © eutfd). 5 © t. m. Seien im brüten Sßeilc ber Sebengbilber, Sefpredmng beb 3nbaltg bei gelcienen ©titcfc, Hebungen im münb(id)eit SSortrage unb ©eclama=
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4. (Sefd)id)fc. 2 © t. m. Sitte ©efd)id)te. 3 m ©ommer £ e rt g e lb e r *
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7. Sledjncn. 2 @t. in. äßeleti unb Sitten ber Sritcbe unb ihre $öef)anb=
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^ e r r m a n n .
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10. © c fa n g . 2 © t. m. ©ie ©urtonleiter unb ber tottifd)e ©reiflang. ©reff*
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11. •ö a u b a rb e it. 4 © t. m. Stäben non 3Bäfd)e aller Slrt, Betebnen im jpaartuebe, Betdmcu non SBäfdje; .päfelarbciten; augnabmgmeifc burftcit bie ©eiibte=
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3«)cite M c ffc .
Älaffenleljrer: .Öerr Dr. Ä re n e n b e rg .
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18
— 2 © t. w. Seetüre aus fPlüt) Öf)reftomatlne. 55ie Sefeftücfe würben überlebt, gram=
ntatifd) gergliebert uitb gu @pred)übungen oielfältig benutzt. SRebrere frangofifd)e @e=
bid)te finb aubwenbig gelernt worben. -fperr Dr. Ä re p e n b e rg . — 2 © t. w. waren aubfd)liefdid> für bie (Sonoerfation beftimmt, Wogu bte aub bem 33ocabuIariunt oon spiity erlernten Socabeln bienten, grättleitt Sorenp.
4. (g ttg lifd ). 2 @t. w. 5>ie gormenlel;re nad) bem erften Sfjetle ber @ram=
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5. ©efebiebte, 2 © t. w. Steuere @e|d)tcbte. ,f)err Staufd).
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<perr S ta u fd ).
8. W t f l , 1 © t. w. 5)te £ef;re oon ber SBärme. $ e rr S ta u f cf).
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10. Sctdm en, 2 © t. w. Bctdntungcn nad) Bnfammenftellungen oon Äör*
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11. © e fa n g . 2 © t. w. (comb, m it ber erften Älaffej. 5)ie moll-Sonlei»
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© r ffc Ä la ffe . Btlaffenlefjrcr: 33 0 r r m a n n.
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3. g r a n jö ftfd j. 6 © t. w. ©aoon 2 © t. w. © ram m atif in frangöfifd>er
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franjöjtftficn Stogra^teen ber Autoren ftetö eingeljenb BefprccEjen. — 2 © t. w. btert=
len tbcilö ju ©ytemporalien, tbed« ju r ©orrectur ber ju .paufe angefertigten franj.
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•D r. Ä r c l) enberg. >
4. © n g lifd ), 4 © t. in. ^Dauert 2 © t. in. ©ram m atif nad) Simmermann.
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fafce. p e rr Dr. Ä re q e n b e rg .
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