Fantasien. Fancies; a series of subjects in outline, now first published from the original plates

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UNIVERSITY OF CALIFORNIA.

l-ROM THB LIBRARY Ol

BENJAMIN PARKE AVERY.

Gift of Mrs. avery,

Autfiist. r8o6.

Accessions No.ipO o/O Clan's

No.

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Digitized by the Internet Archive

in 2008 with funding from

IVIicrosoft Corporation

http://www.archive.org/details/fantasienfanciesOOretzrich

RETZSCH'S FANCIES

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FANCIES

A SERIES OF SUBJECTS IN OUTLINE,

NOW FIRST PUBLISHED FROM

THE ORIGINAL PLATES,

DESIGNED AND ETCHED

BY MORITZ RETZSCH.

PREFATORY REMARKS AND DESCRIPTIONS,
BY MRS. JAMESON.

:uil7EESiiy]

LONDON

SAUNDERS AND OTLEY, CONDUIT STREET.

A. RICHTER AND CO., SOHO SQUARE ;

TREUTTEL AND WURTZ, PARIS AND STRASBURGH ;

AND E. FLEISCHER, LEIPZIG.

1834.

(p 3 ^7'^"^

LONDON :

IBOTSON AND PALMER, PBINTBES, SAVOY STREET, STRAND.

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PREFACE.

It would ill become the writer of these prefatory re-
marks to assume to be the panegyrist of the work which
she has the honour — for such she truly esteems it — of in-
troducing to the English T)ublic. It is, however, so sin-
gular in itself, both in its purpose and execution, that a few
observations in the way of explanation may not be deemed
obtrusive or impertinent.

Moritz Retzsch, of Dresden, is already famed in this
country, not less than in his own, for the spirit, the rich
and congenial spirit, in which he has embodied in visible
forms the conceptions of Goethe, Schiller, and Shakspeare.
He now appears before us in a new character, himself both
poet and designer. In these Fancies he has employed his
rare graphic talent, simply as the most easy and familiar
medium through which to convey to the minds of others
the sentiments and ideas with which his own powerful and

VI PREFACE.

luxuriant imagination seems for ever overflowing. The pencil
is to him what the pen is to other poets ; his effusions throw
themselves into forms before they can be clothed in words ;
and instead of writing a sonnet to his wife on her birth-
day, our artist-poet finds it easier to sketch a birth-day ode,
in which her worth and beauty, and his own tenderness, his
happiness, his hopes, and his wishes, assume an endless va-
riety of the most elegant and the most fanciful images.
To such occasions, the greater part of these sketches owe
their existence : they were all, in the first instance, dedi-
cated to his wife, and adorned the pages of her album ; and
never was the inventive power of genius, inspired by love,
more gracefully displayed than in some of these little birth-
day poems, for such they appeared to me.

Allegory in painting, that is, the application of the art
of design to the representation of abstract ideas, is nearly as
old as the art itself, and the power of symbolical painting on
the minds and imaginations of the young, as awakening
curiosity and exercising both the reasoning and imagina-
tive powers, can be estimated only by those who may have
watched the opening laculties of children : more the pity,
that art — ^beautiful art ! — so often perverted, so often degraded
into a mere stimulant, a mere accomplishment, should not
be better appreciated as a moral instrument in education.
This, however, is no place for such discussions. If that hack-
nied expression of Pope were true, in the sense in which it

PREFACE. Vll

ought to be true, that " Men are but children of a larger
growth," — retaining the simple tastes, and pure, unsophisti-
cated feelings of childhood — there would be little doubt of
the success of these Fancies ; but, alas ! we know that the
" child is not father of the man," that the man too often is not
the improved, but the perverted child. To address the moral
faculties through the medium of imagination, for any perma-
nent or beneficial purpose, is the last thing thought of by our
legislators and educators. Fable, except as a mere nomen-
clature of heathen gods and goddesses, is banished from the
nursery, and allegory in poetry and the fine arts is out of
fashion ; it is deemed the child's play of the intellect, fit
only for the days of Dante, or Spenser, or Michel Angelo —
we grown up people are wiser. By allegory in the fine
arts I do not mean the application of certain vulgar conven-
tional symbols, which good taste and good sense have de-
servedly exploded. With reason are we sick of all those
" hieroglyphical cattle," as Horace Walpole terms them,—
Hope leaning sentimentally on her anchor — Death shaking
his hour-glass — Valour brandishing his sword —Victory
flourishing her palm, and Fame puffing at her trumpet, —
all these, which, in Grecian art, were lovely personifications
of the ideal, have become, in the hands of our modern
artists, wretched, insipid, common-places, from which we
turn in disgust.

But if the representation or illustration of abstract

vm PREFACE.

poetry and truth be not beyond the province of graphic
art, (and who shall say it is so, because the luxuriant fancy
of a Rubens once abused it to excess, and a Verrio and a
Kneller depraved it into florid insignificance?) then allegory
is surely the only form into which such representation could
be properly thrown ; but to invent a new allegory is truly
no easy matter : it is to write a new poem — ^it is to create
ideas, as well as to imitate forms.

Those who think to find in these Fancies any thing
like the threadbare symbols before alluded to, or any of the
common-place prettinesses of our annuals, will be disap-
pointed— I hope agreeably disappointed. I believe this is
the first attempt, in modern art, to convey a moral precept,
a religious truth, or an abstract poetical idea, by graphical
representation. Of course Hogarth is not forgotten ; but
there can exist no more comparison between his creations
and those of Retzsch, than between one of Sir Philip Syd-
ney's sonnets, and one of Congreve's plays. These Fancies
are little bits of lyric poetry, such as we find among the
Italians and our own early poets who imitated them, in which
a simple sentiment or idea is developed and bodied forth in
the smallest compass, and in the most intelligible and ele-
gant form. It is the great defect of this species of
graphic allegory, that it requires interpretation ; but it is
also its great charm to awaken curiosity, and to exercise
thought. It has been deemed right to give the artist's own

PREFACE. ix

explanation attached to each drawing, because in each he
has a distinct purpose — the intention to impress some poe-
tical or moral truth ; but many of these Fancies may
bear more than one construction, and all will be found on^
examination to contain that " something more than meets
the eye" both of beauty and meaning.

Those who are well read in our old poets will remark
how much of their spirit has fallen upon Retzsch,, and how
beautifully some of these Fancies might be illustrated by
corresponding passages from Spenser, and from Milton
The allegory of Hope vvas never more elegantly or more
intelligibly placed before the imagination, than in the first
drawing, on which the young will gaze with a smile, and the
old with a sigh. The Enigma of Human Life has some-
thing quite Miltonic, in the mingled grandeur and tenderness
of the image it presents to the mind ; and there are many
others in Retzsch 's portfolio, not inferior in graceful and sig-
nificant expression to those here given — one or two which
might be deemed superior ; but the province of the editor
was not the selection, but the elucidation of those which
are now presented to the Public. On the whole, this
attempt to address the moral sentiments and the imagination,
through the medium of design, may be considered new in
this country, and I am inclined to think that the pure and
graceful feeling, the novelty and ingenuity displayed in these
Fancies, will strike at once, and make a way into the heart

E

PREFACE.

for the beautiful moral lesson or poetical sentiment which
will be found beneath the surface — a lovely mystery, couched
in a lovely form, which, if it require a little reflection to
penetrate, methinks it should be but a charm the more.

The following slight sketch of Moritz Retzsch is abridged
from the account of him and his works, already given by
the writer in another place.

He was born at Dresden, in 1779, and has never been
far from his native place. From childhood he was a sin-
gular being, giving early indications of his imitative power
by drawing, or carving in wood, resemblances of such ob-
jects as caught his attention, without the slightest idea in
himself or others of becoming eventually an artist ; it is
even said that when he was quite a youth, his enthusiastic
mind, labouring with a power which he rather felt than
knew, his love of the wilder aspects of nature, and impa-
tience of the restraints of artificial life, had nearly induced
him to become a huntsman or forester ( Jager) in the royal
service. However, at the age of twenty, his love of art
became a decided vocation. His small inherited property
having been dissipated during the war, he has since depended
on his talents alone, and in 1 824 was nominated professor of
painting in the Royal Academy at Dresden. His usual
residence is at his own pretty little farm, or Weinberg,
a few miles from the city.

Retzsch is exceedingly striking in his appearance, with

PREFACE. XI

a grand, picturesque head, and a fine, open, expressive,
countenance. In his manners and mode of life, he is do-
mestic, simple, and independent ; he is married to a most
amiable, sweet looking wife, and is much respected by his
countrymen. Love of his home, love for his art, and the
most passionate ambition for all the distinction his art can
give, appear to divide an existence, which, exempt from
all vicissitudes without, may be presumed happy, in spite
of a most excitable and sensitive temperament, and that
inequality of spirits, which is said to be so frequently com-
bined with the gift of rare and surpassing genius.

A. J.

CONTENTS.

Plate

DECEIVED HOPE - - - - - I.

THE ENIGMA OF HUMAN. LIFE - - - II.

THE FATE OF THE POET - - - - III.

LOVE AND THE MAIDEN - - - IV.

THE TORMENTED SPIRIT - , - . v,

LOVE REPOSING - . - . - VI.

'^^ Of !KED6 *«

DECEIVED HOPE.

A GROUP of playful children are peeping under a hat for a
butterfly, which they fancy they have caught and hold se-
cure. It is easy to see that the pursuit has been over many
a summer field — through many a flowery brake : and now
they bend forward in various attitudes of eagerness and
expectation, to seize the promised joy. Meantime their
little captive has escaped unperceived, and is fluttering away
beyond their reach.

The innocent, arch delight in one little face, the eager
earnestness of the other, and the fond infantine confidence
and simplicity in the third, who is just peeping under the
edge of the hat, are very lovely ; the parable of Hope has
seldom been more charmingly or more forcibly expressed.

L'ESPOIR TROMPE.

Des enfans enjoues, formant un groupe, soulevent douce-
ment un chapeau sous lequel ils croient trouver un papillon
qu'ils s'imaginent avoir pris. II est aise de voir qu'ils Font
poursuivi pendant I'ete, a travers bieu des champs, a tra-
vers bien des buissons fieuris. Maintenant, penches en
avant pour saisir leur captif, ils prennent diverses attitudes
qui annoncent leur empressement, leur espoir et leur joie.
Cependant leur petit prisonnier s'est echappe a leur ins^u,
et il voltige hors de leur portee.

Le plaisir innocent et malin qui brille dans les yeux d'un
de ces jeunes enfans, Fempresseraent ardent du second, la
confiance enfantine et la simplicite du troisieme, qui regarde
sous le bord du chapeau, offrent le caractere le plus aimable.
Rarement rembl^me de Tesperance a ete presente avec plus
de force et de grace.

2

FLUCHTIGE ANDEUTUNGEN

zum Verstdndniss meiner von mir selbst radirten Fantasien .

GETAUSCHTE HOFFNUNG.

Alleinige Freude gewahrt meist nur die Erwartung eines
Vergniigens ; denn entweder es ist zu flidchtig verschwunden,
oder tritt wohl gar nicht ein, so sicher Sterbliche dessen auch
zu seyn wahnen ; — diese schmerzliche Erfahrung macht auch
schon das Kind. Versichert den schonen bunten Schriietter-
ling unter dem Hute gefangen zu haben, schirken sich diese
Kleinen vol! Freude an, des Gefangenen habhaft zu werden,
ohne zu bemerken, dass derselbe bereits entschliipft ist, und
ohne zu ahnen, dass somit die erwartete Freude im nachsten
Augenblick sich in Betriibniss umwandeln wird.

THE ENIGMA OF HUMAN LIFE.

The Spirit or Genius of Humanity, doomed for a season
to walk this earth in ignorance and sorrow, sits meditating
on the riddle of human existence, which is here represented
by the gigantic Sphinx, half buried in the sands, its
countenance averted, and partly veiled in clouds ; around
him is a desart — stony, barren, and overrun with nettles and
thistles ; and in his hand he holds a rose, of which the wi-
thered and fast falling leaves express the transient nature
of all that is sweetest and loveliest on earth. The spectacle
of sin and death, (figured by the reptile at his feet, and the
lifeless bird which has perished by its fang,) fill the mourn-
ing Spirit with grief and dread ; but he looks up, and be-
hold ! two butterflies, which have escaped from the chrysa-
lids which lie on the thistle-leaf, and are soaring and sport-
ing in the clear ether above his head : on them his eyes are
fixed with a contemplative and trembling hope, and his
heart glows with the conception of a higher and purer state
of existence.

L'ENIGME DE LA VIE HUMAINE.

L'esprit ou le Genie de I'Humanite, condamne, pour un
temps, a rester sur cette terre dans I'ignorance et le chagrin,
est assis, meditant sur Tenigme de la vie humaine, representee
ici par le Sphinx gigantesque, a demi enterre dans les sables,
la tete detournee, et cachee en partie dans les nuages. Autour
de lui est un desert sterile, couvert de pierres, d'orties et de
chardons. II tient en main une rose, dont les feuilles fletries
tombant rapidement indiquent le caractere passager de
tout ce qu'il y a de plus doux et de plus aimable sur la terre.
Le spectacle du peche et de la mort, representes par le
reptile qui est a ses pieds, et par Toiseau que le venin du
serpent a prive de la vie, remplissent I'Esprit de douleur et
de crainte. Mais il leve ses regards, et voila que deux
papillons qui viennent de sortir de leurs chrysalides encore
attachees a une feuille de chardon, voltigent en folatrant
dans I'ether azure qui couvre sa tete. Ses yeux pensifs se
fixent sur eux avec espoir et tremblement, et son coeur
s'ouvre avec ardeur a I'idee d'un etat d'existence plus pur
et plus eleve.

DER MENSCHENGEIST AUF DER
SPHINX.

Der Menschengeist in kindlicher Unwissenheit auf die Erde
gebannt, sitzt, auf eine Sphinx sich lehnend,uber das Rathsel
des Lebensnachsinnend, dessen Phisionomie (das Gesicht der
Sphinx) sich eben so wenig wie das von NebelnumhiillteOber-
haupt desselben erkennen lasst ; er ist betroffen vom Anblick
des Todes und des Verbrechens (der von der Schlange zu
seinen Fiissen geraordete unschuldige Sanger), und Schmerz-
haft ergrifFen und erschiittert vom BegrifF der Verg'anglich-
keit ; — das Symbol des Reizenden und Schonen, die lieblich
duftende Rose, welkt und verbliihtin seiner Hand, ihreausfal-
lenden Blatter vom Winde entfiihrt. Nesseln und Disteln
wuchern auf kargem, steinig sumpfigem Boden umher, und
Nebel ziehen die Feme verhiillend, duster herauf ; Trauer
Wehmuth, und Angst umschleyern die Seele, — da entschllip-
fen von ihm wahrgenommen, zweileichtbeschwingteTagfalter
ihren auf den Blattern der Distel fest haftenden HUllen, und
heben sich in bunter Pracht, leicht und freudig aus, driick-
ender Sphare zum reinen lichten Aether erapor ; und sin-
Tiend, folgt ihnen sein emstesAuge, ergluhendin der Ahnung
eines hohem schonen Seyns.

^^ Of THl

fuSIVBRSITT]

THE FATE OF THE POET.

The Poet, or rather the Genius of Poetry personified, is
thrown into a world, where the lofty language, and the
noble aspirations of his divine art are either unknown or
not understood. He endeavours to adapt himself to the
sphere in which he is obliged to move, and descending from
his Pegasus, which in its airy flights bore him too far above
mortal ken, he is fain to mount a sorry steed of earthly
lineage. Hence it happens, that in attempting to wade
through some deceitful bottomless ford, (over which he ought
to have been borne aloft in winged safety,) the Ondines,
or water nymphs, seize and overpower him — they drag him
down to their cold twilight chambers beneath the wave,
where his life and sorrows find at least a poetical close.

Many a gifted spirit hath thus " felt the influence of
malignant star ;"" and forced from his high vocation, and
painfully toiling through the difiiculties of the world, thus
sinks beneath the wave of time, and finds, instead of fame
and honour, cold oblivion, despair and death.

This beautiful and singular conception might bear
several other interpretations, which are left to the imagination
of those who consider it attentively ; there is abundant food
for meditative fancy, both in the subject, and the grace
and endless variety of form and expression with which it
has been treated.

7

LE DESTIN DU POETE.

Le Poete, ou plutot le Genie de la Poesie personnifie, est
jete dans un monde oh les expressions elevees et les nobles
aspirations de son art divin sont inconnues ou ne sont pas
comprises. II s'efforce de s'adapter a la sphere dans laquelle
il est oblige de se mouvoir, et descendant de son Pegase
qui lui faisoit prendre un essor trop au dessus de la portee
des mortels, il est force de monter une pauvre Rossinante
de race terrestre, il en resulte qu'en essayant de passer
a gu6 une eau trompeuse et profonde, au dessus de laquelle
son coursier aile I'auroit transporte sans danger, les On-
dines, ou les Nyraphes des eaux, le saisissent, en triomphent,
et I'entrainent dans leurs demeures froides et sombres au
dessous des ondes, ou sa vie et ses chagrins trouvent dii
moins une fin poetique.

Bien des esprits, doues de grands talens, ont eprouve ainsi
" I'influence d'une constellation malfaisante." Forces de
renoncer a leur haute vocation, ils luttent peniblement
contre les vagues du monde, sont engloutis par les eaux du
temps, et au lieu d'honneur et de renommee, trouvent les
glaces de I'oubli, du desespoir et de la mort.

On pourroit donner a cette belle et singuliere idee plu-
sieurs autres interpretations, qui sont laissees a Timagination
de ceux qui y reflechiront avec attention. II y a une source
abondante de meditations tant dans le sujet en lui m^me,
que dans la maniere gracieuse avec laquelle il a ete traite,
et dans la variete infinie de Texpression et des formes qu'il
presente.

8

DER DICHTER IN DER GEWALT DER
UNDINEN.

Um in der Welt fortzukommen, das heisst, sein Brod zu
haben und verstanden zu werden, ist die personificirte
Poesie (der Dichter) meist nothgedrungen, antsatt den
Pegasus oft besteigen zu konnen, in hohere Regionen aufzu,
steigen, und in Begeisterung von Erhabenen Dingen zu
sprechen, (welche Dinge und Sprache dem grossen Haufen
der prosaischen Weltleute unbekannt und ganzlich unver-
standlich sind) fast ausschliesslich einen gewohnlichen Gaul
zu reiten, wodurch er, so auf niederer Bahn fortzutraben
gezwungen, spat oder friih ins Wasser der Alltaglichkeit ge-
rathend, gar bald seinen Untergang findend, noch gliicklich
zu preisen ist, wenn die Undinen ihn in ihr feuchtes Reich
herabziehen, und er sonach noch ein poetisches Ende mimmt,
Wie viele hochbegabte Kiinstler-und Dichter-genien,
verschwinden im Wellenschlag der Zeit, mehr oder weniger
auf jihnliche Weise.

LOVE AND THE MAIDEN.

Love, pretending to be sick or overcome with sleep, is thus
found by an innocent girl, who compassionately takes the
little cheat upon her back, and carries him home to her
dwelling to nurse and restore him. There he will probably
make her feel (like Anacreon of old) the true attributes of
the guest she has harboured.

There is exquisite grace and simplicity in this little
group. The declined head and sleepy eyes of the Cupid,
and the lovely expression of the female, need hardly be
pointed out to admiration.

10

UAMOUR ET LA JEUNE FILLE.

L' Amour, feignant d"'^tre malade ou accable de sommeil,
est ainsi trouve par une jeune fiUe innocente, qui, par com-
passion, prend le petit trompeur sur ses epaules, et le porte
chez elle pour en prendre soin et lui rend re la sante. La,
il lui fera probablement sentir, corame jadis a Anacreon,
quels sont les veritables attributs de I'hote qu"'elle a accueilli.
II y a une grace et une simplicite exquises dans ce petit
groupe. II est a peine besoin d'appeler I'admiration sur la
t^te penchee et les yeux assoupis de Cupidon, et sur Tex-
pression aimable de la physionomie de la jeune fille.

11

AMOR UND DAS MADCHEN.

Amor sich krank oder schlaftrunken stellend, wird von
einem jungen unschuldigen Madchen mitleidig auf den
Riicken genoramen, um denselben nach ihrer Wohnung zu
tragen und da zu pflegen ; was ihr der Schalk nach seiner
Weise wohl bitter vergelten wird

,^

THE TORMENTED SPIRIT.

A GOOD angel or genius is vainly struggling in the power
of two demons who are tearing the plumes from his out-
stretched wings, and shake their infernal torches over his
head. The Tormented Spirit looks upward for aid, but
sees, interposing between himself and compassionate Hea-
ven, the fiend, by whose mandate he is thus afflicted.
There are those among the best and most gifted of human
spirits, who suffer for a time under the agonizing influ-
ence of evil thoughts and unknown sin. With torn and
ruffled pinions they grovel on the earth for a season, till their
plumes are renewed, and they spring with fresh vigour
into the regions of imagination.

" What man is he that boasts of fleshly might.
And vain assurance of mortality.
Which all so soon as he doth come to fight
Against spiritual foes, yields by and by.
Or from the field most cowardly doth fly !
Ne let that man ascribe it to his skill,
That thro' high grace hath gained victory ;
If any strength we have it is to ill.
But all the good is God's, both power and eke the will."

Spenser.

13

L'ESPRIT TOURMENTE.

Un bon ange on un bon genie lutte en vain centre le pou-
voir de deux demons qui arrachent les plumes de ses ailes
deployees, et qui secouent sur sa tete leurs torches in-
fernales. L'esprit tourmente leve les yeux comma pour
demander du secours, mais il voit entre lui et le ciel com-
patissant I'^tre diabolique par I'ordre duquel il est ainsi
persecute. Parrai les meilleurs des esprits humains, parmi
ceux qui ont re^u le plus de dons du ciel, il en est qui souf-
frent pour un temps sous Tinfluence cruelle de mauvaises
pensees et de peches inconnus. Incapables de prendre
I'essor, ils rampent quelque temps sur la terre ; mais enfin
les plumes de leurs ailes repoussent, et ils s'elancent avec
une nouvelle vigueur dans les regions de I'imagination.

" Quel est rhomme qui, fier de sa force physique, et comptant
vainement sur la foiblesse humaine ne c^de pas la victoire, ou ne
fuit pas lachement du champ de bataille, quand il a a combattre des
ennemis spirituels ? Que celui qui, par le secours d'en haut, est
reste victorieux, ne s'en attribue pas la gloire. Si nous avons quel-
que force, c'est pour le mal ; mais tout le bien procMe du pouvoir
et de la volonte de Dieu."

Spenser.

14

DES GENIUS GEISSLUNG.

Uberfallen und niedergeworfen von zwei kraftigen Un-
holden, die ihn mit Flamengeisseln furchtbar auspeitschen,
und fest bei den Schwingen gehalten, wodurch manche
Schwungfeder verloren geht, strebt vergebens dieser Engel
sie zum Mitleid zu bewegen,und sich frei zu machen; auf das
Gebot ihres auf einer Wolke reitenden, sich an den Qualen
des gepeinigten weidenden Obern, lassen sie nicht eher nach,
bis ihnen ein anderes Opfer angewiesen wird. So gepeinigt
und gestraft fur unbekannte Schuld fiihlt sich gar oft
der gute Engel im bessern Menschen, und vermag nichts
dagegen zu thun als auszuhalten und zu dulden ; er verliert
auf einige Zeit die Schwungkraft, bis die verletzten Schwin-
gen durch neue Federn ersetzt, neue Kraft zum Aufsch-
wung erhalten.

15

LOVE REPOSING.

False love ! why do men say thou canst not see,
And in their foolish fancy feign thee blind ?

That with thy charms the sharpest sight dost bind.
And to thy will abuse ?

Spenser.

Cupid, tired of his sport, has flung down his bow and
quiver, and lies stretched at the foot of a tree, where
he reposes with half-shut eyes, laughing to himself at
his past exploits, and meditating new mischief.

16

L'AMOUR SE REPOSANT.

" Amour trompeur ! pourquoi dit. on que tu ne peux voir ? Pour-
quoi la foUe imagination des hommes te peint elle aveugle ; toi
dont les charmes savent abuser les yeux les plus clair-voyans, et leur
faire voir ce que bon te semble ?"

Spenser.

CuPiDON, las de ses folies, a jete par terre son arc et son
carquois et s'est etendu au pied d'un arbre. 11 s'y repose,
les yeux a demi fermes, riant en lui merae de ses exploits
passes, et meditant de nouvelles malices.

17

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UNIVERSITY OF CALIFORNIA, BERKELEY
, FORM NO. DDO, 15m, 2/84 BERKELEY, CA 94720

DER LIEGENDE AMOR.

Amor, behaglich an einem Baum hingestreckt, blickt
lachelnd und veischraitzt, mit halbgeschlossenen Augen, nach
irgend einem Gegenstand, M'adchen oder Knabe, und scheint
auf Neckerei zu sinnen ; seine Waffen liegen nachl'assig
hingeworfen umhers unweit von ihm das Taubenpaar seiner
Mutter sich schn'abelnd.

MORITZ RETZSCH.

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