Among students of Philosophy the mention of Hegel’s name arouse at once a definite emotion. Few thinkers indeed have ever so completely fascinated the minds of their sympathetic readers, or have so violently repulsed their unwilling listeners, as Hegel has. To his followers Hegel is the true prophet of the only true philosophic creed, to his opponents, he has, in Professor James’s words, “like Bryon’s corsair, left a name ‘to other times, linked with one virtue and a thousand crimes.” Now the significance of Hegel’s philosophy can be grasped only when we bear in mind that it was just this profound distinction between the permanent and the changing that Hegel sought to understand and to interpret. He saw more deeply into the reality of movement and change than any other philosopher before of after him. It must remain a tribute to the ideal enthusiasm of the movement that, among the first German works to receive a permanent welcome and become domiciled in American literary circles, was that strange and glittering mass, flotsam of a great poet’s life dislodged and jettisoned from his personality by the subtle arts of the “child” who had now gathered it up again and was presenting it to the astonished world. At a time when the Foreign Quarterly Review in England (1838) was vainly endeavoring to persuade “Madame von Armin” not to undertake the translation of her work, “whose unrestrained effusions far exceed the bounds authorized by English decorum, Margaret Fuller was preparing in Boston to translate Bettina’s Gunderode, and soon felt herself in position to state * that “Goethe’s Correspondence with a Child is as popular here as in Germany.” · The Dial, Vol. II, No. 1 Only two of his works have enduring value, his mystical tragedy Merlin, and the part of Munchhausen called “Der Oberhof” (The Upper Farm), which deals with the lives and types of the small freehold farmers. Immermann, following Baron von Stein, believed that the health and future of society, endangered by the corrupt and dissipated nobility, rested on the study, self-reliant, individualistic yet severely, moral and patriotic, small peasant. In the main character of the story, the rugged, proud, inflexibly honorable old farmer, who has inherited the sword of Charles the Great, he has drawn one of the most living characters in early modern German fiction. The other figures, too, are full of life and reality. The Story has, aside from its importance in the history of German novels, an enduring value of its own. Karl Gutzkow’s life work was a struggle for freedom and truth. We recognize in the web of his serious argument familiarity with the best thought of the poets, theologians, and philosophers of his day and of the eighteenth century. In religion a pantheist, he believed in the immortality of the soul, had unshaken confidence in the tendency of the world that “makes for righteousness, “ and recommends the ideal of the “truth and justice” as the best central thought to guide each man’s whole life. He shares in an eminent degree, with other members of the group known as Young Germany, significance for the subsequent development of German literature, far transcending the artistic value of his works. People are just beginning to perceive his genetic importance fro the student of Ibsen, Nietzsche, and the recent naturalistic movement in European letter. GEORGE WILHELM FRIEDRICH HEGEL. (Pages 1-119) “The Life George Wilhelm Friedrich Hegel.” “Introduction.” “The Philosophy of Law.” “Introduction to the Philosophy of Art.” BETTINA VON ARMIN. (Pages 120-152) “The Life of Bettina von Armin.” “Goethe’s Correspondence with Child.” “Murray.” KARL LEBRECHT IMMERMANN. (Pages 153-240) “ Immermann and His Dram.” “Immermann’s Munchhausen.” “The Oberhof.” KARL FERDINAND GUTZKOW. (Pages 241-350) “Gutzkow and Young Germany.” “Sword and Queue.” _______________________________________________________________________ “German Lyric Poetry from 1830to 1848.” (Pages 351-528) The years from 1830 to 1848 were distinctively revolutionary years in Germany, which until then had remained strongly conservative. The spirit of political and social reformation, which he caused the great upheaval of the French Revolution late in the eighteenth century, had made itself felt much more slowly across the Rhine. Even the generous enthusiasm that animated the German people in the War of Liberation against Napoleon in 1813 had ebbed away into disappointment and lethargy when the German princes forgot their pledges of internal reform. The policy of the German and Austrian Prime Minister, Prince Metternich, a consistent champion of aristocratic ideas and of the “divine rights of Kings.” The “Revolution of July, “1830, however, which overthrew the Bourbon dynasty in France, had its counterpart in popular movements that forced the granting of constitutions or other liberal concessions in several German states; and, though the policy of Metternich still remained dominant, the liberal sentiment grew in power until the February revolution of 1848 in Paris inspired similar upheavals in all Germany. ANASTASIUS GRUN. “A Salon Scene.” NIKOLAUS LENAU. “ Prayer.” “Sedge Songs.” “Songs by the Lakes.” “The Postilion.” “To the Beloved from Afar.” “The Three Gipsies.” “My Heart.” EDUARD MORIKE. “An Error Chanced.” “A Song for two in the Night.” “Early Away.” “The Forsaken Maiden “ Weyla’s Song.” “Seclusion.” “The Soldier’s Betrothed.” “The Old Weathercock.” “Think of It, My Soul.” “Erinna to Sappho.” ________________________________________________________________ “Mozart’s Journey from Vienna to Prague.” ANNETTE ELIZABETH VON DROSTE-HULSHOFF. “Pentecoast.” “The House in the Heath.” “The Boy on the Moor.” “On the Tower.” “The Desolate House.” “The Jew’s Beech – Tree.” FERDINAND FREILIGRATH. “The Duration of Love.” “The Emigrants.” “The Lion’s Ride.” “The Spectre – Caravan.” “ Had I at Mecca’s Gate been nourished.” “Wild Flower.’ “The Dead to the Living.” “Hurrah, Germania!” “The Trumpet of Gravelotte.” MORITZ GRAF VON STRACHWITZ. “Douglas of the Bleeding Heart.” GERORG HERWEGH. “The Stirrup Cup.” EMANUEL GEIBEL. “The Watchman’s Song.” “The Call of the Road.” “Autumn Days.” “The Death of Tiberius.” Keywords: Hegel, Madame von Armin, Goethe’s Correspondence, England, Margaret Fuller, Der Oberhof, Merlin, Karl Gutzkow, philosophers, Charles the Great, Metternich, February revolution of 1848,

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