UC-NRLF 
 
 B M D71 M2fi 
 
m MEMQWilAJA 
 Prof. J. Henry Senger 
 
1beatb'0 fiftobern Xanguage Series. 
 
 UTERI ALS FOR 
 
 German Composition. 
 
 Hatfield. 
 
 Based on Ho her a Is die Kir c he. 
 
 D. C HEATH & CO., 
 
 BOSTON, NEW YORK. CHICAGO. LONDON. 
 
^!^ 
 
Ibeatb'6 fiDobern Xanouaee Seriee 
 
 MATERIALS 
 
 German Composition 
 
 BASED ON "HOHER ALS DIE KIRCHE" 
 
 BY 
 
 JAMES TAFT HATFIELD 
 
 V 
 Professor of the German Language and Literature 
 IN Northwestern University 
 
 ASSISTED BY 
 
 JESSIE EVERSZ, B. L. 
 
 BOSTON, U.S.A. 
 
 D. C. HEATH & CO., PUBLISHERS 
 
 1897 
 

 Copyright, 1897 
 By- James Taft Hatfield 
 
 m MEMORTAM 
 
 ^» VV<^^^^ ^ev-c^er 
 
 Press of Carl H. Heintzemann, Boston, Mass., U.S.A. 
 
PREFACE. AA(A_^ 
 
 The need of materials for German composition, based upon 
 continuous texts which should afford practice in the use of the 
 actual idioms of the language, has long been felt. The success 
 of the excellent French series devised by Professor C. H. 
 Grandgent of Harvard University has led to the substantial 
 adoption of the same plan, with his cordial concurrence. As- 
 suming a foregoing thorough drill in the elements of German 
 inflection and syntax, the exercises are to be used without a 
 dictionary, after the student has made himself so familiar with 
 each original passage as to have an instinctive feeling for its 
 vocabulary and constructions. 
 
 The experienced teacher will notice that the aim of these 
 lessons is not to afford a complete synopsis- of the body of 
 grammatical doctrine, but, by repeated application of the chief 
 underlying principles of German construction, to thoroughly 
 impress on the student some of the more fundamental features 
 of the German language. I have already made similar mate- 
 rials based on Immensee, and designed for pupils of the same 
 advancement. 
 
 
EXERCISES BASED ON ^vHOHER ALS 
 DIE KIRCHE."; ■ ; 
 
 3i«<C 
 
 A. QUESTIONS AND ANSWERS. 
 
 (Oral Exercises.) 
 
 I. Das meffer, 
 
 1. 
 
 From „^Ib^Uc^ blieb er ftel)en" to „^a8 nmc^t i§r." 
 
 2. 28a§fragte er? 
 
 3. SSen'fragte er? 
 
 4. Sag h?ar ber eble 9flitter? 
 
 5. 2Sorauf^beuteteber^aifer? 
 
 6. 2Sa§ pflanjten bie ^inber? 
 
 7. SSie ^ ^fknjleu bie ^inber ben jungen 9?ofenftocf ? 
 
 8. 9Sa§ fiir ^inber h)aren e§ ? 
 
 9. SBie alt iDaren ba§ ^Rdbd^en unb ber ^nabe? 
 
 10. 3Sarum^ f)orteu bie illeinen ben ^aifer nic^t fommen? 
 
 11. 9Ba§ tf^aten jie, al§> er i)or if^nen ftanb? 
 
 12. 28ag f agte ber 33ube ? 
 
 13. 2Bie fagte er bag ? 
 
 1 'did.' 2 'whom.' 3 « at what.' 4 'how.' ^'why.' 
 
 1 
 
GERMAN COMPOSITION. 
 
 2. 
 
 Frci:.! ,3a^ mac^t il)?;" to „m) fo — ta t)abt/' 
 
 1 . ''iQa^S fvagle 9Jlaj:imi(ian ? 
 
 2; ' ^^praw ^' '.ucibete. fid^' f ein ^iinftleraucje ? 
 
 3. <iSem^ fe^en bic S^in'ber ben 9iofenftocf ? 
 
 4. 3©cv3 fagte bev Sunge imerf dirocfen ? 
 
 5. 3iHv5 fvagte bann ber ^aifer? 
 
 6. 2Sa§ t()at bavauf ' ber $3unge ? 
 
 7. 2Bie anttDOvtete ' er ? 
 
 8. 2Sa§, fagte ber ^aifer, toiirbe ber liebe @ott tf>un ? 
 
 9. 2Bie ^iej^ ber ^nabe ? 
 
 10. 3Ba§ fragte 93lajimilian iiber^ bie ^leine? 
 
 11. 2Sar bie Slleine feine 6c^tDefter? 
 
 12. 2Ba§ nannte ' §an§ bie ^leine ? 
 
 13. 3Sa§fagte erjuif^r? 
 
 1 'on what.' 2 ' to whom.' 3 'then.' 4 'answered.' 5 'about.' 
 
 6 'called.' 
 
 3. 
 
 From „%lj fo — ^a fjabt" to „3)er ^aifer gviff." 
 
 1. 2Sa§ fragte ber ^aifer iiber ba§ 93Zeffer? 
 
 2. '^^nn ber 5lnabe !ein 93iefjer \)at, \va^% !ann er nid^t 
 
 3. SS?enn ernid^U fc^neiben fann, ir)a§ i)erbient er nid^t? 
 
 4. D\)m \va^ !ann man iiic^t ^)eiraten ? 
 
 5. 2Sarum tnujste §an§ met ©elb t)aben? 
 
 6. 9Ba§ iDoHte §ang fc^neiben? 
 
 7. 2Ba§ tDotlte ber 5!nabe tuerben? 
 
EXERCISES. 
 
 8. 2Ber WoUU ^oljfc^neiber iierben ? 
 
 9. SSelc^en^ 9?amen fatten bie jungen 33uvfc^en in ^ixxn-. 
 berg? 
 
 10. 33ei Wtm fafj ber ^aifer bie jttjei 33urfc^en? 
 
 11. 2SDMuo^nte'2)urer? 
 
 12. 2Sa§ iibten §anfen^ 35dter in ^^iirnberg? 
 
 13. 3Bo finb fein 3Sater imb fein Df)(ei)m? 
 
 14. 2Sa§ faufte i^m bie 2)Uitter nic^t? 
 
 1 ' do.' 2 * what.' 8 ' where.' 4 ' lived.' 
 
 From ,,'2)er ^aifer griff" to „'3Jlan tann'i grcifen." 
 
 1. So^in 'griff ber ^aifer? 
 
 2. 2Ba§ fiir^ ein 9J^effer 509 er ^erau§? 
 
 3. ai^ag fagte ber J^aifer, aU ^ er bal ?D^effer ^erau^gog? 
 
 4. 2Ba§ ftieg bem 33uben in§ ©efic^t? 
 
 5. 2Barum ftieg fie xljm in§ ©efic^t? 
 
 6. 28a§faf;man? 
 
 7. 2Boburrf) ^ fonnte man e§ fe^en? 
 
 8. SSie im^m ber Sub(e) ba§ ^Jleffer ? 
 
 9. 2Bay iDar atted, H)a§ ber 33ube F)erau5brac^te ? 
 
 10. 2Sa'o loberte in ben Slugen be§ ^naben auf ? 
 
 11. 3Sa§ forrte' §an§ in DUirnberg t^un? 
 
 12. 3Bag giebt'g in Dtitrnberg? 
 
 13. 2l^a§ tDoirte ber ^nabe nic^t tF)un? 
 
 1 literally, ' in what direction.' - 'what sort of.' 3 <as.' 
 4 ' through what.' 5 < should.' 
 
GERMAN COMPOSITION. 
 
 5. 
 
 From „aj?an faun's grcifeii" to ,,§eri- ^atfer." 
 
 1. 2Soran foate §an§ fid; ^alten? 
 
 2. 2Ba§ gog ber Jlaifer au§ bcm ©ammetfoKet? 
 
 3. 2Sa§ fur ein Scuteld;en tr)ar c»? 
 
 4. 2Borau§^ jog ev ba§ leberne ^cutelc^en? 
 
 5. 2Bem gab er e§? 
 
 6. 2Ba§ \x>ax barin^? 
 
 7. 2Ba§ follte §an§ mit ben ©olbgulben l^un ? 
 
 8. 2Sem foKte er fie geben ? 
 
 9. 2Bann^ follte er reifen? 
 
 10. SSon h)em foKte er einen ®ru^ bringen? 
 
 11. 2Sa§ foirte er if)m fagen ? 
 
 12. 2Sarum folUe ©iirer bie Seiter fur §ang lf)alten? 
 
 13. 9Sa§fd;utteIte§an§? 
 
 14. 9Sie fd^itttelte er fie? 
 
 1 ' out of what.' 2 <in it.' 8 < when.' 
 
 6. 
 
 From „^tXV ^aifcr" to the end of the chapter, 
 
 1. 2Ba§ fagte ber ^aifer, aU er ben 33erg Ijinabftieg? 
 
 2. W\t iuem ftieg er ben ^erg binab? 
 
 3. 2Bie ftanb ber Slnabeba? 
 
 4. 3Ba§ ijaiU 93taili einftiveilen getf)an? 
 
 5. 2Sa§ ^ielt fie in ber §anb ? 
 
 6. SSie f^ielt fie if)n ? 
 
 7. SBem lief fie jet^t entgegen? 
 
EXERCISES. 
 
 8. 2Se§F)aI6 ' tarn bie gjlagb ? 
 
 9. 2Ba§ \vo\iU fie nid)t tf;un ? 
 
 10. 2Ba§ burfte jie nid)t anrii^ren ? 
 
 11. 2Sa§ lief fie jufammeu? 
 
 12. 2fio rief fie bie 2^nU jufammen? 
 
 13. 2Ba§ h)oaten alle fe^en ? 
 
 14. 2Sa^ h)ar ber Sn^alt be§ Seutel§? 
 
 1 • for what reason.' 
 
 II. Unter ^cm ttiaifcrbaum. 
 
 7. 
 
 From ,,3a^re Derftrirfjcu feitbeiu" to „(Stuubculang fa§en fte." 
 
 1. 3Sie fc^Ioffen fid; bie ^inber aneiuauber an? 
 
 2. 2Sa§ tr^aten fie abenbg? 
 
 3. 2Bof)in gint3 bev 33ater abenb^ am geierabenb ? 
 
 4. 3Ba§ t^at ber 23ater im 2Sirt§^aue> ? 
 
 5. SSo fc^natterte bie §au§bdltenn mit ben gvau 33afcn? 
 
 6. SSo^iniiBer^ fticcjcn bann bie ^inber? 
 
 7. 25iie lag Her ^aun'i 
 
 8. ma§ fcf)ni|te §an§ bem 3}laili ? 
 
 9. 2Ba§ fiir JiGiii'c^cu fc^ui^te ev? 
 
 10. 2Sot)on erjd^lte er ibv? 
 
 11. SSo l^atte er ^ilber unb (2cf)ni^iDer!e gefcfjen? 
 
 12. 2Bo^in ging §an§ oft? 
 
 1 ' over what.' - ' lay.' 
 
GERMAN COMPOSITION. 
 
 8. 
 
 From „@tiinbenlang fa^eii fie" to „<Bo uiud)jcu bic ^leinen l^eran." 
 
 1. 2Bte laitge^ fa^en fie fo bei einanber? 
 
 2. 2Sa§l{)atenfiebabei'? 
 
 3. 2Bann liefcn fie §um 5Runfter E)inauf ? 
 
 4. 2Sag i\)aUn fie bort ? 
 
 5. SScldier Sfjofenftodf h)ar bort? 
 
 6. 3So tDeilten fie am liebften? 
 
 7. 2Ba§ meinten fie immer ? 
 
 8. 2Sie follte ber ^aifer t>or i^nen fteben ? 
 
 9. 3Ba§ riefen fie oft fjinau^? 
 
 10. 9Ste riefen fie e§? 
 
 11. 25so ipar ber ^dfer ? 
 
 12. Sa§mad)teHer ^aifer? 
 
 13. 2Barum mu^ten'' bie tober h)arten? 
 
 1 ' long.' 2 ' at the same time.' 3 'was . . . doing.' ■* 'must.' 
 
 9. 
 
 From ,,®o lnucf)fcn bie ^Iciueu l^evon" to „@ciue ^amilic maren." 
 
 1. SSer it>ucl^§ Ijjeran? 
 
 2. 2Sa§ h)ud)§ mtt iJ^nen? 
 
 3. 2Ba§ ]f)atte fidfi in if;ren ^erjen mit ben ^Burgeln be§ 
 33dumd)en§ in ein§ t)erfd)Iimc5en ? 
 
 4. 2Bof)in gog e§ aui^ bie @rlt)ad^fenen ? 
 
 5. 5Bo it>ar ber 9^ofenftodf ? 
 
 6. 3Bie oft ' fanben fie fid^ l^ier ? 
 
 7. 2Bie n?ar bag ^dum^en? 
 
EXERCISES. 
 
 8. 2B05U " trar ber treue greunb nid)t ftar! o^tmx^ ? 
 
 9. 2Sa§ fiir ein ^Dtdbc^en irar bte gungfrau S^tu^^arfjenn ? 
 
 10. 2Sa§ burfte jie nicf)! mefjr t^un ? 
 
 11. 2Ber berbot e§ i^r? 
 
 12. SSarum berbot er e§ if^r? 
 
 1 ' often.' '- • for what.' 
 
 10. 
 
 From ,,@einc gamilic iDoreu" to „3Ba§ er trieb unb fd)afftc." 
 
 1. 2Ba§ fiir Seute tt)aren §anfen§ ©Itern ^ ? 
 
 2. 2Ste h)aren fie nad^ 33reifad^ gefommen? 
 
 3. 2Ba§ irar ein grember ju jenen ^dUn'^. 
 
 4. 2Ba§ trar §an§ noc^ baju"? 
 
 5. SSorein^ fonnte er nid)t eingefiigt lr>erben? 
 
 6. 2Ba§ fiir ein ©eleife bilbete* ba ber alt^erfommlic^e 
 
 7. 2Sa§ trieb ber §an§ au^erbem ^ nic^t einmal ? 
 
 8. 2Ba§ iDotlte er tt>erben ? 
 
 9. 3Sa§ bebeutete ^ ba§ ju jenen 3^iten ? 
 
 10. SSoburc^ berfii^rt ein ^ejenmeifter ebrlidE^^ Seute? 
 
 11. 2Ba§ fiir eine %xi 5Dienfrf) i^ar ber ^axK^:>'^. 
 
 12. 9Ba§ mad;te er, iDO er i:)oriiber ging? 
 
 13. 2Sa§ fiir 2o(!en ^atte er? 
 
 14. 3Sie iDaren feine 2lugen ? 
 
 1 'parents.' 2 'besides.' 3 'into what.' ^ 'made.' 
 5 ' moreover.' 6 ' signified.' 
 
8 GERMAN COMPOSITION. 
 
 11. 
 
 From „2Ba§ cr trieb iinb jdjafftc" to „@eitbcni wax cv DoIIenbg." 
 
 1. $Ser i»uj3te, \va^ ^an^^ tricb unb fcfiaffte? 
 
 2. 2Ba§ iDu^te fein 9JMc^ ? 
 
 3. 25>ag f)atte er fid) gefauft? 
 
 4. 2Ba§ fiir cin §au§ it>ar e§ ? 
 
 5. 93Zit iT)em betoo^nte er ba§ !leine §au§ ? 
 
 6. ©eit ^ h)ann l^atte er e§ attetn beit»DF)nt V 
 
 7. ©tngen biele ^ Seute bei iF)m au§ unb ein ? 
 
 8. 2Ser irar ber ©injige/ ber in feinem §aug eins unb au§5 
 Gtng? 
 
 9. 2Ba§ fiir ein 9Jlann it)ar Safob (Sc^mibt? 
 
 10. SSag t^at biefer eineg ^Tageg? 
 
 11. Unter^ hjelcfien Umftdnben^ t!^at er e§ ? 
 
 12. 2Ba§ mu^te er nad^^cr ^ tf)un ? 
 
 13. 2Ba§ fagte man fogar ^atte §an§ get^an? 
 
 1 literally, ' since.' 2 ' many.' 3 ' the only (person).' 
 4 ' under.' 5 < circumstances.' 6 < afterwards.' 
 
 12. 
 
 From „@citbem Wat cr botlenbS" to "Unb fie fam aud) rirf)ttg. 
 
 1. 2Sie hjar e§ feitbem mit §an§ ? 
 
 2. 2Ber ivar 9lu^^arf)er? 
 
 3. SSer tt>ar il^m ein 2)orn im 2(ugc ? 
 
 4. 2Bo lie^ ^tu^^ad^er eine 5i}^auer auffii^ren? 
 
 5. 28agh?ar bie golge^? 
 
 6. 2Bo fonnten fid^ bie jungen 2eute treffcn? 
 
EXERCISES. 
 
 7. ^onnten fie ftc^ oft ba treffen ? 
 
 8. 2Sann fonntcn fie fid) ba treffen ? 
 
 9. SBeld^e 2Bir!ung'-^ ^atte aber gerabe bie§ §inberni§? 
 
 10. 3Sa§ t(;at ber ©trom if)rer unbeiou^ten ©efut;Ie? 
 
 11. 2Qa§ t^at §an§ eine§ 2lbenb§? 
 
 12. 3So fang er fetnSieb? 
 
 13. 2Ba§ fiir ein Sieb mar e§? 
 
 1 ' result.' 2 ' effect.' 
 
 B. SENTENCES. 
 
 [To be written in German.] 
 
 13. 
 
 From „Unb ftc fam aud^" to „@o ftanben bcnn." 
 
 1. We came on the next day and carved small letters in 
 the rose-bush. 
 
 2. They swear that they will never consent to leave ^ their 
 anointed emperor. 
 
 3. Only emperors can share these sacred hours with us. 
 
 4. Hans will take down the hearts from ^ the rose-bush. 
 
 5. They cry out loudly : ''We are coming ! " 
 
 6. " Ah, if only the emperor had come ! " they cried out. 
 
 7. We do not grant these sacred hours to ourselves alone. 
 
 8. The letters which he carves in the rind of the rose-bush 
 signify Maria and Hans. 
 
 9. Over^ the letters she carves Maximilian's imperial crown. 
 10. The autumn passes away, and now the winter will come. 
 
10 GERMAN COMPOSITION. 
 
 1 1 . Since the winter is coming, I shall see her more rarely. 
 
 12. If Hans sings many songs, Ruppacher will some day 
 
 notice it. 
 
 1 use toerlaffen. 2 jjo^, 3 ut,^,; (dat,). 
 
 14. 
 
 From „<Bo ftanben benn" to „Tlai{i, fagte ber Siingling/' 
 
 1 . One evening, eight years ago, the young people planted 
 a rose-bush. 
 
 2. So, then, I am standing here ^ for the last time. 
 
 3. The youth of twenty years will stand near ^ the beautiful 
 bud of sixteen summers. 
 
 4. In the South the February days are frequently mild. 
 
 5. The snow is melting, and light breezes are shaking the 
 branches. 
 
 6. On^ a February day the branches of the rose-bushes are 
 still brown. 
 
 7. The girl stands before the youth, to whom she has re- 
 lated everything, and is silent. 
 
 8. I have had to hear all that they relate. 
 
 9. Everything that we planted eight years ago is now brown. 
 
 10. That which we have to hear is not agreeable ^ 
 
 11. So we stand, and his hand rests in mine. 
 
 12. The great drops coursed down over the girl's cheeks. 
 
 1 see preceding lessons. 2 nebeti (dat.). 3 auflenel)m. 
 
EXERCISES. 11 
 
 15. 
 
 From „9D^aiU, fagte ber Siingling" to „Civ \ie^ e8 gern gefc^e^en." 
 
 1. The girl does not believe that the youth is such a bad 
 person. 
 
 2. As^ she opened wide her blue Madonna-eyes, he saw^ 
 a beautiful smile steal ^ over her girlish face. 
 
 3. Her face is gentle, her eyes are blue, and her smile is 
 beautiful. 
 
 4. " Hans," said she, " I can never believe that you are bad." 
 
 5. Bad men shall not deceive us in regard to them. 
 
 6. Nobody knows us, but we know them all. 
 
 7 . They brought me up, and taught me what everybody * 
 should know. 
 
 8. They have led us astray in regard to her, but we do not 
 know it. 
 
 9. He has made us what we are, and has taught us what is 
 beautiful. 
 
 10. The artistic hand of the youth will make human figures 
 out of wood. 
 
 1 1 . With his powerful callous hand he has formed the large 
 human figure out of wood. 
 
 1 2 . A beautiful smile was on ^ her soft warm lips. 
 
 1 al». 2 |e()en. ^ infinitive without 311. ■* jebermatm. ^ auf. 
 
 16. 
 
 From „Qv lie^ e« gcrn gefc^el)en" to „nnb fie fan! in 'Xl)vanen." 
 
 I. We willingly allow it, for we know nothing of the love 
 etiquette of the days of our ancestors ^. 
 
12 GERMAN COMPOSITION. 
 
 2. If she folds her tender fingers over his, he will say 
 nothing further. 
 
 3. If she presses '^ her tender finger against her soft lips,^ 
 they will be silent -. 
 
 4. I shall always believe in them, for they aie honoring 
 God by their labors. 
 
 5. She remained true to him until he had brought himself 
 and his art to honor. 
 
 6. He who comes as a man of repute has a right ^ to woo 
 her. 
 
 7. I will remain true to him until I take my way into the 
 cloister. 
 
 8. She will not be buried (anywhere) except under this 
 tree, where she has been so happy. 
 
 9. If she dies before I come, she will rest from her toils 
 and labors. 
 
 10. The rose-leaves which fall down upon him admonish him 
 to believe constantly in her. 
 
 11. Each rose-leaf which fell down upon me called (her) to 
 my mind, as though it were a smile ^ from her beautiful lips. 
 
 1 S3or[at)ren. 2 see preceding lessons. s Dflec^t, n. 
 
 17. 
 
 From „Unb fie fan! in S^rtineu" to „%6), \a ber ^aijer." 
 
 1. She sinks upon his breast, and large tears course'^ down 
 over his cheeks \ 
 
 2. In our pain at parting, both of our hearts are beating 
 fervently. 
 
EXERCISES. 13 
 
 3. Something stirs itself in the pith of the rose-bush, as 
 though ^ it were a premonition of spring. 
 
 4. Are you weeping? If everything does not turn out well, 
 your father will help us. 
 
 5. At last Hans aroused himself, and went to Diirer. 
 
 6. If he could finally seek out Diirer, he would learn some- 
 thing worth while. 
 
 7 . We will go to the youths wherever they may ^ be. 
 
 8. I will arouse myself and go to my father. 
 
 9. We will lay our request before them, as your father has 
 said. 
 
 10. The emperor commands us to learn thoroughly with 
 Diirer. 
 
 11. We begged for their intercession with the emperor. 
 
 1 see preceding lessons. '^ use mogen. 
 
 18. 
 
 From „'^6), ja ber Golfer" to „2Bo ftecft il)r benn." 
 
 1. "If we should pray," says Hans, " that would certainly 
 help us." 
 
 2. At last he came again, and helped them both. 
 
 3. I will surely lead him to them or them to him. 
 
 4. When -^ we kneel down in the damp winter-grass, it 
 seems to us as though the emperor must come again. 
 
 5. A miracle is performed : before our eyes the emperor's 
 bush is transformed into the emperor himself. 
 
 6. The great solemn bells of the minster strike slowly and 
 very sadly. 
 
14 GERMAN COMPOSITION. 
 
 7. What is burning? Have the enemy come? 
 
 8. I forebode a very sad misfortune. 
 
 9. As- we looked up, we foreboded a severe misfortune. 
 
 10. People who wish to pray in the church are now climbing 
 up the mountain. 
 
 1 1 . I lead him into the cross-passage, while they conceal 
 themselves in the church. 
 
 12. The two lovers hasten towards the people who wish to 
 go to the church, in order to hear what is the matter. 
 
 1 tDcnn. '-2 al§. 
 
 C. COMPOSITION. 
 
 19. 
 
 From „mo ftedft i^r benn" to „0 maiU, ffagte ^an8." 
 
 Where had they been that they knew nothing (about it) ? 
 It had been read aloud in the market-place. The emperor was 
 dead ! When all was quiet again, Maili heard ^ Hans sobbing ^ 
 aloud, for ^ all his hopes are shattered at one blow. He stands 
 as if struck by lightning, but ^ when the place is again empty 
 he sits down on the bench, leans his forehead on the slender 
 stem of a rose-tree and weeps. When it began to grow dark, 
 Hans felt^ (how^) a hand (was) laid lightly on his shoulder, 
 and saw ^ Maili standing by him \ The bell had finished ring- 
 ing, and the brazen dirges had died away ; (everything) round 
 about in nature was, as it were, dead and empty. 
 
 1 t)5rcn. 2 infinitive without 311. ^ j)(>mi, 4 see preceding lessons. 
 ^ fiil)(cn. '^ tuie. " reflexive. 
 
EXERCISES. 15 
 
 20. 
 
 From „0 WlaiM, flagtc §an8" to „^m anbcrn a)?orgcn." 
 
 Hans gazed at her and saw ^ how her blue eyes were gleam- 
 ing through the twilight like a star, banished from Heaven, 
 that longs to be back in its home again. As she stands before 
 him she has her arms crossed over her breast, and is the 
 image ^ of maidenly humility ; a great joy lights up her face, 
 and, filled with enthusiasm, she clasps her hands. " I no longer 
 need the help of an emperor," whispers Hans, " for ^ God, who 
 never deserts us, has shown me in these moments the Queen 
 of Heaven. I shall be a true ' artist, for I shall succeed in 
 creating that which stands before my * eyes. 
 
 1 see preceding lessons. 2 SgitJ), n. 8 maijx. 
 4 use the personal pronoun in the dat. 
 
 21. 
 
 From „%m Qitbern SJZorgcn" to the end of the chapter. 
 
 The next day, after ^ he has shut up the little house, he puts 
 the keys in his pocket and walks slowly away. At the break 
 of day he had walked from his door, ready for a journey, his 
 knapsack on his back, and on his breast a little leather purse 
 with the last remains of his money ^ ; and now he was singing ^ 
 once again, "Am Rosendorn ! " But emotion soon"* overcame 
 the departing one, it seemed as though his voice trembled and 
 was insecure. In the twilight she had gently opened a low 
 window, the panes of which were round and set in lead. With 
 a white handkerchief she was waving ° him silent farewell- greet- 
 ings from the house. Now his voice breaks into tears, and it 
 
16 GERMAN COMPOSITION. 
 
 seems as though emotion were overcoming the parting one. 
 The song has ceased, and only his firm tread and the clatter 
 of his staff sound up the street. 
 
 ^ nac{)t)em. 2 (Sjgij)^ n. 3 see previous lessons. ^ balb. 
 5 use 3Urt)ef)en with the dat. 
 
 III. ^ein ^voplict im raterlan^. 
 
 22. 
 
 From „3al)r urn 3al)r ticrging" to ,,S)ie ©tiirme iim ^reifad)." 
 
 Years have passed, and Hans has disappeared, and people 
 only remember him when they pass by the blinded windows 
 of the little deserted house. Only one (person) knows who 
 will next have a right to it. The threatening on the part of 
 her father cannot induce Marie to grant her suitors a hearing, 
 for^ she is constantly thinking of her Hans. She tends the 
 growing bush which he had planted, for it is the only thing 
 which is associated with their happiness, and she wishes ^ it to 
 rejoice his heart at his home-coming. It wants to tower above 
 the niche in which it stands, but Marie will bind it fast to the 
 wall, and the blooming top of the bush will have to bow under 
 the arch. Her only pleasure is to water the rose-bush, and she 
 never leaves her father except to do-^ this. The beautiful child 
 grows quieter and sadder day by day. Her father can see that 
 her days are passed in silent labors, so that her cheek is begin- 
 ning to grow pale, yet without pity he sees how his child is 
 slowly failing. He cannot make Marie marry by force, be- 
 cause ^ the Reformation-conflict threatens Breisach. His time 
 
EXERCISES. 17 
 
 IS 
 
 SO taken up by the council that he cannot carry out his 
 
 plan, and it is lucky for his child that his activity will not let 
 
 him ^ come to that. 
 
 1 see preceding lessons. 2 tDunf(l)cn, with subj. of indir. discourse. 
 3 lueil. •< to stand after ba^. 
 
 23. 
 
 From „®ic @tiirme um 9?reifacf)" to „(5iuc 2tu§f(f) ret bung." 
 
 The peasants are approaching, and everyone must rise in 
 arms and place the city in a state of defense, for it trembles 
 for its ancient faith. The archduke Ferdinand had counselled 
 them to prepare a worthy high-altar which should bring the 
 repute of the ecclesiastics visibly before the eyes of the waver- 
 ing peasants. The duke decides to do everything to strengthen 
 their old faith, so ^ he makes a pious endowment for the exal- 
 tation of the repute of the old belief. For some time they had 
 lacked dignified offices, and now such a want must be remedied, 
 so the duke has them do all that they can. There is proposed 
 in Breisach a work which shall strengthen the catholic faith by 
 an image in the church itself, and just at this time everyone 
 does his part in ^ fortifying the city both from within and with- 
 out. 
 
 1 iDaviun. ^ um with inf. 
 
 24. 
 
 From ,,(ginc 2(ugf(^reibung" to ,/3c^neI(ev fiiUt fein @tern." 
 
 Marie has not heard that a summons has been issued to all 
 German artists, and she is weary of waiting, for it is now going 
 
18 GERMAN COMPOSITION. 
 
 on five years since Hans has been heard from. If he should 
 send in the best plans, the execution of the work would be 
 given to him. Marie knows ^ nothing of all this, for she lives 
 alone in a little balcony- room and no longer goes about among 
 the people, who always call her "the bride of heaven." Hans 
 had once carved for her a wooden Christ, and her glances 
 grow sadder every time she looks up at the image ^. Uncer- 
 tainty is gnawing her life away, for Hans does not write to her 
 because ^ he has not a friend in Breisach. One evening she 
 had become so tired of this fruitless waiting that she sat down 
 to^ write her last will. After ^ her father had gone to the ses- 
 sion of the council and she was alone, she began to write : she 
 asked that when she died she might be buried up by the rose- 
 tree, which they, while children, had consecrated to God. As 
 she was writing, "When Hans Liefrink returns," she suddenly 
 heard him singing^ very softly under the window of the little 
 balcony- room. 
 
 1 iciffen. 2 see preceding lessons. 3 nn^ . . . gu. 
 
 25. 
 
 From „<S>d)mUcv fdttt !ein ©tern" to „Tle\n treucS ?ieB." 
 
 The will (which had been) commenced flies into a chest 
 more quickly than a star can fall from heaven ; Marie sj^rings 
 to the window, and the end-rhyme is repeated in a wavering 
 voice. She rushes up the mountain and does not look behind 
 her,^ for ^ she fears ^ that the happiness which follows her will 
 vanish. As she rushes, breathless, up the mountain, like birds 
 released from their cages, she can hear ^ footsteps coming be- 
 
EXERCISES. 19 
 
 hind her, ever faster and faster. And as she stops with beating 
 heart at the emperor's bush, the one hoped-for stands behind 
 her. She loses consciousness and knows nothing more, and 
 Hes on his breast. It seems to her as if the roaring flood of 
 the Rhine were sweeping them down with itself, so that ^ she 
 has to cling to Hans in order not to sink into immeasurable 
 depths. It is her good-fortune that Hans is there to breathe 
 new^ life and love into her again, to rub her forehead and 
 hands so that at last she can again sit on the bench. Then 
 they sit silent for a long time, for no one at all was in sight of 
 the hill, and true love cannot speak quickly. 
 
 1 reflexive. 2 see preceding lessons. 3 fiir^tcn. reg. * fo t)a§. 
 
 5 neu. 
 
 26. 
 
 From „mdn treueg $?ieb" to ,,3a, Tlaiil'' 
 
 "Yes," says Hans at last, "you are surely ill; 1 should have 
 come sooner." But Marie says, happily smiling^ and shaking 
 her head, " No, not any longer ; but you must not stay away 
 so long. My father says that if you, the poor, obscure appren- 
 tice, had come, he could only have driven you away from his 
 threshold again. When " a name can be mentioned with honor 
 among Diirer's pupils, its owner ^ may woo the aristocratic 
 daughter ^ of a councillor. You have held out so long ^ that 
 you can say that you have seen the world and have trained 
 your eyes (by gazing) upon great treasures of art in a city. 
 When you were with Diirer you worked with him in the great 
 workshop, and you do not see me again only to be separated 
 
20 GERMAN COMPOSITION. 
 
 from me again. You do not really believe that my father 
 would drive you away from our threshold in disgrace and 
 shame a second time." 
 
 1 dependent clause after Inbcm. 2 see preceding lessons. 
 3 bcr, ber il)ii ful)rt. ■* fo (angc. 
 
 From „3a, 9)^aili'' to „mex ift e§ benn?" 
 
 Hans had hurried to this place to make new high-altars for 
 the cities,^ for he thought ^ he could not fail, but Ruppacher 
 had had something'^ to allege against such works. He has 
 heard something new, and even if Hans is found worthy to apply 
 for the work, he will still shake his head incredulously. Hans 
 had heard that the most wise council was purposing to have 
 the altar made, and his hopes increased. He says ^ that Marie 
 has taken good care of the emperor's bush, so that^ it has grown 
 well. He called the tree a thief that had absorbed her fresh, 
 red color,'* for -^ the roses were deep-red. Why, it seemed as 
 if all the blood had vanished from her cheeks, and Hans 
 stroked them gently with a handful of roses as if he were 
 painting them, but they still remained pale. It was of no 
 avail ; the roses in her cheeks did not bloom again. Two 
 hours later Hans went with glad steps to^ the tall-gabled 
 town-hall of Nuremburg, and desired urgently to be conducted 
 before the magistracy. 
 
 1 see preceding lessons. 2 ntcincn. 3 etn)a§. * '^axbe, f. ^ xia^. 
 
EXERCISES. 21 
 
 28. 
 
 From „Ser ift e§ bcnn? " to „Xcx ^iefrin! tl)ut'g nic^t." 
 
 " Did you ask who it was? " said the servant; " it was that 
 Hans Liefrink, so well-dressed a person that one would scarcely 
 recognize him." This was a surprise to the council, for the 
 Hans whom they knew was a fugitive and a vagrant. What did 
 he want now, — he who had run away in the night and mist, 
 Heaven knows whither, and who had been tramping about, 
 Heaven knows where, for more than a year? The dejected 
 servant of the council said that Hans wanted to sue for the 
 work of the new high-altars. He thought^ that Hans could 
 accomplish something, but the most wise gentlemen would not 
 have anything to do with such a fugitive. Only one gentleman 
 agreed with the good-natured servant, in saying^ that Hans 
 would bring to pass something other than what every vagrant 
 bungler might (do) . The servant had * to leave the hall with 
 the rough reply, that Hans should betake himself to the place 
 he came from. When the servant immediately afterwards 
 came back, they saw ^ that he brought in Hans's portfolio with 
 him,^ but they did not wish to hear anything^ more about the 
 drawings, and he had to leave the hall again. 
 
 ^ fenncn. 2 see preceding lessons. 3 = < as (a(§) he said.' ^ mil [fen. 
 5 reflexive. " ' not anything ' = nicf)tl. 
 
 29. 
 
 From ,,S)er ^icfrinf t^ut'8 md)V' to ,,5lber ein ®ute3." 
 
 *'If their worships would only look at the drawings, these 
 would tell (it to) them." But the councillors did not wish to, 
 
22 GERMAN COMPOSITION. 
 
 and they did not know that if they only inquired of Diirer, he^ 
 also could tell them everything. Then Ruppacher, who was 
 not - a peaceful man, cried out that if Hans did not take him- 
 self off soon, they would have the beadle remove him. But the 
 stern burgomaster had in the meantime opened the portfolio, 
 and remarked that the drawing did not seem to him so bad, 
 that it was very ingeniously designed. " But isn't it easier to ^ 
 plan the coronation of Mary in heaven, than to execute it? " 
 spoke another ; " Hans will never be able to do anything of the 
 sort." It was unheard-of that such a stupid youth as he could 
 execute such * noble pieces of work. They had seen him grow 
 up and had never noticed anything especial about him ; they 
 had even scorned him. Now they could not commission him 
 with the work, for the sake of the mere good name of the coun- 
 cil. So they turned Hans irrevocably away. 
 
 1 biefer. - ' not a' = fcin, ^ use ju. •* fo. 
 
 30. 
 
 From „%hex ein ®uteg" to „3)uver'g 2(ntmort." 
 
 The one ^ good thing which this incident had, was that it 
 brought the gentlemen to the idea that the work must not 
 come into bad hands. In order to be sure of this,"^ they sent 
 Diirer a letter with the drawings which had hitherto been sent 
 in, and asked his judgment on them. When Hans heard this 
 he did not despair ; he had fared badly at the council-house, 
 but he still hoped in Diirer, and simultaneously with the letters 
 of the gentlemen of the council he sent a letter to Diirer, his 
 great teacher. Political wars and disorders so diverted Rup- 
 
EXERCISES. 23 
 
 pacher's attention from the lovers that they spent^ some* weeks 
 alternately between sweet suspense and anxious happiness. 
 Now^ that they were more undisturbed than ever, Marie 
 could live and bloom afresh in the new springtime of love. 
 When Hans moved back into his desolate house, he carved 
 himself new house-doors, and it was ^ these which, in spite of 
 the contempt of all native artists, made (a) great sensation. 
 
 1 einatg. - beffen. ^ jui^ritigen. ^ met) re re. ^je^t. c plural. 
 
 31. 
 
 From ,,2)urerg 3lnttt)ort" to ,,§an§ trat IjerauS." 
 
 What^ a sorry affair the mail-service then was, nobody^ can 
 describe. Letters, remained due a long time, and one had to 
 exercise a nowadays unheard-of (amount of) patience, for 
 they had to reckon with months and weeks instead of with 
 days and hours, as ^ we do (it) . But when at last Diirer's 
 reply came, the council was surprised * that he had sent back 
 those drawings of Hans Liefrink's, and no others. Diirer's 
 reply contained these words : ^ " With the best of intentions, I 
 could not recommend to you anything more beautiful." The 
 sketch of his best scholar was so beautiful that he gave security 
 for its perfect execution. He cannot understand why ° Brei- 
 sach is not proud of Hans, for he is one of the most honorable 
 youths, and one could recommend no greater artist. When ^ 
 they harbored such a youth in the midst of their city, why 
 should they turn to an outsider? The city of Breisach must do 
 all that it can to attach Hans (to it), for the great world is 
 open to him, and he may return to it. Four hours later the 
 
24 GERxMAN COMPOSITION. 
 
 council was proud to call him its own, and what can describe 
 Hans's astonishment to see a procession stopping ^ in front of 
 his house in the narrow street. As ^ Hans runs to the window, 
 the knocker resounds loudly in the jaws of the brazen lion's 
 head on his door. 
 
 1 m\^ fiir. - feincr. ^ ix)ie. 4 [tauncn. ^ 2Borte. 
 '' see preceding lessons. <" luenil. 
 
 32. 
 
 From „§au8 trat tjerauS" to the end of the chapter. 
 
 After Hans had stepped out, he saw ^ the deputation of the 
 common council standing ^ before him in solemn parade, and 
 the entire - population of the streets which lead from the coun- 
 cil-house had followed it. The astonished Hans asked the 
 gentlemen what they desired of him. The speaker of the 
 deputation said that the most wise council notified and in- 
 formed him that they ^ had almost unanimously agreed to ac- 
 cept his proposition, which concerned the construction of 
 high-altars. "We agree to the proposition," he said, "with 
 no sum fixed, and the money for buying wood, etc., may be 
 obtained from the book-keeper of the council." When^ Hans 
 heard this, he struck his hands together for joy, and asked 
 whom he had to thank for such -^ good-fortune. While * the 
 spokesman was reading aloud before the people Dlirer's letter, 
 which the council had sent (to) Hans, Ruppacher was angrily 
 closing all (the) window-shutters of his house, for this praise 
 of his young neighbor offended his ears. At last^ the moment 
 was at hand when Hans might put on his best attire and go 
 
EXERCISES. 25 
 
 over to Ruppacher's to " sue for ^ his daughter.^ After he had 
 put a nosegay on his attire, he noticed that the shutters were 
 closed. 
 
 1 see preceding lessons. ^ gan^. 3 ,jmn. ^ alS. ^ ciiblic^. ^ nm. 
 
 IV. Die Bc^in^un$. 
 
 33. 
 
 From „Tia\\i madjtt" to „§crr 9Jat ! fu^r §an§ auf." 
 
 After ^ Marie had opened the door for him, she uttered ^ one 
 hght outcry of joyous terror, and Hans saw^ her disappear. 
 Then ^ she sank down with throbbing heart before a prayer- 
 stool and besought the most blessed Virgin for assistance. The 
 unterrified Hans goes in to Ruppacher. As he sees him enter, 
 he shouts out : " Have you come to ensnare the heart of my 
 daughter? Have you come to ask what I wish? " and his eyes 
 blaze. Hans answers ^ that he wishes in the first place to thank 
 Ruppacher for the confidence which the most wise councillors 
 had shown * in ^ giving him their votes. Ruppacher interrupts 
 him and says with suppressed rage that he need not pay him 
 any thanks, for ^ he had not given Hans his vote. Hans asks 
 in surprise what the councillor has to allege against him. He 
 replies that Hans has thrown love-glances at his young daughter 
 and has ensnared her heart: " She now no longer wishes to 
 become the wife of any respectable man," says he, " it is a 
 young beggar who continually occupies her thoughts." Hans 
 replies calmly that he knows ^ of one honorable man whose wife 
 Marie wishes to become, and that this honorable man is him- 
 
26 GERMAN COMPOSITION. 
 
 self.' Ruppacher laughs aloud and says that he had never yet^ 
 met with (a case) where® a beggar-boy had sued for^ the 
 daughter of a councillor. 
 
 1 see preceding lessons. 2 auSftofecn. 3 jjann. ^ bcmcifcn. 5 iubcm. 
 6 use the subjunctive. ' cr fclbft. ^ nod^ ni(!^t. ^ ba^. 
 
 34. 
 
 From „.^err 5Kot ! fu'^r §an8 an\'' to ,,§icr ^aB' id^ ftc." 
 
 Hans is not, and was not a beggar. He is poor, but these 
 persons are yet to appear who can allege that they have given 
 him a copper. His father nourished his family ^ by making 
 engravings ; after the death of his father, his mother and him- 
 self maintained themselves honorably by the labor of their 
 hands. The emperor Max had given him a beautiful - knife 
 and a purse, but that was the only (thing) he had received as 
 a present throughout his lifetime. Had he begged for these? 
 The eye of the great emperor penetrated with a divine in- 
 sight into the soul of the poor boy, and he had recognized in 
 the youth an honorable striving. He is not a beggar because 
 the emperor has given him such riches. It was not a lazily 
 received, lazily squandered benefice, he has saved and held 
 together his capital, and invested it so that - it should bring 
 in large interest. Since he is not a beggar he ought not to 
 endure such words.- He calmly spoke on, and showed the 
 councillor his riches. 
 
 1 f^amiltc f. 2 see preceding lessons. 
 
EXERCISES. 27 
 
 35. 
 
 From „^^uv I)ab' id) fte" to ,,§au§ ?iefriu! bcbtc." 
 
 " Do you point at your head and your hand in order to ^ 
 make a fool of me?" shouts the furious councillor. Hans 
 wished only to inform him in this way that he had also riches, 
 for he had a thinking head and industrious hands, and through 
 these he created ^ works which were to bring him wealth and 
 possessions, and he believed that in these there was latent a 
 great deal of money-value, which would come to light in 
 the course of time. Ruppacher did not wish to beheve in a 
 mere ^ representation, and he would not give his beautiful 
 daughter to this youth, for he had only birds in the bush and 
 none in the hand. Hans believed that he had abundant 
 means of livelihood for many ^ years, and that his works would 
 bring in new orders. Although^ the councillor declared that 
 hard times were coming, and that his daughter would really ^ 
 have to play the lute in the alleys if ^ she were given to such a 
 man, Hans preferred "^ his unprofitable profession ^ to the 
 labor of a shoemaker and tailor, for he knew that every man 
 needs ^ not only clothing and shoes, but also [the] art. 
 
 1 um. 2 entftel)en laffcn. ^ bIo§. * see preceding lessons. s obluol)!. 
 6 rooi)[ nod). ' t»or3ie{)Cn (accus. and dat.). 8 58eruf, m. 9 subjunctive. 
 
UNIVERSITY OF CALIFORNIA LIBRARY 
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