hf!p://www;archive/org/aetails/exercises^^^ I EXERCISES IN -GERMAN SYNTAX AND COMPOSITION- FOR ADVANCED STUDENTS BY •tJU MARIAN Pf WHITNEY, Ph.D. (Yale) Professor of German in Vassar College AND LILIAN L. STROEBE, Ph.D. (Heidelberg) Instructor in German in Vassar College NEW YORK HENRY HOLT AND COMPANY 1910 h ^^9 Copyright, 1910, BY HENRY HOLT AND COMPANY INTRODUCTION A WORD of excuse may seem needed for adding an- other book on German composition to the large number already in existence. But we feel that the many such books issued during the last few years have all neg- lected to provide for one large class of students and one real need of language work. There are many excellent books dealing with what the Germans call Realieriy or the facts and words of every-day life, but there are very few which give an advanced student the vocabulary necessary for the study of literature and literary criticism; there are various books for giving practice in the elementary rules and forms of German, there are practically none which deal system- atically with more advanced German syntax. Now composition work based on Realien finds its proper place in the work of the first and second years, when the main object of instruction is to familiarize the pupil with the simple vocabulary of every-day con- versation and the elementary forms of the language, but as soon as the study of the literature is begun, a different and wider vocabulary is needed. As all students of German, except in purely business courses, look forward to some study of the literature as one of the chief reasons for learning the language, there should be room for a book especially adapted to their needs. 209404 iv INTRODUCTION The most valuable feature of this book is probably the series of exercises on German syntax which form the first part. These exercises are the result of an un- successful effort to find something to meet the needs of the authors^ own classes at Vassar College. After the elementary study of the grammar, and of the simple exercises which accompany it, has been followed by some translation of simple English into German, and perhaps by some practice in freie Reproduktiorij the student needs a thorough review of the principles of grammar and syntax and an opportunity for ac- quiring proficiency in more difficult constructions. Most of the larger grammars are provided with exer- cises intended to afford such opportunity, but these exercises consist generally of disconnected sentences, each illustrating one rule or construction, but with- out any effort to connect these sentences into a whole, or to build up vocabulary systematically — an aim of which the teacher of languages should never lose sight. Being unable to find what we wanted for such work with our own classes, we wrote this series of exercises, which have borne the test of two years' use in the class-room, and have proved to be thoroughly satis- factory. Each group of rules is taken up separately, and for each a specially prepared German model text is given, which illustrates the rules to be studied. On this text the English exercise is based. Each part of the exercise, German and English, forms in itself a consecutive whole, treating a subject of interest and value to the student. In each exercise the vocabulary is carefully planned to introduce new and valuable INTRODUCTION V words and expressions, while fixing in the memory, by frequent repetition, those which have been given in the preceding lessons. A student having worked through these exercises carefully should find himself prepared to meet any grammatical difficulty which may arise in writing German, and, at the same time, should be master of a vocabulary which will put him in a position to read, write or talk on literary subjects. The exercises may be used in connection with any grammar. References have been given to several of those most commonly used in our schools and colleges; teachers may easily supply others, if needed. The second part consists of selections for transla- tions from English into German, which are graded in difficulty. The subject-matter is also for the most part literary, and gives opportunity to use and en- large the vocabulary already acquired. In some of the passages selected an occasional word or phrase has been altered (with the permission of the author), for the purpose of facilitating translation into German. The abstracts of ballads, plays, etc., may serve as models for other such abstracts to be written directly in German by the student from the poems or plays he is reading. The third part contains suggestions for simple themes or papers in German based on such dramas and poems as are usually read in our schools and col- leges. The first series consists of questions which may be answered in short themes of two or three pages; the second series gives suggestions for longer essays. vi INTRODUCTION Many teachers feel that, after the difficulties of the syntax are mastered and a fair vocabulary is acquired, the student should be ready to write in German on any subject connected with his work, and should not continue to translate from one language into the other. Such teachers are advised to omit the second part, or to use only the first few selections as models for the student's own work before taking up the third part. There are few notes, but the vocabularies are full and give all the information needed to make it possible for the student to translate the selections into really good German. We have tried to remove one of the greatest stumbling-blocks in the way of such transla- tion by indicating in the English-German vocabulary the proper preposition to be used after each noun, adjective or verb. The tables of declensions, of prepo- sitions, and of Old (or Strong) and irregular verbs at the end of the book will be found useful for reference. M. P. W. July, 1909. CONTENTS PART FIRST EXERCISES IN GERMAN SYNTAX PAGE I. The Article ©oet^eg 3ta^icnif(^e gffeife .... 3 II. The Genitive ©oct^c in granffurt 5 III. The Dative (Scl)itter unb ^arl Sugen .... 8 IV. The Accusative SSarienftctn unb 9)?aj 10 V. Proper Names and Numerals ^Berlin .... 13 VI. Adjectives ©c^iHer .... 16 VII. Personal and Possessive Pronouns ©oetl^c^ SD^utter . . 18 VIII. Demonstrative and Relative Pronouns @oet{)C unb ©cl;i(ter 21 _._ IX. Indefinite Pronouns . . . (5c[en{|eim ... 23 X, Prepositions ©oet^e in SKeimar . 26 XL Reflective, Impersonal and Compound Verbs .... 3)?aria ©tuart . . 28 XII. Modal Auxiliaries .... (ggmont . . . . 31 XIII. Passive Voice ©^afefpeare ... 33 XIV. The Subjunctive Mode . . 9}Jinna toon 33arn* ^elrn .... 36 XV. The Infinitive 3p^ic\enie .... 38 XVI. The Participle ^ic f aiferfriJnung . 41 XVII. Stem-Group " Ziehen". . . !Die ^reusgiigc . . 43 Reviews based on Exercises I-VIII .... 46 vii viii CONTENTS PAGE Reviews based on Exercises VI-XV .... 48 Reviews based on Exercises I-XV 50 PART SECOND SELECTIONS FOR TRANSLATION FROM ENGLISH INTO GERMAN. GRADED IN DIFFICULTY I. Minna von Barnhelm 65 II. The Cranes of Ibycus 56 III. The Hostage 58 IV. Tell 60 V. Schiller's Youth 62 VI. The Dramatic Structure of ''Emilia Galotti" . . . Max Poll ... 64 VII. Reception of Goethe's Drama ''Iphigenie" . . Max Winkler . . 68 VIII. The Genesis of Goethe's **Iphigenie" Max Winkler . . 70 IX. Frederick the Great and Lessing A. B. Nichols . . 73 X. "Maria Stuart" .... Edward S. Joynes 74 XL Schiller's Drama "Die Jungfrau " IN ITS Rela- tion TO History . . . . A. B. Nichols . . 76 XII. Charlotte von Stein . . . Calvin Thomas . 78 XIII. The Composition of the Drama '' Goetz von Ber- lichingen" Frank Goodrich . 79 XIV. "Minna von Barnhelm" as A Comedy A. B. Nichols . . 81 XV. Goethe's "Dichtung vnd) H. C. G. von Jage- Wahrheit" J mann .... 82 XVI. Structure of the Novel . Bliss Perry ... 85 XVII. Sudermann Edward Everett Hale .... 88 XVIII. The Value of the Drama . Henry Arthur Jones 90 CONTENTS PART THIRD SUGGESTIONS FOR THEMES BASED ON CLASSICAL GERMAN TEXTS PAGE First Series: Shorter Themes 95 Second Series: Longer Themes 98 Vocabularies 103 Table of Declensional Endings 187 List of Prepositions 188 List of Old (or Strong) and Irregular Verbs . . 189 THE ARTICLE BiERWiRTH, Elements of German, §§ 461-465 Joynes-Meissner, German Grammar, §§ 416-421 Thomas, Practical German Grammar, §§ 223-232 Whitney, German Grammar, §§ 66-67 ©d^on ate ©tubetit i)aitt ©oet^e mlt fiefonberer ©el^n* fud^t nac^ ©iiben geblidft, abcr feiu SSunfd^, eine $Relfe nad^ 3taUen gu madden, ging erft in fpateren 3a!)ren in Srfutluug. ^ud^ fcln ^ater liebte in feiner 3ngenb ba^ 9^eifen, cr \mx in Stalien, granfreid^ unb §oIIanb getoefen, unb ^uf JMg^ Slnrcgung I)atte ber jnnge ®oet^e fc^on frli^ angefaUgeJi^ fid^ ntit bent ©tnbium ber italtenifc^en C He 25 also studied Italian, which he learned not in school, ^but from his father. The latter instructed his children himself and, as he had ,always had a special interest in the Italian language, he gave them Italian lessons several times a week. 30 THE GENITIVE 5 When at last his desire of seeing Italy was fulfilled, Goethe owed not only to his reputation as a poet, but also to his knowledge of Italian, the fact that he was everywhere well received and everywhere found good friends. After a winter spent in Rome he went on towards the south, spent March and April at Naples, where the natural scenery made the deepest impression on him; while in Rome he had devoted himself espe- cially to the study of the monuments of antiquity. He took a special interest in Vesuvius, which he climbed three times during his stay in Naples. When he re- turned to Rome in the beginning of June he intended to spend only a couple of days there, but he stayed all summer and then again all winter, and not until April, 1788, did he leave the city to which he as a poet and an artist owed so much. ( 11 THE GENITIVE BiERWiRTH, Elements of German, § § 473-484 Joynes-Meissner, German Grammar, §§ 430-435 ^-" Thomas, Practical German Grammar, §§ 245-256 Whitney, German Grammar, §§ 215-220 ©oetl^c in ^ranffurt @oetI)e tDurbe ben 28. 5luguft 1749 ^u granffurt am 9}Jam geboren. S)er grembe, meld^er ^eute bie (Stabt granffurt betritt, i[t t)or alleni ber Xat\ad)t elngebenf, ba^ Ifm bit 6 GERMAN SYNTAX AND COMPOSITION ©cburt^ftattc be^ grofeten beutfc^cn T)id)kx^ ift, 2lber nld^t nur barauf beru^t granffurt^ dluljm, t)ielme^r burfte \id) hit ©tabt Don altera i)tx i^re^ 9ielc^tum^ unb i\)xtv po(i=^ tifc^en Sebcutung rut)Tnen» S)ort ^at ©oet^e tinberia^re reinften ©liicfc^ jugebrad^t, beren er fld^ [pater tmmer mlt « grcubcn etlnnerte* (Sr mar guter 5lbfunft, ber §err 9^at &otti)t, i3on 33eruf eln 9?e(^t^ge(el)rter, mar ftd^ feiner *^fUd)t al^ Sater bernu^t unb fonnte i!)m glucfUd^ertDeife fret t)on ben ©orgen be^ taglid^en Seben^ elne gute (Srjle^iung geben, ©eln §au^ mar t)oI( ber beften ^'unftfc^ci^e, bie befte ®e= k fellfc^aft t)erfe^rte ba unb mand^er.. ber ©dfte miirbigte hm jd^dnen ^naben eine^ freunbUc^en ffiorte^. Sefonber^ aber na^m fid) bie 3Kutter ^IBolfgang^ mlt liebeDoKem -gerjen an unb crfannte frll^ feme bld^terifd)e ^egabung. 3^rem S5er^ ftanbni^ unb ii)xtm fonnigen §umor uerbanft er befonber^ r bie gllidUd^en $)etmatia!)re, beren ein ^Inb fo fe^r bebarf. ©ein fpatere^ ?eben ^at i^m feine^meg^ 9D^u!^en unb ©orgen erfpart, aber nldjt^ fonnte i!)n ber Srlnnerung an eine gludf== lid^e 3ugenb berauben. The little town of Marbach in Wiirttemberg can boast neither wealth nor political importance, the foreigners who* travel in Germany seldom deem it worthy of a visit, and yet it is the birthplace of one of the greatest German poets, for there Schiller was born on November 10, 1759. His parents were of humble birth, and poverty prevented their giving.their gifted son the education which he as a poet so much needed. No one, however, could rob the boy of the pleasures of childhood, and as a man he always looked THE GENITIVE 7 back with enjoyment to the stories which his mother had told him and to the poems which she had read to him. Perhaps she was aware of the genius of her son, at least h^s owed to her that early famiharity with the 5 works of the greatest poets and with the Bible which every poet needs. A young poet does not need riches, but he needs friends who take an interest in him, he needs acquaintance with the best society and familiar- ity with the greatest works of art.( In his early youth lo Schiller found hardly any one who took an interest in him, no one who deemed the young poet worthy of encouragement and help. The fame of Karl Eugen, at that time Duke of Wiirttemberg, depends chiefly on the fact that he gave Schiller a place in his new 15 school or university at Stuttgart, but he could hardly boast of the share which he had in the education of the poet, for he was quite unaware of his genius and never deemed him worthy of his friendship or favor. Schiller never looked back with pleasure to the time which he 20 spent at the " Karlsschule, '' and was of the opinion that Karl Eugen had robbed him of the best years of his life. But we cannot accuse the Duke of cruelty or ill-will; he had no feeling for literature and was not conscious of his duties as the patron of a poet. 8 GERMAN SYNTAX AND COMPOSITION III THE DATIVE BiERWiRTH, Elements of German, §§ 485-490 Joynes-Meissner, German Grammar, §§ 436-440 Thomas, Practical German Grammar, §§ 256-262 Whitney, German Grammar, §§ 221-225 Sd^tller nnb liaxl fiugen ©chiller I)atte nld^t mie ©oet^e ba^ ®IM elnen Sanbe^fiir- [ten gu finben, ber i^m 3^^.t feinc^ 2thm^ etn treuer greunb unb ®dnner tdax. I^arl (Sugen, ber §eqog t)on SBlirt^ temberg, tDar bem iungeix (Sd^iUer nic^t giinftig ge[innt unb JDd^renb fetner ^ugenbia^re litt er fti^mer unter ber ^rurannei 5 bie[e^ gllrfteu, ber \)on feinen Untertauen t)er(angte, ba^ fie felnem launifi^en ^[Blllen unbebingt ge^ord)ten» 5hif feinen ^efel^I mu^te ©cottier in bie ^arl^fc^ule eintreten, iuo il^m ba^ ftreng geregelte Seben fe^r menig jufagte* S^ I)atte bem ^perjog fe^^r gefd)abet, ha\] er ftet^ t)on ^ofUngen umgeben 10 mar, bie il^m I^ulbigttn unb f(f)mel(f)elten, unb e^ gereu^t i^m nid^t gur S^re, ^f^ ba^ 8anb Uon tDegen fetner 3Bi(l!ur unb ^Serfc^roenbung^fud^t f(u(^te» %nd) mangelte e^ bem ^er^og an ^erftanbni^ fiir bie 3ugenb unb e^ mi^fiet i^m unge^ mein, ha^ einer feiner Untertauen Dramen fd^rieb, bie ftatt 15 bem 3ntereffe be^ S^'i^ften ju bienen, burd^ il^re aufrii()renfc()e ©efinnung bie ©emitter aufregten. @^ tag bem jungen 2)id^ter i)iel baran, ber erften ^luffli^nmg feiner „9^auber" in Jlknnl^eim beijun)o^nen, aber al^ er um Urtaub bat, tDurbe er il^m bermeigert, ^Iroft biefer 3Seigerung gelang e^ 20 i!)m, in entfommen unb fein S^^^ P erreid^en* 2lber nad^ THE DATIVE 9 felner dlMtt1)x iDurbe er mit 5Irreft beftraft unb her §er^og befa^t i^m, nlc^t mel)r ^u fc^relben. Sr ftellte l^m entente (Strafe in 2tu^fid^t, fall^ er biefem Sefe^l nic^t gel^ord^en iDerbe, unb elne S^^^ ^^^9 fd^ien e^, a(^ ob bem jungen 5 Sldjter Don bem 3orn be^ ^er^og^ ernftUd^ @efaf)r bro!)te* It is not easy for us to decide whether Charles Eugene, who was Duke of Wiirttemberg during Schiller's youth, most helped or injured the young poet. Schiller's father had long served the Duke faithfully and was lo accustomed to obey him without question, and when Charles Eugene ordered him to send his son to the school or university which he had just founded in Stutt- gart he did not think of opposing his will. This by no means pleased young Schiller himself, for he wanted to 15 study theology and become a clergyman; as, however, this branch was not taught in the Karlsschule, he had to study medicine and become a doctor, which did not suit him at all. 'The Duke was at first favorably in- clined toward the young man, but as soon as the latter 20 had written his first play, ^'The Robbers," the Duke showed that he had no appreciation of that kind of literature. He thought that this work would injure his interests and those of the state, its revolutionary spirit displeased him greatly, for it seemed to him that 25 it endangered the arbitrary power of the small princes. He expected his young protege not only to obey his will in all things, but also to pay homage to him and to flatter him. Instead of allowing the young poet to be present at the first production of his play, he ordered 30 him not to leave Stuttgart, and threatened him with 10 GERMAN SYNTAX AND COMPOSITION punishment and disgrace if he ever again wrote a play. Schiller could not obey this arbitrary order; Charles Eugene only succeeded in driving him out of the country. It would have done more credit to the Prince if he had been a faithful friend to the greatest 5 of his subjects instead of threatening and persecuting him as soon as he ceased to obey him absolutely. But it would perhaps have injured the poet if he had always owed everything to the capricious will of his princely patron. The years after his flight from Stutt- 10 gart^ when he lacked money and friends and when he learned to know the cares of life, did not injure him as a poet. If he had lived at court, surrounded by courtiers who flattered him because the ruler of the land favored him, he would never have written the 15 great works which aroused the minds of all the young men of Germany against the tyranny and arbitrariness of their rulers. IV -^ THE ACCUSATIVE BiERWiRTH, Elements of German, §§ 492-496 Joynes-Meissner, German Grammar, §§ 441-447 Thomas, Practical German Grammar, §§ 263-269 Whitney, German Grammar, §§ 226-230 IDallcnftetn unb ITEar 3:rot3bem ber £atfer 3BaIIenftein al^ 53errater erflart unb CctaDio im ge()etmen jiim J^ii^rer be^ §eere^ ernannt l^atte, fcfjien e6 )Sflaic faum mo^Ud^, bie ffia^r^eit ^u glauBett; betttt THE ACCUSATIVE 11 cr l^atte ben %dh\)txvn ftet^ filr einett treueit Untertanen unb greunb be^ ^aifer^ gel)al,ten, ^Jlod^ ^of[te Waic, ha^ JBatlen^ ftein feiiten ^at befolgen unb [id^ tjom ^rleg^ft^ouptdi^u^' ru(f3ie()en mcrbe, e^e er offentUd^ al^ 53crrdter enflartit tniirbe* 5 S5ergeben^ f)attc SSalleufteln tjerfud^t, ben jungen Offigicr fclne iJBei^^elt ju Ief)ren unb l^n 3U [einer 5Infld^t ju befe^ren, baB niemanb ftd^ im 2thtn fd^ulbto^ er()alten fonne/t)ergeben^ ^atte er i^n baran erinnert, mie er l^n ju feinem lkh\tm greunbe gema(^t, tDie er, aU Tlaic nur menige 3a^re alt 10 gcmefen mar, fc^on itbm 2:ag filr l^n ge[orgt, unb iDte Waic aii(^ felbft ge^offt ^atte, elne^ Sage^ burc^ i)erit)anbt|'d^aft^ luf;c Sanbe noc^ fefter an l^n gefnilpft ju merbcn, 9)ta^ mar e^ getDo^nt gemefcn, SSallenfteln^ 3Korten unbebingt ju ge^ ^ord^cn, aber bod^ fonnte er fid), trol^ fciner Siebe ju I^efla, 15 nid}t entfi^Ue^en, felner ^fUc^t untreu ju merben. SBalten^ fteln nannte il)n be^^alb elnen Unbanfbaren unb mollte nidjt im 5rleben mn i^m fc^eiben. (So biinftc e^ ben unglucf^ Uc^en ^iingling beffer, ftatt feine Xruppen bm filrjeftcn S3eg bcm taifer jujufiil^ren, bie i^m an 3^^)t i^elt iiberlegenen 20 (St^meben' an^ugreifen unb fo, ba^ (Sd^tnert in ber §anb, elnen tbkn Job auf bem (3(^(arf)tfelb ^u fterben* Wallenstein was accustomed to regard, the two Piccolomiiiis as his best friends, and when he at last decided to declare himself publicly an enemy of the 25 Emperor and to attack his army, he intended to appoint Max leader of a part of his troops. He had made this young man his dearest friend, he had taught him all he"^new of the art of war, he h^d perhaps hoped some day to make him his son by a marriage 12 GERMAN SYNTAX AND COMPOSITION with his daughter Thekla, and he could not now be- Heve that he would desert him. In vain did Max attempt to dissuade him from his purpose, ir^ vain did he call him his second father and implore him to , withdraw with him from the seat of war, in vain did he remind him that the Emperor had been his friend many years, that he had made him the leader of his armies and that it would be ungrateful to desert him now. It was too late; Wallenstein could not follow Max's advice, for if he had now withdrawn from the i alliance with the Swedes they would have publicly unmasked him as a traitor. ^He owed it to them te carry out his plans, and He was tired of serving a master who had already been unfaithful to him, fear- ing, as he did (construe: as he feared), every day that i he would deprive him of the command of the armyy-'sr-' It seemed to the great general better to die a heroic death on the field of battle as the leader of his armies, than to live a few years longer in peace and obscurity. With despair in his heart. Max went to Thekla, who he 2( had hoped some day to call his wife, and made her the judge of what he should do. r She baae liim take the path of duty, and lead his troops back to the Emperor. But instead of Jdoing that he took the shortest way to the Swedish ^amp' and found that very day on the 2, battle-field the death he sought for. Before we call Max a traitor, because he led his troops with him to death, we must consider that the soldiers had themselves chosen him as their leader, and that it was Wallenstein * and not €he Emperor who had made him a general. 3( He was accustomed to call the former his second father PROPER NAMES AND NUMERALS 13 and to obey him implicitly, and yet he considered it his duty to be faithful to the latter. Under these circumstances it seemed to him impossible to live a day longer. PROPER NAMES AND NUMERALS BiERWiRTH, Elements of German, §§ 87-101, 266-282, 468 Joynes-Meissner, German Grammar, §§ 109-121, 300-313, 426-428 Thomas, Practical German Grammar, §§ 115-119, 284-285, 297-299 Whitney, German Grammar, §§ 102-108, 196-209 Berlin 5 ©c^on felt bent Snbe be^ fiinf^efinten ^a^r^unbert^ finb bie (B^id\ak Don Berlin aiif^ engfte mit benen ber §o^en^ jollern tjerfnllpft. ^er 33reunpunft be§ ^ertiner l^eben^ imb ^reiben^ ift ,,Unter hm IHnben/' elne ettoa 150 bi§ 200 gufe brelte, mit tmx t)ierfad}en ^Ket^e t)on ^inben unb lo taftanieu beppanjte (gtraf^e. ®ort [tc^t ber ^alaft be^ t)er^ [torbencn Sai[er(^) ^l>ill)elm be§ (Srften unb anbere Wa^^ tige ©ebdiibe, aud) ba^ ©c^to^ SSilljelm^ be^ 3^^ito, be^ ieljigeu ^alfer^, l[t nlc^t melt entferut. ^em gremben, ber Berlin gum erften Wlai betrltt, fiillt gtDcierlei befonber^ auf, 15 erften^ bie grofee 5(n^al)t ber 'Xenfmciter unb jmetten^ bie mUn Uniformen, melc^e ba§ ©traf;eubilb beleben. T)a^ beutfc^e §eer ift im ^rieben iiber^eine fialbe ^D^tllton ¥lann ftarf, buri-^fc^mttlid) ein "iprojert't ber ®efammtbet)olferung ftel)t unter Saffcu* 3Sg^ bie ©enfmciter betrifft, iDirb 14 GERMAN SYNTAX AND COMPOSITION Serlln in ber 5lng^l^l berfelben n)ot)t \)on feiner ®tabt @uro* pa^ iibertroffen* Standee berfelben flnb burd) U)re ©c^ou- ()cit beru()mt, fo jnm Seifplel ba^jenlcie griebrld^^ be^ ©rofeen t)on JRaud^. 5lu(^ gurft Si^marcf^ 5lnbenfen Ift in Serlin burd^ ein 3)enfma( geel^rt tDorben, bod) ba^ t^eitau^ fd)onfte 3)enfmal be6 giirften Si^mard ift ant erftcn 2lprit 1906 3ur (Srinnerung an feine S5erbienfte filr ba6 SSaterlanb in ber freien 9^eid^^ftabt Hamburg ent^udt morben. The importance which Berlin has attained during the last four decades is most closely connected with lo the foundation of the new German Empire, for the crowning of William the First, King of Prussia, as Emperor of Germany made the former capital of Prussia the capital of the whole Empire. Since 1871 the population of the city has more than doubled, 15 and it now consists of more than two million (souls). A stranger visiting Berlin after an absence of several years is especially struck by the maiay new build- ings and the almost innumerable monuments which adorn its many streets and parks- /'King Frederick the 2§ Great's monument, which stand's in the very center of the life and activity of Berlin, just opposite the palace of the late Emperor William the First, is no longer as formerly considered the most imposing monument of the town. . The largest and newest monument in 25 Berhn was unveiled oh the 22d of March, 1897, in memory* of the one hundredth birthday of the late Emperor William the First. £ Prince Bismarck's monu- ment and that of the Emperor Frederick, the father PROPER NAMES AND NUMERALS 15 of the present Emperor, are not far distant, and who- ever enters for the first time the so-called Siegesallee, an avenue about one mile long and 250 feet broad, with a row of statues and monuments on either side, 5 must feel that there can hardly be any Prussian dis- tinguished in war or peace, whose memory has not been honored there. A person standing ^^ Unter den Linden," the real heart of Berlin life, is especially struck by the many officers and soldiers whose uni- o forms enliven the scene, but when we consider that the German army even in peace consists of more than half a miUion men, that on an average every German spends two years of his life under arms, and that Ber- lin, as capital of the Empire, has a garrison of not less :5 than 20,000 men, we shall no longer wonder at their number. As far as wealth and size are concerned, Berlin is not surpassed by any city of the Empire, yet it cannot be called a really beautiful town; first, be- cause it lacks beautiful natural surroundings, and 5o secondly, because, as a comparatively new city, it has none of those picturesque medieval buildings which lend such charm to most German towns. 16 GERMAN SYNTAX AND COMPOSITION VI ADJECTIVES BiERWiRTH, Elements of German, §§ 206-265 Joynes-Meissner, German Grammar, §§ 448-451 Thomas, Practical German Grammar, §§ 286-296 Whitney, German Grammar, §§ 114-148 Sd^tUer SSdfirenb ber Im ithm geretfte ¥lann t)iellel(f)t e^cr nac^ ®oetI)e^ lebcit^frot)cr, 'ma()rl^eit^t)OLler X)ld)tung greift, fte^t aU IHebliug ber ^ugeub ®d)iller a(^. allererfter in ber D^el^e* ©ein ©treben nad), bem @uten, SBa^ren unb ©c^onen, ber 5lu^bru(f f}oi)zx [iltlld^er ©lite, ber burd) felne 2Ber!e jlel^t, < unb t)or allem „ber ©liter i)od)\M," feine jugenblldje 33e= geifterung, I}aben if)n gum Slebling aller berer gemac^t, ble felbft iung an 3a^ren, ftolg auf il)ren SBert, reid^ an §)o\\^ nung unb beglerlg nac^ gro^en Xaten in^ 2thtn ^inau^ ftiirmen. ®d)tller ift am grofeten aU ©ramatlfer, bod) '^at ic cr @ute^ in faft jeber !Did)tung^art gelelftet* 3ebe^ feiner 2Ber!e tDurbe Don bem ^ubUfum auf^ befte empfangcn; bic Sllten unb bie 3ungen, bie (Srnften unh bie ^eiteren fanben barln ©eful^Ie, tr)e('d>e i^re etgenen ^ergen bemegten. ©iefe allgemeine ^Bertfdjiiljung beS 3)idjter^ l^at ©oet^^e am fc^on^ 15 \kn in feinem „®pi(og ju ®c^iller^ ©lode" au^gefproc^en. ©d^iller^ dlnljm t[t ntd}t nur liber gang J)eutfd)Ianb, fonbern liber bie gauge SSelt Derbreitet unb fd)on gu fcinen ?ebgeiten ]^at man ni(^t nur in bem engen Sia^men ber SBeim.arer ©efellfc^aft Jebem feiner SBerfe mit bem gri3[Uen 3ntereffe 2c entgegen gefei^en* ADJECTIVES 17 The Germans may well be proud of their literature; their poets have distinguished themselves in every field, but no one denies that among them all Goethe and Schiller are the greatest. In that which they 5 have written we find the highest that German' litera- ture has as yet produced: whoever takes up any work either of the older or the younger poet will find in it the expression of feelings which move his heart and which awaken his enthusiasm for that which is good, o true and beautiful. Neither ' thought in his lifetime of claiming the first place for himself, but each was ^i jproud of the famp and success of his friend.^^ Although Schiller was younger in years and poorer in this world's goods than Goethe, the latter considered him worthy 5 of his highest respect and his warmest friendship, and what Schiller wrote during his Weimar years was the best that he produced. But not only did Goethe most strongly influence the life and the work of the younger poet; through his youthful enthusiasm for all that o was good and noble Schiller aroused anew in his older and more mature friend the interest for poetry and for the drama. /We owe it to him that Goethe began once more to Work on his drama, "Faust," which is universally considered the greatest thing he has pro- 5 duced. Goethe had already done good work in almost every department of literature — though he was per- haps greatest as a lyric poet — his- name was famous far beyond the narrow limits of the court at Weimar. Germany gave a cordial reception to all that he wrote, o and he was not unknown to the educated men of other countries. But the pubhcation of ''Faust" made him 18 GERMAN SYNTAX AND COMPOSITION at once one of the greatest of the world's poets; it was read by young and old, by the educated and the un- educated, and from this time on his fame filled not only all Europe, but the whole world. Every one was eager for the next thing he would write and looked forward with the greatest interest to the promised continuation of this great play. Goethe himself ex- pressed most beautifully what he owed to Schiller, when he said that in him he had lost his youth for the second time. VII PERSONAL AND POSSESSIVE PRONOUNS BiERWiRTH, Elements of German, §§ 102-112, 133-147 Joynes-Meissner, German Grammar, §§ 452-455 Thomas, Practical German Grammar, §§ 300-308 Whitney, German Grammar, §§ 149-162 ©oett?cs mutter Unter ben j^vamn, bie eine diolk in ©oetl^e^ ^thtn gc* fpielt ^aben, mliffen mir an erfter ©telle feine SD^utter nennen* ®ie tnar ha^ ©egenteil feine3 ernften Sater^; i^re 9latur tt)ar fel)r fetter, ble feinijs itiar e§ nic^t unb fie irar e^, bie burd^ i^r [onnige^ ^Imirben gliicflii^ften Slnflufe auf i^re fiinber 15 !)atte. Urfpriinglic^ maren e^ i^rer fed;^, aber t)ter baDon ftarben in frll^efter ^Inbl^elt, fo blieben nur ^Bolfgang iinb feine ©c^mefter Sornelia iibrig. 3)ie DWutter mar mit i^ntn {nng unb murbe e^ nid}t miibe, il^nen 9}Mrd^en unb ®efcbtt^^ ten 3U eraci^len, 3^x froIjUi^er §umor, ber feine^gleld)eu 2c PERSONAL AND POSSESSIVE PRONOUNS 19 fud^te, l^atte t^r llberall greunbe gemad^t; i^rettDegcn 1)xdt^^t^/^ \id) manc^er berll^mte 9Jtann in granffurt auf, um fie fennen ju lernen unb fpctter mad^te e^ i^r befonbere ^reubc, il^ren (Bo^n unb beffen t)orne^me greunbe bei fld^ ju fe^en. 5 ®te mar e^ gufrieben, iiberall al^ „'\^^Cin ^ia" befannt ju feln unb Ixberlie^ e^ gern ll^rem ©atten, beffen 5^atur ber i^xic^tn menig glid^, mlt ftrafenbem @rnft in bie gr^ie^ung ber ^'in^ ber einpgreifen. ©oet^e f)at fein gan^e^ Seben (ang i^rer mit 33ere^rung unb ?iebe gebac^t unb fie i!)rerfeit^ )x>ax fe^r ftol3 lo auf htn ®o^n, tion beffen Siul^m gan^ 3)eutfd}lanb miber:^ ^aate. Schiller owes much to the men who helped him and stood by him in the difficult moments of his Hfe. There were many of them, for his noble nature and 15 the almost unparalleled popularity of his works made friends for him everywhere, and many a distinguished- man took pleasure in helping him. But among them all it was Goethe who had the happiest influence on him, and with Goethe and his friends he spent the best 20 years of his Hfe. Goethe's life had been very different from his and it seemed as if the older poet could hardly understand a nature which was, to a certain extent, the opposite of his ow^n. Goethe was from his earhest childhood a spoiled child of fortune^ Schiller was not; 25 Goethe was now rich and independent, Schiller was not. Schiller had long known the works of Goethe and had thought of him with admiration and respect, but Goethe for his part .had not admired the early plays of Schiller and did not care to know him better. 20 GERMAN SYNTAX AND COMPOSITION Not until 1796 did they really get to know one another, but from this time on Goethe played a most important part in Schiller's life. At first he often stopped in Jena to see him, but soon he was not satisfied with visiting him there, but wished to have him with him 5 in Weimar/For his sake Schiller moved to that town, and gladly left to him the task of finding a place for him, which should make it possible for him and his family to live there. Goethe's house was very near his, and the two poets were never tired of talking over 10 their work together. Even the greatest critics do not know which of the Xeniens are his and which are Schiller's, for each wrote some of thern and some they composed together. The friendship of the two great poets was a blessing, not only for themselves, but for 15 German Uterature. The little town of Weimar is very proud of their fame. It is they who have made it one of the most famous places in Germany, and for their sake hundreds of travelers stop there every year, for there is no German who does not think of them with 20 love and revef'ence. * DEMONSTRATBi^ikffli^^RELATIVE PRONOUNS 21 VIII ^^ DEMONSTRATIVE AND RELATIVE PRONOUNS BiERWiRTH, Elements of German, §§ 148-155, 166-180 Joynes-Meissner, German Grammar, §§ 456-460 Thomas, Practical German Grammar, §§ 309-311, 314-316 Whitney, German Grammar, §§ 163-166, 177-183 ©oetl^e un6 Sd}tller „5Ber ift grower, ©oetl^e ober ©driller/' \i^^ tft cine S^agc, iDoriiber au(^ nod^ l^eute mand^mal geftritten tDirb, 3)o(^ tDer bie beibeti Dld^ter unb beren SBerfe genauer fennt, iDirb t)erfte^en, bafe gerabe blefe grage nldjt ju entfd)clben ift. 5 ^ie ^aturett ber beiben 3)ic^ter tDaren grunbt)er[d^ieben, n)e§l)alb aud^ i^re 3Serfe faum miteinanber t)ergU(f)en merben fonnen. ^er Srftere, ®oet^e, geid^nete "^^^f n3a^ er mit eigencn 5lugen gefe^en, tt)ag cr felbft erlebt unb ertitten l^attc. @r tnar ein Siealift im beften (Sinne be^ SBorte^ unb mirb 10 ftet^ bie greube berer fein, metd^e \m er feft auf biefer Srbe ftel^en. !l)er Sefetere, ©driller, bagegen (ebt nre^r in ber SBelt ber ©ebanfen. SSoriiber er gebad^t, tDonad^ er geftrebt, h)ot)on er begeiftert tDar, gab i^m ben ®toff gu feinen ^id^= tungen unb [o n)irb er aud^ mel^r t)on \iViy ^bealiften gelefen. 15 S)a6 Sefte, ma^ bie Seiben geleiftet ()aben, ift t)on feinem 3)id^ter iibertroffen tDorben, 3eber 3)eutfd^e, tDeld^er ^er^ ftctnbni^ unb J^i^eube an ber ^id^tfunft ^at, fann t)erfte^en, ma^ ©oet^e erlebt unb ©driller erftrebt ^atte, unb fo merben bie beiben £)id^ter tDO^I immer "^txi (S^renpla^ einnef)mcn, 20 beffen bie Elation fie ie^t fiir tnilrbig erad^tet. 22 GERMAN SYNTAX AND COMPOSITION Which is the greater, Schiller or Goethe? This is a question which has always been the joy of those who are looking for something which can be endlessly dis- cussed and never settled. But those who love poetry in the best sense of the word will appreciate and en- joy both these great i oets and their works, without wishing to compare them with one another. He who stands in the midst of Ufe, who is trying to understan^d what is going on in the world, will like best to read the works of the great realists, for in their pages he finds pictured what he and those about him are ex- periencing and suffering, what they are striving after and thinking about, and they reveal to him the deeper meaning of what he can daily see with his own eyes, but which without their help he could never under- stand. He who does not know the best reahsts and their works, especially Goethe's, will never know what poetry (poetic value) lies hidden in the things of this world. (^ But who does not have times when he seeks refuge from the world of action in the world of thought, when he seeks something which will free him from the thoughts and cares of daily life? At such moments he turns to those who have given form to the great ideals of humanity, who show us, not what we ourselves have seen and known, but what we long for and strive after, what we dream of, but can hardly hope to reaUze on this earth; and he feels that the great idealists and their works have never been sur- passed, that he finds in them the best that poetry can produce. If the works of the realists and those of the idealists were essentially different, it would be easier INDEFINITE PRONOUNS 23 to decide this old question which has given rise to so much discussion, but he who studies most closely the greatest poets and their works knows that in every one there is something of the reahst and something of the idealist. Both find in human life the material for their creations, and each seeks only to give expres- sion in his own way to that which lives in the heart of every human being. i IX - ..^-^ A ,-.^ -t INDEFINITE PRONOUNS BiERWiRTH, Elements of German, §§ 181-205 Joynes-Meissner, German Grammar, §§ 244, 245, 460 Thomas, Practical German Grammar, §§ 317-322 Whitney, German Grammar, §§ 184-195 Sefent^eim ®oetf)e ^ai Dieted, tDa^ er erlebte,^ ntebergefci^rtebcn unb man fann faum etma^ Slntnutl^ere^ (efen aU bie @d$it^' berung ber (Sefen^eim^^Spifobe* 3Siet @ute^ er^a^It er ba t)on bent ^rion'fd[}en §^iif^^ ^^ ^^ manc^e^ 9[)lal jn ^t\ud) QetDefen nnb mo er t)on ben 2^i3d)tern fomo!)! aU auc^ \)on beren (Sltern [tet^ frennbltc^ aufgenonxmen tDorben n)ar. ^efonber^ l^llbfd^ befd^relbt er feinen erften ^efuc^* dJlit feinem J^^^i^be ritt er !)lnau^, er felbft gnm ©d^erg fe^r ctrrnUd^ gefletbet. ^i^^^berife, bie eine ber ©d^meftern, ntad^te einen tiefen (Sinbmc! auf i'^n unb ba er fid^ am ndd^ften 5D^orc^en feiner fc^Iec^ten ^I'eiber fd^amte, mac^te er fid^ in alter grilfje auf ben 9iudfJDei3. Unterroeg^ fam t^m ber 24 GERMAN SYNTAX AND COMPOSITION ©ebanfc, In bcm Jln^ug irgenb eine^ 33aucrnburfc^en gu bem ^farr!)aufe gurilcf jufe^ren. SJJit tnenig 3Jfu!)e gelang e^ i^m, 33auemf(eiber gu befommeu unb in cin paar SWinuten ^attc er \id) in einen ftattlid^en Sauernburfd^en tiemanbelt, SJJit einigem SSangen, aber bod) aud^ mit cttua^ ^ergniigen, faJ) cr bcm 3u[txmmentreffen entgegen unb naturlid^ lad^te alle^ l^erjtid^, d^ man i^n erfannte. SSol^t mu^ einem bie Satfad^e befremben, ba^ ©oetl^e nad^ ciniger 3^tt grieberife ol^ne jebem fid^tbaren ®runb tjcrlic^, aber tnir l^aben alien ©runb anpnel^men, bag cr mit fidf^ercm inneren ©efii^l ba^ tun mugte, tDa^ fur feine fpatere Snt=^ midlung am fdrberlid^ftcn tdax. There are few distinguished men of whose life we know so much as we do of Goethe's, for in his autobiography he describes almost everything which strongly influenced his life and character. So we hear a great deal of the young girls whom he knew as a young man, and among them all there is hardly a more charming figure than Frederika Brion, the daughter of the good pastor of Sesenheim. Frederika was hardly more than a child and had all the beauty and freshness of youth; even the old German costume which she and her sister still wore lent her in Goethe's eyes a special charm. After he had ridden out to Sesenheim a few times with a friend who was an old ; acquaintance of the Brion family, he went there many times alone and he was always most cordially received by the pastor as well as by his daughters. He had also the opportunity of seeing the two girls in Strasburg, INDEFINITE PRONOUNS 25 where they spent some time with a relation/] They had looked forward with much pleasure but perhaps with some anxiety to this first visit in the city, for they had hoped to see mifch that was beautiful and interest- 5 ing there. But the visit gave them in reality very little pleasure; the sister was ashamed of her clothes, for in the town no one wore the old costume. She wanted to borrow a dress from some relation or other, and only with great difficulty did Frederika succeed in persuading her that every one would laugh at her if she suddenly changed into a city girl. After they had returned to the parsonage, Goethe continued for some time to visit Frederika almost every week, and she had every reason to assume that he loved her and 5 would some day make her his wife.^ It would prob- ably not have been favorable to Goethe's development if he had married the simple country girl, and one ought perhaps not to blame him for having deserted her, but it cannot surprise us (construe: one) that he himself 3 long looked back to his relation to Frederika with a certain feeling of guilt. Indeed one can find traces of such a feeUng in much that he wrote at that time. 26 GERMAN SYNTAX AND COMPOSITION X PREPOSITIONS BiERWiRTH, Elements of German, §§ 652-686 Joynes-Meissner, German Grammar, § 447 and pages 368-377 Thomas, Practical German Grammar, §§ 376-377 Whitney, German Grammar, §§ 371-381 ©oett^e in tDcimar Sle fleine, an ber 3ta gctegene ©tabt SBetntar Itcgt ntalerifd^ mitten in bent burc^ feine ©d^on^eit beruf)ntten Il^liringerlanb* §ier lebte ber ^er^og Sari Slugnft, ein ©ebieter iiber ein p)av nur fleine6 ^anb, ba^ aber unter feiner SHegierung emporblil^te* Sur^e 3^^t nac^bent ©oet^e feine , ©tubien auf ber Unit)erfitat jn (S:nht gebrac^t !)atte, lemte er htn .^erjog fennen nnb bie[er fanb auf ben erften Sticf ein fotc^e^ S[Bo!)IgefaIten an bent ©ic^ter, ba^ er il)n nac^ 2Bei^ mar eintub, ^n ben erften 2Jfonaten feine^ 2lufent^alt^ h)ar ®oetf)e ein @afi be6 ^erjog^; auf feine S3itte lie^ er i> fid^ bauernb in SBeimar nieber unb murbe mit einem Slmt in ber 9iegierung bctraut, ©er gan^e 3Beimarer Srei^, bi^ auf fe!)r toenige, f)attt ©oet^e fel^r freunblid^ aufgenommen, t)or allem fd^a^te i^n bie 2)^utter be^ §erjog6 unb e^ lag befonber^ an il^rer Jtirfprad^e, bafe bie .^inberniffe, bie feiner i 5lnfteIIung brol^ten, au^ bem 3Sege geriiumt n)urben, @r iDurbe junac^ft aU ?egation^rat bei ber ^f^egierung angeftellt, feine Srnennung p l^o^eren Jlmtern folgte auf bem j^u\^t nad^ unb batb l^atte er al^ SItinifter bie Seltung be^ ganjen ^anbe^ unter \id). ^u feinen'^flid^ten ge^rte unter anberem and) aj bie Sluffid^t iiber bie ©tra^ett be^ Sanbe^* ©o^mad^te cr ■* PREPOSITIONS - 27 fic^ o[t ill alter 5^^'^^^ ^^if "^^^ ^^9 i^ ^^^ Serge unb er ad)tcte auf alle^, ma6 urn ll)u I)cr uorgtng. (^oet^e Ijattc eiucu fel}r giinftigen (Sinflu^ auf ben ^er^og; auf hen erften Sticf ^atte cr an ha^ ®ute in i^m geglaubt unb feln 9^at 5 betDal^rte il^n t)or mand^em tijrld^ten ©d^ritt, / When Goethe started for Weimar in 1776 he did not dream that he was to pass the rest of his Hfe, with the exception of a few years spent in travel, in the httle town on the Ilm. At the first glance he was lo pleased with the picturesque Httle city, and the beauty of the Thuringian landscape made a pleasant impres- sion on his mind, which was especially sensitive to the beauty of nature. Goethe was not the only well- known author of whom Weimar could boast. The 15 Duke's mother, Anna Am alia, who had become ruler of the land at the death of her husband, had already gathered about her a circle of distinguished men. She had invited Wieland, who was already famous for his novel, "The Golden Mirror,'^ to settle perma- 20 nently in Weimar and had entrusted him with the direction of the education of the young princes. Herder's arrival in Weimar followed immediately upon Goethe's own appointment as councilor. #jWhile Goethe was still at the university of Strasburg he had 25 become acquainted with Herder and had admired him exceedingly; at his request the Duke now invited the ^dqr poet to settle permanently in Weimar and ap- pointed him to a high position in the church. In later years Schiller was also received into the circle 30 at Weimar, and the little couiiti'y might well be proud 28 GERMAN SYNTAX AND COMPOSITION of the four great men whose presence made it the literary center of Germany. As the prime minister, Goethe had the oversight of everything which went on in the country, and it is principally due to him that the little state prospered so well under the rule 5 of Karl August. But the Duke believed also in the poetic genius of his great minister, he was interested in everything he wrote, and this interest preserved Goethe from the danger of forgetting the poet in the statesman. In the midst of the cares of government ic he found time to observe everything beautiful in nature and everything interesting in the life which was going on around him. Almost every day he went very early to his garden by the river, and in the little house which lay in the midst of this garden he wrote 15 some of his best poems, among others, ^^To the Moon.'^ ^ XI REFLECTIVE, IMPERSONAL AND COMPOUND VERBS BiERWiRTH, Elements of German, §§ 414-449 Joynes-Meissner, German Grammar, §§ 250-252, 287-299 Thomas, Practical German Grammar, §§ 201-215, 339-343 Whitney, German Grammar, §§ 283-314 IHarta Stuart §a6 unb giferfud^t l^atte bic ftd^ ftet^ t)or 3Scrrat fiird^^ tcnbe Sontgln t)on Sngtanb betDe(^t, 9}?aria (Stuart lauge 3al^re auf eiuem i!)rer ©d^loffer gefaugeu l^x t;alten. £ro^^ VERBS — REFLECTIVE, IMPERSONAL, COMPOUND 29 bcm blefetbe fid^ i^re^ iugenbU(^en Seic^tfinn^ tlef fd^citntc, fe^nte fie fid^ bod^ nad^ ben 3a^ren juritd, mo [ie fi(^ in greil)elt unb ©lan^ be^ ^eben^ gefreut ^atte. Obgleld^ fie in i^rem ©efangni^ genau beobad^tet murbe, gelang e^ 5 bodf) einem i^rer 5ln!)anger, gu il)r jii bringen unb mit i^r bie ffllogtid^feit einer Stettung ^u beratfdjiagen. 5lber bcr 5lnfd^tag fam nid}t ju ftanbc unb i!)r dhtia ging etenb babci ju ©runbe* 9}tarta traf auf if)ren befonberen SKunfd^ mit (Stifabet^ jufamnien, aU fie eine^ Sage^ im *^ar! luftiDan^ lo belte* §o^nIac^enb mie^ hit let^tere i^re ilagen juriicf unb obgleid^ e^ il)r 2thtn {^alt, licfe fid} SDtaria bod) I)inreifeen, i^re ^kbenbu^lerin ju beleibigen unb balb erfminte fie \\)tf)^ flagenb, bafe fie baburd^ if)r ?eben Dermirft l^atte, S'^'^^^ l)atte fie J^reunbe, ineli^e ©lifabet^ au^einanberfel^ten, roie 15 fe^r fie fic^ burc^ ein Xobe^urteil Dor bem 5SoIfe blofeftellte unb Wit tdn ©eric^t^^of il)re ©ri'inbe bap anerfennen fonnte, aber boc^ unterfd)ricb fie btn SD^orbbefe^L @o tDaren alte ^offnungen 2)^aria^ fe'^Igefifilagen, fie tourbe nid)t freige- fproc^en unb i^r §aupt fiel unter bem ^eile al^ cin Dpfer 20 ber fie i()re^ ^eid^tfinn^ unb il)rer (Sd^onl)eit n3egen t)erab=^ fc^euenbcn Sonigin t)on Snglanb, As Schiller has made the beautiful imprisoned Queen of Scotland the heroine of his drama, he has been forced to show us her rival, Ehzabeth, in such a light 25 that we detest and depise her. ' He wishes to hold Elizabeth up to our contenypt and so he does not explain the reasons which moved her to sign the war- rant for the death of her rival. She certainly did not sign it without consulting with her friends as to the 30 GERMAN SYNTAX AND COMPOSITION possibility of some other course of action. Should she keep Mary all her life imprisoned in one of her castles? This proposition was rejected, for, in spite of the fact that their plans had failed up to this time, it was possible that Mary's adherents might at any time succeed in setting her free. Should Elizabeth free her enemy and acknowledge her as her heir and successor? This plan was not carried out; Mary had to be imprisoned and closely watched, otherwise her friends would probably have succeeded in killing the i hated Elizabeth and in setting her on the throne of England, plary had forfeited her right to this throne by the muraer of her husband Darnley. ^ut although Elizabeth was in constant fear of treachery and death, she did not let herself be carried awa}^ by her feelings, i She was perhaps ashamed of her hatred and jealousy of the younger queen, and she feared also that no law court would recognize her right to pronounce the death sentence on a member of the royal family of England. But it was a question not only of her own 2 life, but of the peace and prosperity of the whole country, for if Mary became Queen of England, Pro- testantism must perish. Elizabeth longed for the time when she could devote herself to the welfare of her country, but as long as Mary lived she would never 2 be able to enjoy her power. In the drama "Maria Stuart" we have a touching scene where the Queen of Scots, walking one day in the park of Fotheringhay, suddenly meets her hat?d rival, where she throws her- self at her feet, bewailing her lot, and where Elizabeth, 3 carried away by hatred and jealousy, insults her and MODAL AUXILIARIES 31 laughs her to scorn. But this whole scene is an inven- tion of the great dramatist, for though Mary longed for such a meeting it never came to pass, and every effort to move Ehzabeth to see her in person failed. XII MODAL AUXILIARIES [^ BiERWiRTH, Elements of German, §§ 339-384 Joynes-Meissner, German Grammar, §§ 260-269, 472 Thomas, Practical German Grammar, §§ 332-338 Whitney, German Grammar, §§ 251-260 (Egmont ®oett)e tnollte in ber ©cftalt (ggmont^ bie batnonifd^e 9Scr* btenbung barftellett, bic fid^ bor ieber ©cfal^r fld^er glaubt. (Sgmont l^atte (elc^t ^ur rec^ten 3^tt fltel)en fonnen, tDcnn er c^ nur gen)oIlt l^citte, aber er glaubte md}t, bafe bic Spanier e^ tDagen biirftcn, lijn an^ugreifen, (So lange 2)largorcte im ?anbe mar, burfte er fic^ fur fld)er ()alten, benn fie fo(( eine tjerborgene ^eigung fiir i^n ge^abt l^aben. & mag fiir 9J?argarete nid^t leld)t gemefen fetn, in ben tjerlDidelten SSer* !)altmffen ba^ 9U(^tlge p tun. (polite fie ^^ilip^ ftrenge ^efc!)Ie au^fil'^ren ober burfte ftc i^ren mllberen 9iegungen folgen? ^Iro^bem 9}iargarcte a(^ ftrenge Hnl^cingerin be^ ^at^oligt^mu^ betrac^tet merben barf, mu^ gu i^rer (S^re gefagt merben, bafe fie ntd^t t)6n bem finftern J^anati^mu^ i^re^ ©rubers erflillt tDar. ®ic iDoIIte ba^ ^anb gut re* gieren, aber fie mod^te grllbeln, fotjiel fie moKte, ftc fonnte 32 GERMAN SYNTAX AND COMPOSITION felnc SJJogUd^fclt fel)en, fi(^ mit Sltba In bie ^errfd^aft ju telleti unb fo t)erlle& fie t^a^ Sanb t)or felner ^nfunft. ^Jlun J)atte Sgmont tDirfUc^ ben 333arnungen felner greunbe @eI)or fc^enfen unb fid) auf fein aterlanbev3 erfilllt tDerben* Sa^ burc^ 3(i^t^ 5 r)unbertc in Sleinftaaten ^erriffene T^cutfcfjlanb trat nun untcr bcr gul)rung "^reufeen^, be§ burcf) feine mititcirifc^e 3:u(^tlg= feit unb ben ®ei[t ftrengfter 'ipfli(f)tcrfiillung ^ert)orragenbften , ®taate^, aU etn einige^ ?anb in bie 9^et^e ber europat[r6en ©rofeftaaten ein, <5o burftc nun bie faft fprlc^mortUi^ ge* 42 GERMAN SYNTAX AND COMPOSITION toorbene ?iebc ju i^rer §eimat auc^ ber Im 5Iu^Ianb lebenben J)cutfc^en ftol^ i^x §aupt crfieben in bem @efu!)l ber 3uge^ t)6rigfett su einem, burd^ bie grrungenfc^aften be6 ^rlege^ unb grieben^ an erfter ©telle ftel)enben ©taate^* The German, filled with longing for the greatness and unity of his native land, had long suffered from the feeling that it held no place among the great powers of Europe. A nation distinguished for its achievements in science and literature, and proud of its past history, was exposed by the lack of harmony i of its rulers to the contempt of other countries, and was forced to eat its heart out in apparently hopeless longing for unity and national existence. Germany, divided into many small states and ruled by many princes, had no leader w^ho could give the distracted i country the unity it so longed for. But when the alHed princes of Germany under the leadership of the King of Prussia, who was already famous for his mili- tary achievements, had, after a never-to-be-forgotten campaign, entered with their victorious armies the 2 proud city of Paris, they decided to place upon the head of this most d stinguished of all German rulers the imperial crown which had so long been without a wearer. So Prussia, which under the rule of Frederick the Great, a king distinguished for his military talents 2 and his strong sense of duty, had already taken the first place among the small states of Germany, became the head of the new German Empire, which was soon to take a leading position both in peace and in war STEM-GROUP ''ZIEHEN" 43 among the great powers of Europe. Now at last the hopes vainly cherished for many centuries were ful- filled and all Germans living at home or abroad might take pride in belonging to a country unsurpassed in 5 greatness and power by any nation of Europe. Of all German-speaking peoples the Austrians alone re- mained outside the new empire, for the proud rulers of this country which had for centuries been con- sidered the first of German states could not bow to lo the newly arisen power of Prussia. XVII STEM-GROUP "ZIEHEN'^ BiERWiRTH, Elements of German, § 823 Joynes-Meissner, German Grammar, §§ 361-399 Thomas, Practical German Grammar, §§ 384-408 Whitney, German Grammar, §§ 393-425 Die Krcu55uge SBenn man in iSrmdgung jic^t, 'trelc^e gefc^i(!)tU(^en grelgtniffe in bejucj auf bie Qciftlgc (Sntmidlung be^ WiittU altera am ti3td)tlgftcn tDaren, mufe ben treiqpgen bcr Sor^ inc\ ber erftcn (StcIIe elngerdnmt icerbcn. 9D^and)c burc^ [ie 15 neugeiDonnene .^enntiffe tierbefferten blc (Sr^te'^ung, aurf) bie orientalifc^en Wcixd)tn, meld^e bie <5inbilbung6fraft t)on je^^er anjogen, entjiidten nnn ba6 ^Ibenblanb. "ipaldftina fd^ien eine bcfonbere *?In3ie!)ung^fraft auf bie 9xitter au^pliben unb bie religiofe ^egelfterung fteigerte fid^ bi-S jur 53erjucfung. 44 GERMAN SYNTAX AND COMPOSITION laufettbc fotgteti bem 3^9 l^re^ §cqen^, f)efteten ba^ ^reu^ auf it)ren Sln^ug unb it)aren o^ne ^^Qern bereit, il^r Scbcn ju opfern. 3)ie Ilirfen folltett ftir bie fc^le(^te ^e^anbtung ber "ipilger ^ur 33erantrt)ortung ge^ogen unb ge^llc^tigt inerben* 3tDar gelangteu bie erften jligellofen unbi^^ipllnlerten &)xi^ ftenfc^aren nie nad) 5(fien, aber im SdtjXt 1099 gog cin gro^e^, in guter 3^^^ gel)altene^, t)or^ug^tr)eife au^ fran^6flfd)en !?Hlttern be[te^cnbe^ §eer flegreic^ in ^erufalem ein. 2lucf) griebric^ I, meld^er be^ roten Sorted tuegen, ber fcine ern[ten 3^9^ umra^mte, Sarbaroffa genannt murbe, unter- na^m einen ^rieg^^^ug nac^ £(einafien, murbe aber t)on hm SSellen be^ 5Iuffe6 ^att)fabnu^ in bie 3liefe I)inabgesogen. %vii^ fein ®o()n, beffen eble §elbengeftalt Hller 5lugen auf fic^ gejogen l^atte, fiel aU ein Opfer. (gr jog fic^ eine fc^mere ^ranf^eit ju unb lag t)or 5lffon in ben (e^ten 3^9^^, ate a^iid^arb ?ort)en^erj bie ©tabt gur Ubergabe ffoano,. In order to understand the power of attraction which the Orient exercised over the imagination of the Middle Ages, one must study the history of the crusades not only with reference to those heroic 20 figures, those great knights who took part in these expeditions, but also with reference to the common people. No one hved at that time so quiet and retired a fife as to be able to escape the influence of this great movement. Pilgrims and crusaders returning from 25 the Holy Land went through all Europe, thrilled every one by their stories of what they themselves had seen and experienced in the Orient, and pictured the advan- tages which would come to all who would place the STEM-GROUP "ZIEHEN" 45 cross upon their garments and follow them. These men attracted the attention of every one (drew all eyes to themselves), under their influence religious enthusiasm rose to the point of frenzy; knights left 5 their castles, peasants their fields, in order to follow the impulse of their hearts and to rescue the Holy Sepulchre from the power of the Turks. Instead of living at home in quiet and seclusion, many preferred to seek a life of adventure in the East and did not hesitate to risk their lives in order to reach those countries which had always fired the imagination of the Occident. When we consider that the whole education of the Middle Ages was in the hands of the Church, we shall not wonder that even children were 5 drawn into this movement. From the text: ^'Suffer (let) little children to come unto me,'' the conclusion was drawn that children too should share in the rescue of the Holy Sepulchre. When the peasant boy Nicho- las went through Germany preaching the so-called o "Children's Crusade," thousands of children left their parents, thousands of pupils their teachers, to put on the pilgrims' garb and to follow him. Twenty thousand children, chiefly from the country near the Rhine, left Cologne in 1213 with Nicholas and went 5 southward, but only five thousand of them entered Marseilles three months later. One cannot call a fourteen-year-old boy to account because he did not keep good discipline among these unrestrained troops of boys and girls, and even if he had been able to ,o punish them and to hold them in check, they never could have reached the Holy Land. The fate of most 46 GERMAN SYNTAX AND COMPOSITION of these poor children escapes our knowledge; many brought on bad illnesses by hunger and exposure and died on the way, others were carried away by the waves of the rivers they had to go through and were drowned. Some were taken in and brought up by t kind people who took pity on their misery, and one can still recognize in some families of France and Italy the names and even the features which they inherited from these Uttle German pilgrims. REVIEW Based on Exercises I-VIII I Schiller was born on the tenth of November, 1759, i< in Marbach, a little town in - Wiirtte-mberg which can boast neither wealth nor political importance. His father was accustomed to obey the Duke of Wiirttem- berg implicitly, and at his command young Schiller was obhged to spend several years at the Karlsschule, r but he never looked back upon these years with pleasure. Even as a boy at school he admired every- thing that was great and noble in literature, and he read at this time the drama '^Goetz von BerHchingen," which is generally considered the greatest thing which 2( the Storm and Stress period produced. He already considered Goethe as the greatest poet in Germany, but he did not dream that in later years he was to call him his dearest friend. At Goethe's request the Duke Karl August invited the younger poet to settle per- a, REVIEW 47 manently at Weimar. From this time on whatever the two poets wrote was received with enthusiasm by young and old, by educated and uneducated, and their fame reached far beyond the narrow hmits of the Uttle 5 Thuringian court. II The Uttle town of Weimar is undoubtedly one of the most interesting in Germany, though it can boast neither wealth nor political importance, for it is rich in memories and proud of the great men who have lo lived and worked there. The greatest of them was Goethe, whose name was famous far beyond the nar- row Umits of the court at Weimar and whose works are still read and admired by all who love literature. Goethe had shown no appreciation of the earlier plays 15 of Schiller, their revolutionary spirit did not please him, and for a long time he did not deem the younger poet worthy of his friendship. In later years, how- ever, he considered him as his dearest friend, and we owe it to Schiller, whose enthusiasm for the good and 20 beautiful had the greatest influence on his older friend, that Goethe at last finished his greatest work, " Faust. '^ III Whoever wishes to understand the plays of Goethe must study his life, for he always found the material for his poetic works in what he himself had experi- 25 enced and suffered, and he described only what he had seen with^ his own eyes. He was born in Frankfort, 48 GERMAN SYNTAX AND COMPOSITION a city which had always been proud of its wealth and independence. His father was not aware of the poetic genius of his son; he wanted to make him a highly educated man and considered it his duty to teach him all he himself knew. His mother, whose nature little 5 resembled that of her serious husband, left the educa- tion of the children to him; she was never tired of playing with them and telling them stories, and Goethe owed to her his happiest hours and always remembered her with love and reverence. His father wanted him 10 to be a lawyer, which did not suit him at all, for he had always taken a special interest in art and literature and was very anxious to be an artist or an author. REVIEW Based on Exercises Vl-XV / I It is a fact that cannot be denied that Herder's works are now very little read in Germany, although 15 every German, whether he is educated or uneducated, knows that no German writer made so deep an im- pression on the literature and the thought of his time as he did. Goethe, who had met him at the Univer- sity of Strasburg, owed to him his deep interest in 20 Shakespeare and in English literature. Who would have thought at that time that Goethe's fame would so soon surpass that of his elder friend! Herder is greatest as a critic, but he has done good work in many other departments of literature. In spite of this he 25 REVIEW 49 did not receive during his life the general recognition which he ought to have had, and he is said to have felt this very deeply. / n Every educated man, from whatever country he 5 may be, knows something of Goethe's life, and it can- not be denied that his ^' Faust," though it is not often produced on the stage, is the greatest thing that Ger- man literature can boast. Goethe introduced into it much that he himself had experienced and suffered, lo and the love episode in the first part is said to have been taken from his own life. If he had been able to finish this drama earlier in his life, it probably would have had more unity of action; but who would think of blaming him for not doing so ! We must remember 15 that he was not only a poet but a statesman, and that he long had the conduct of all the business of the Duchy of Weimar under his charge. Ill Who can blame Bancbanus for not having left the court with his wife and withdrawn to his castle in the 20 country? It was his duty to carry out the commands of his master the king and to do all he had ordered him to do. He would gladly have protected his young wife, but how could he have known what plans Otto and his sister had formed against her? Bancbanus 25 could not understand a man whose nature was so little like his own, and Otto for his part despised the older man, because he could not appreciate what was 50 GERMAN SYNTAX AND COMPOSITION noble and great in his character. The queen may well be considered as the murderer of Erny, for when Otto said he would kill himself unless he could see and speak to her once more, the queen had her corae to the palace and allowed her brother to see her alone. This she 5 ought never to have done. REVIEW Based on Exercises I-XV I Schiller took the material for his drama "Maria Stuart'' from Enghsh history, but he changed it con- siderably by deepening and ennobling the character of the heroine and by showing us Elizabeth in such a 10 light that we cannot help despising and detesting her. Though Maria Stuart had forfeited her right to the throne by the murder of her husband Darnley, we still feel that she is a victim of Elizabeth's hatred. We do not think of calling her a criminal when we learn 15 that she grew up at a court where no one tried to awaken her enthusiasm for what is good, true and beautiful, where she was surrounded by courtiers who flattered her and where the fame of her beauty reached far beyond the narrow limits of her own country. 20 Ehzabeth might have spared her, if she had wished to do so, but she was too jealous a woman ever to for- get the influence which Mary's beauty had over all those around her. Mary had been advised by her friends not to trust the queen. She ought to have 25 REVIEW 51 followed their advice, but she did not believe that Ehzabeth really intended to have her put to death, although the fact that her old servants were taken away from her should have convinced her of the danger of her position. Elizabeth was sure that the mere fact of her enemy being alive would injure her interests and those of the stat^; Mary's being a CathoHc dis- pleased her greatly, as it seemed to her that it en- dangered England's freedom. Of course Mary should Lhave been ashamed of her past, but, when meeting Ehzabeth in person, she did not show that feehng and she allowed herself to be carried away by her hatred. Instead of imploring her dangerous rival to allow her to live a few years longer in peace and ob- j scurity, she insulted her, though she had every reason to assume that Ehzabeth would make her pay with her life for that insult. Ehzabeth always looked back to that meeting with a certain feeling of guilt, and though we may feel that Mary brought her fate upon 3 herself by her own passion, yet the share which the queen had in her death must always be discreditable to her. II Goethe was born at Frankfort-on-the-Main, a city which for many centuries has been proud of its riches 5 and its political importance. His father, a lawyer by profession, being a rich man, was able to give him a good education. His mother, whose sunny nature was to a certain extent the opposite of his father's sterner disposition, made the years of his childhood 52 GERMAN SYNTAX AND COMPOSITION the happiest of his life and he always thought of her with love and admiration. After spending two years at the University of Leipsic, young Goethe went in 1770 to the city of Strasburg. There he became acquainted with Herder, who for the first time directed his attention to Shake- speare, the great English dramatist. Frederika Brion, too, played a very important part in his Strasburg years; but, although she made the deepest impres- sion on Goethe^s sensitive heart, with all her youthful i freshness and beauty she did not succeed in perma- nently attaching the poet to her. In 1775 Goethe moved to Weimar, a little city pic- turesquely situated on the Ilm. The Duke of Weimar had at first invited him there as his guest, but at his i request Goethe very soon settled there permanently. He was at first only appointed counselor, but later on, as the Prime Minister, he conducted all the affairs of the little Duchy. Soon he had his friend Herder called to Weimar, a few years later Schiller too was 2 received there, and the Httle town might well boast of its literary fame. One of the most important events of Goethe's later life was his journey to Italy. In the first days of September, 1786, he reached sunny Italy and spent 2 almost two years in that country, so famous for beauty and for art. In Rome he studied especially the monu- ments of antiquity, while in Naples the beauty of nature impressed him most deeply. As a poet and an artist he owed much to this stay, and he always re- 3 membered it with pleasure and delight. PART SECOND SELECTIONS FOR TRANSLATION FROM ENGLISH INTO GERMAN. GRADED IN DIFFICULTY 53 MINNA VON BARNHELM The exposition of the play Major von Tellheim learns on returning to the inn in Berlin in which he has been living since the close of the Seven Years' War, that the landlord has during his absence cleared out his rooms and given them to 5 a lady who has just arrived. The Major's rough but devoted servant, Just, wishes to avenge himself on the landlord for the ill-treatment of his beloved master, but Tellheim forbids it and is determined to leave the inn at once. He does not, however, know how he can lo pay his bill there, since he is too honorable and too proud to use the money entrusted to him by his former sergeant, Paul Werner. For the same reason he refuses to accept the money which the widow of one of his former comrades brings him in payment 15 of a debt, and tells her her husband had never owed him anything. [ The stranger, a young lady from Dresden, sends apologies by her servant to the unknown officer whose rooms she is occupying, and the servant betrays [the 20 fact] that his mistress has come to Berlin to look for her betrothed. In order to escape the civilities of the stranger, as well as the rudeness of the landlord, Tell- heim decides to pawn the last article of value which 55 56 GERMAN SYNTAX AND COMPOSITION remains to him, a beautiful ring, and to pay the land- lord. He is not even turned from his purpose by the fact that Werner, who is heart and soul a soldier* and is already tired of peace, has sold his little farm in order to take service again and now brings the money to Tellheim to spend as he will. He entrusts the ring to Just, who pawns it to the landlord, knowing that he will be sorry at having turned from his doors a man who has still so much money to spend. From the conversation between the stranger and her maid we soon learn that Tellheim himself is the betrothed she is seeking. After the landlord has tried by a series of inquisitive questions to find out why she has come to Berhn, he shows her the ring pawned to him by Just, and in this way betrays [the fact] that the officer whom she has driven from his rooms is no other than Tellheim. II THE CRANES OF IBYCUS, by Schiller Abstract of the contents of the separate verses [The student should read over the ballad before translating this.] 1. The well-known poet Ibycus of Rhegium was on his way to {or set out on foot for) the Isthmus of Corinth, where the annual contests were to be held. 2. With reverent awe he entered the grove of Poseidon which lay just outside the city. The silence of the * See Exercise I. THE CRANES OF IBYCUS 57 forest was only broken by the swarms of cranes fly- ing toward the south. 3. The poet greeted them as friends who had followed him across the sea and con- sidered their presence as a fortunate omen. 4. In S the midst of the wood he was fallen upon and over- powered by two robbers. 5. No one hears his cry for help; he laments that he must die on foreign soil, unknown, unwept and unavenged. 6. As he is dying he hears the cranes and calls upon them to denounce o his murderers. 7. His body is found and carried into Corinth, where his friend recognizes it in spite of the wounds with which it is disfigured. 8. All Greece mourns the loss of the poet, and the people demand that the court shall avenge his death. 9. But it is 5 difficult to trace the murderer among the crowds which fill the city, and no one knows even the cause of the crime. 10. Perhaps the wretch is in the midst ^ 'of those who are seeking him, is entering the temple or pushing his way into the theater. 11 and 12. The !o theater is crowded with men from every part of Greece, from the Islands and even from Asia, and all await in silence the entrance of the chorus. 13. The chorus of Furies enters in solemn procession; their measured step and their great size make them seem like super- !5 human beings. 14. Their black garments and the dusky glow of the torches they bear enhance the terror of their aspect. 15. They begin their terrible song. 16. The blameless man is happy, for they cannot approach him, but they pursue the murderer unceasingly. 17. If he thinks to escape them, they follow and overtake him; no remorse can appease 58 GERMAN SYNTAX AND COMPOSITION them; they follow him to the realm of death, and even there he is not free from their power. 18. The whole house is still as death as they disappear in the back- ground. 19. It seems to the spectators that they have seen the Furies themselves. 20. Suddenly a 5 voice cries '^The cranes of Ibycus!" and the theater is darkened by the flocks of cranes flying over it. 21. At the name of Ibycus the people around start; they ask the meaning of the exclamation and the connection of the cranes with their beloved poet. 10 22. They think that they recognize in this cry the power of avenging fate, and demand that these men be arrested as the murderers they are seeking. 23. The two men assert in vain their innocence; their pallid faces proclaim their guilt and, taken before the judge, is they confess all. Ill THE HOSTAGE The story of Schiller's Ballad ^' Die BilrgschafV* The Greek youth Moros had decided to kill the tyrant Dionysius, because he believed that this man threatened the liberties of his native city. But on approaching the tryant he was seized and, a dagger 20 being found concealed in his clothing, he was con- demned to die on the cross. Moros was ready to die for his native land and he disdained to beg the tyrant for his life, but he asked him to grant him three days respite, in which to be present at the wedding of his 25 THEl HOSTAGE 59 sister and to settle the affairs of his family. During this time, he said, he would leave his best friend with the tyrant, as a pledge that he himself would return at the appointed time. After considering the matter Dionysius said that he would grant Moros the three days he asked, but that if he did not return before the eiid of the time allowed, his friend must die in his stead.* To this both agreed, and Moros hastened away with the determination to be back before the third day was over. He attended to all that he had to do, but as he was hurrying back on the third day, he found that all the brooks and streams had been swollen by the rain, and when he came to the largest river he had to cross, the bridge had been carried away and he could not find a boat. In vain he called for help, in vain he begged the gods to quiet the storm; the fury of the waters increased from hour to hour.^ At last he threw himself into the raging stream and succeeded in reaching the opposite shore, but as he was hurrying on, after having thanked the gods for his deliverance, several robbers rushed out of the wood and barred his way. J In desperation he seized the dagger of one of tllese men, and succeeded in killing three of them with it, while the others fled before him. But now he was so tired from his great exertions and from the heat of the day, that he would have sunk down and died, had he not found a cool spring, whose waters refreshed him and gave him strength to con- tinue his journey. Though fear lent wings to his feet ') (steps), it was already evening and the setting sun * Construe: instead of him. 60 GERMAN SYNTAX AND COMPOSITION threw long shadows over the grass, as he at last reached the gate of the city. There his old servant met him and begged him to flee, and at least to save his own life, since it was too late to save that of his friend. But Moros does not listen to this advice. If he can- 5 not save his friend, he will at least die with him, and none shall say that he has broken faith. As the sun is setting he reaches the place where the crowd stands 1 ready to see his friend die; he rushes through the • crowd, and gives himself up to the executioner. All 10 are astonished at his love and loyalty, and even the tyrant, to whom the news is at once carried, is touched. He has the two brought before him, tells them they have convinced him that true friendship can exist, and begs them to accept him too as a companion and 15 friend. IV TELL After Tell had shot the apple from the head of his I child, Gessler did not let him go free as he had promised 1 to do, but ordered him to be taken to the fortress of s Kiissnacht and there to be imprisoned. He intended 20 to take him thither in his own boat, but on their way across the Lake of Lucerne a storm arose which gave the prisoner an opportunity to escape by springing* from the boat to the land. While the Governor pur- sued his way. Tell betook himself to the place where 25 he intended to shoot the tyrant. * See Exercise XV. TELL 61 This was the so-called hollow road near Kiissnacht which is enclosed on both sides by high cliffs. Tell knew that Gessler must take this road, for it was the only way to reach the fortress. His plan was to con- 5 ceal himself behind a bush which grew on the edge of the chff; from there he could shoot without being seen and he could easily escape afterwards, for the way was so narrow and its sides so precipitous that the pursuers would not be able to reach him. lo While Tell stood on the chff and waited for Gessler to appear, it was natural that he should think over the momentous deed which he was about to commit. What had so changed the nature of this simple and kindly man? His mind had been free from any 15 thought of hatred or revolt up to the moment when he had been suddenly forced to shoot the apple from the head of his son. By this terrible command Gessler had taught him to make a human being the mark for his arrow, why should he now hesitate to turn 20 this same arrow against his enemy and the enemy of his country? Besides the murder of this terrible opponent was now a matter of righteous self-defense. After the threat Tell had uttered against the governor he must fear the worst from his fury, not only for him- 25 self, but for his faithful wife and his innocent children. When Gessler had forced him to take aim at the head of his child, the outraged father had sworn to himself that his next shot should be aimed at the heart of the tyrant. To carry out this plan of vengeance, which 30 he had conceived in that moment of agony, he now considered as a sacred duty, not only to his unhappy 62 GERMAN SYNTAX AND COMPOSITION family, but also to his oppressed country, for he believed himself to be chosen by God to free Switzerland* from the power of this wicked man. SCHILLER'S YOUTH In 1768 Schiller's father was called from his position in Lorch and transferred to the garrison at Stuttgart, f 5 where his son went to the Latin school with his friend Karl Moser. His plan of becoming a clergyman was interfered with by the Duke. Schiller was obliged at his command to enter the Karlsschule, a military academy in the Castle SoUtude, which was later moved lo to Stuttgart and to a university. Military discipline and order regulated the life of the pupils. Almost all the sciences were taught at this institution ex- cept theology; Schiller studied jurisprudence and later medicine. Schiller attended the Karlsschule for 15 eight years and then was given an appointment as regimental physician in Stuttgart with a salary of 18 gulden at month. This position by no means corresponded to his hopes and wishes. He now completed his play '^The Robbers," which was re- 20 presented for the first time at the theater in Mannheim, a large town not very far from Stuttgart. Schiller himself was present, for he had secretly left Stuttgart * See Exercise I. t Construe: transferred to Stuttgart. t See Exercise I. SCHILLER'S YOUTH 63 with a friend and sat hidden in a corner of a box, full of anxious expectation. The piece was received with enthusiasm, and a storm of applause arose at the end. But the Duke Charles Eugene was by no means satis- fied with the poet and his success, for the bold ideas of freedom expressed in the play seemed to him to be very dangerous. He sent for Schiller and ordered him to submit all his poetic creations to him before publication. When Schiller refused to do this, the Duke forbade him to have any works printed ex- cept those bearing on medicine. He also received fourteen days' arrest for going* to Mannheim with- out leave to be present at the representation of ''The Robbers." It was impossible for Schiller to stay longer in Stutt- gart, and he had to sacrifice his family, his home and his position to (his love for) poetry. He fled secretly from Stuttgart to avoid the anger of the Duke, and only a young musician, a friend and admirer of his, accompanied him on his flight. The two young men had little money and no friends, the anger of the Duke followed them and made it impossible for Schiller to get the position he had hoped for in the theater at Mannheim, and it seemed for a time as if he would 5 have to starve or give up his hopes of becoming a poet and dramatist. But there were good people who were filled with enthusiasm for his poetry and who therefore took an interest in him. Frau von Wol- zogen, the mother of one of his friends, offered him a o refuge in Bauerbach, where she had a small country * See Exercise XI. 64 GERMAN SYNTAX AND COMPOSITION house, and there he hved in soHtude till July of the following year working* on his plays. There he finished his tragedy "Intrigue and Love/' which he sent to the manager of the theater at Mannheim, and soon afterwards he was called to Mannheim and given a position there. He was to write three plays a year and to receive a salary of 500 gulden. VI THE DRAMATIC STRUCTURE OF "EMILIA GALOTTI" The exposition fills out the first act of our drama. We learn that the Prince is ardently in love with Emilia Galotti and tired of his former mistress Orsina. i< We see his passionate feelings constantly growing un- til, at Marinelli's announcement of Emilia's approach- ing marriage with Appiani, they reach their highest point. This report is to be regarded as the initial impulse of the plot. In order to accomplish his pur- it pose the Prince acquiesces without hesitation in Mari- nelli's proposals, and does not even take the trouble to inform himself about the second plan, which is merely alluded to by his crafty chamberlain. The exposition also contains two episodes, the 2c introduction of which is admissible, according to Lessing's theory of the drama, if they tend to throw hght upon the action or illustrate some important character. The scene with Conti, the painter, serves * Construe: and worked . . . DRAMATIC STRUCTURE OF "EMILIA GALOTTI" 65 the former purpose, the signing of the death-warrant the latter. The Prince's determination to speak with Emiha himself terminates the exposition. With the second act the Ascending Action begins, 5 which reaches its climax in the first scene of the third act. We witness the execution of MarineUi's scheme. Although a part of the action has necessarily to take place behind the scenes, Lessing manages with mas- terly skill to inform the audience of everything that 10 is going on. We become acquainted with the Galotti family* and with Appiani, and we listen with sym- pathy to Emilia's vivid account of what has happened to her at mass.f MarineUi's secret activity increases our previous apprehensions for Appiani's happiness, IS we look forward with eager expectancy to the result of his meeting with Marinelli in Galotti's house. The turn, however, which the conversation takes, fills us with the gravest forebodings, and at the end of the scene, when Marinelli departs with a threat on his lips, 2o our worst fears are confirmed. As Appiani does the very thing which MarineUi had expected him to do, and refuses to leave Guastalla on his wedding-day, the intriguer is at Uberty to carry out his second plan, the nature of which is foreshadowed in the scene be- 25 tween Angelo and Pirro. The scene of the third and following acts is laid in the Prince's country-seat at Dosalo. Marinelli reports to his sovereign the failure of his mission and his account throws the latter into angry despair. He * Construe: the family Galotti. t Def . art. : see Exercise I. 66 GERMAN SYNTAX AND COMPOSITION does not yet mention his second scheme. When, however, the report of a gun is heard at a distance he reveals it by degrees to the Prince. Every detail of the plot has been carried out to perfection, the Count is mortally wounded and Emilia is alone in the castle. When she hears that she is at Dosalo and when the Prince himself enters, she realizes that she is completely in the power of the very man who only a few hours ago had dared to insult her with a declaration of his love. "The most timid of her sex,'' she loses all self-command, and in the greatest agitation of mind she throws herself at the feet of the Prince, imploring his mercy. "The lamb is in the power of the wolf." Passion and vice are triumphant and the climax of the tragedy is reached. Shortly after this scene, Claudia's discovery of both the instigator and the perpetrator* of Appiani's murder marks the beginning of the Descending Action, which finds its conclusion at the end of the fourth act. Its purpose is the exposure of the intrigue and the prep- aration for the final struggle between vice and virtue. Step by step we see Marinelli's machinations dis- covered first by Claudia, then by Orsina, and then disclosed by the latter to Odoardo. Claudia arrives at the truth by puttingf together Marinelli's quarrel with Appiani, the last words of the dying Count, and the news that the Prince (whose late attentions to her daughter become now very significant) is trying to console Emilia. Nor is Orsina slow in getting at the * Construe : of the ... as well as also of the . . . t See Exercise XV. DRAMATIC STRUCTURE OF "EMILIA GALOTTI" 67 facts of the case* when she learns that the rescued girl is the same with whom her spies have seen the Prince talking, f and that Emiha is the fianc6e of the dead Count, whose carriage she has met on her way 5 to Dosalo. Her outburst of wrath is surpassed only by Odoardo's rage when the meaning of the whole intrigue is revealed to him. Before the scene closes, we see the infuriated father armed with the fatal dagger, lo The action of the fifth act, in contrast with the pre- ceding,! is at first not progressive, but retarding. Up to the seventh scene we are witnesses of the struggles in Odoardo's soul. He has made up his mind not to kill the Prince, and in the following scenes also 15 he adheres to his decision, although the discovery of the new intrigue makes it hard for him to suppress his violent emotion. Odoardo is a straightforward, honest, rough soldier, who is no match for the schem- ing, polished Prince and Marinelli, and the spectator 20 begins to fear that he will be worsted in this unequal struggle for the possession of EmiHa. Our hope, however, begins to revive when we hear that Odoardo intends to take his daughter to a convent, the Prince apparently giving his consent. § 25 But this expectation of a fortunate issue is soon disappointed, and after this last pause the action * Construe: comes quickly at the truth. t Infinitive. t Remember that only the subject or one part of the predicate can stand before the personal verb*, this clause must therefore follow is. § Change to clause introduced by conjunction. 68 GERMAN SYNTAX AND COMPOSITION hurries with rapid strides towards its end. Odoardo's resolution to leave the rescue of his daughter to heaven comes too late and, seeing no way out of the surround- ing dangers, he complies with the urgent wish of his unfortunate child and does the deed which saves his daughter from the sin of suicide. Max Poll. VII RECEPTION OF GOETHE^S DRAMA "IPHIGENIE'^ The appearance of Goethe's "Iphigenie" was re- ceived by Goethe's friends in Rome and Germany with surprising coolness. With the exception of the drama ^^ Nathan der Weise/' no work so lofty in lo thought and so perfect in execution* had as yet ap- peared in Germany. The aesthetic judgment of the people was not yet sufficiently developed to appreciate at once itsf exquisite beauty. Besides, something quite different was expected of Goethe. In 1787 15 he was known to the public largely as the author of ^'Goetz" and "Werther"; hence something revolu- tionary, passionate, stormy, especially something thoroughly German { in thought and form, was expected of him. Schiller's early dramas were then the sensa- 20 tion of the German stage. Their bold attacks on the * Make relative clause. t Genitive of demonstrative pronoun. t See Exercise IX. RECEPTION OF GOETHE'S "IPHIGENIE" 69 existing social order, their mighty pathos, their extrava- gant rhetoric and their passionate action powerfully stirred the German pubhc. What a contrast between these dramas, in which we feel the feverish pulsations of the approaching revolution, and "Iphigenie" with its antique theme and calm classic form! Even Goethe's intimate friends in Weimar did not receive the drama with much enthusiasm. They pre- ferred it in its old familiar prose-form with its tender ) associations, and felt the elimination of its personal elements to be rather a weakness than an improve- ment.* Few realized what changes had taken place in the poet's character and artistic ideals in Italy. He felt that he was misunderstood and had disappointed the ; expectations of his friends, and yet this did not alter his convictions, for he applied the same artistic stand- ards to the revision of his "Tasso," which was under- taken soon after the completion of the " Iphigenie.'* Upon his return from Italy in June,t 1788, he became 5 estranged from Frau von Stein, and unwilling to revive the many personal recollections he had interwoven in the drama, he made no efforts to have it produced on the stage. Besides, its metrical form would have interfered at that time with a successful stage-repre- ; sentation. Max Winkler. * Construe as clause with bag. t See Exercise I. 70 GERMAN SYNTAX AND COMPOSITION VIII THE GENESIS OF GOETHE'S "IPHIGENIE" Goethe himself tells us in his autobiography that his works are fragments of a great confession. A great passion or a significant experience generally produced in him a feeling of deep unrest. He pondered over it for weeks and months, and did not feel relieved un- til he found for it some adequate poetic expression. While in this mood, the report of some event, or more frequently the incidents and characters of some book, suddenly stimulated his imagination to poetic creation. Something in the book he chanced to read so strongly i suggested to him his own struggles, that he more or less unconsciously interpreted the incidents and charac- ters of the book in terms of his own experience. Some- times the relation of the poet's life to the subject chosen seems distant and obscure, but a closer study i of his life will usually disclose to us the reason why the subject roused him to poetic activity. It is therefore of prime importance for the understanding of Goethe's work to discover what phase of a subject stimulated him and why, for in this way we can get the clearest : insight into his artistic purposes. Some of the experiences underlying Goethe's " Iphi- genie" are doubtless to be found in his Storm and Stress period. In this most productive period of his life he was often agitated by a spirit of feverish unrest i which at times drove him to the brink of despair. GENESIS OF GOETHE'S ^^PHIGENIE" 71 His extreme individualism led him to defy conven- tionalism in every form, in religion, in society and in art, and to trust the strong instincts of his genius in all relations of life. Therefore the great mythical heroes 5 of antiquity who had rebelled against the rule of the Olympians appealed so strongly to his sympathies. With* this attitude toward life, it was inevitable that the duties which he believed f he owed to himself often clashed with the rights of established society. And lo so he became involved in several perplexing and pain- ful relations, from which he could extricate himself only by destroying the peace of mind and happiness of those whom he deeply loved. Such experiences resulted in self-reproach and remorse from which the 15 sensitive poet tried to find relief in poetry. We need but recall the story of his loves during this period, to realize the extent and depth of these inner conflicts. For his infidelity to Friederika he condemned him- self more severely than any of his unfavorable critics, 20 and gave poetic expression to this self-condemnation in his ^^Goetz von Berlichingen ^' and "Clavigo.'^ But his most significant experience of this kind before his departure for Weimar in the fall of 1775 was his rela- tion to Anna Elizabeth Schonemann, or Lili, as Goethe 25 calls her in his lyrics. His account of this relation in the autobiography and his later utterances show that he sincerely loved her. However, shortly after his engagement to her, when the first flush of joy had subsided, the thought of the marriage-bond made 30 him uneasy and, as in the case of Friederika several * ^ei. t Construe: according to his idea. 72 GERMAN SYNTAX AND COMPOSITION years before, he longed for a release. He welcomed the arrival of the two Counts of Stolberg in Frankfort, »and accepted their invitation to join them in a tour through Switzerland, " as an experiment to see whether he could renounce her/' But in the midst of the 5 grandest Alpine landscapes* the image of Lili was ever before him, calling him back to his native land. Finally he returned to Frankfort, and there he spent several unhappy months, troubled by jealousy and doubt, and unable to resolve either to marry her or 10 to give her up. The fact was that he was then most unsettled in his aims and duties in life, and could not even decide the question of his permanent vocation. He distinctly felt the need of a larger self-development; his restless poetic nature rebelled against every sug- 15 gestion of constraint. Under the circumstances it is not surprising that in the fall of 1775 he gratefully accepted Duke Karl August's invitation to come to Weimar. But the joys and distractions of the first wild weeks at the court 20 of Weimar did not afford him the relief from this un- rest and dejection which he expected. This relief came from a quieter and deeper source: from the friendship of Frau von Stein. This friendship is one of Goethe's most significant experiences during the 25 first ten years of his residence in Weimar, in that itf profoundly affected his character and all the great works conceived during this period, especially the "Iphigenie." Max Winkler. ♦Singular. fi^ttburd^ baj. FREDERICK THE GREAT AND LESSING 73 IX FREDERICK THE GREAT AND LESSING It is difficult to overestimate the transformation that came over Prussia in the forty-six years of Frederick's reign (1740-1786), when we bear in mind the far-reaching ' reforms which accompanied and 5 followed his military success. His state became a model to all Germany in its civil service, its develop- ment of industries, its army. In spite of Frederick's indifference — an indifference born of an education that left him hardly able to write his mother-tongue lo — German literature felt deeply the inspiration of his great personality and great deeds. Frederick and Lessing were both reformers, and it may be doubted whether the reforms of the King would have entered as permanently into the life of 15 the nation without those of the dramatist and critic. Both led lives* of strenuous effort, Frederick on the battle-field alone against all Europe, Lessing in the study, equally alone against the forces of intolerance and unreahty. Frederick taught his people that they 20 had attained their political, Lessing that they had attained their intellectual maturity, that their school days were over, that they were to follow not a French or Itahan model, but truth. He broke the barriers that pedantry had built up between Uterature and 25 life. He defined the principles of dramatic art, he * Construe : a life. 74 GERMAN SYNTAX AND COMPOSITION taught his countrymen the power of style as a vehicle of thought, he taught them to know that "sweet and stern satisfaction in the realities of things'' that is the inspiration of modern thought. His criticism was in form criticism of books, but in essence it was criti- 5 cism of life. And it was criticism that did not stop wdth pointing out defects. It made clear the prin- ciples involved, it established laws, and it illustrated these laws in masterpieces of literary skill. A. B. Nichols. X ''MARIA STUART" The purpose of the play is to exhibit the char- 10 acter of Mary Stuart from an heroic and tragic point of view. Guilt, penitence, persecution, misfortune, heightened by the charms of her beauty, the devotion of friends, the passionate self-sacrifice of love, are its pathetic elements. To these is added the sharp con- 15 trast of Elizabeth,* false^ jealous, vengeful; strong where Mary is weak, weak and despicable where Mary is strong and noble. The character of Elizabeth is drawn, indeed, in darkest colors, yet the poet's in- justice consists rather inf concealing her higher quali- 20 ties as a queen, than in any misrepresentation of her personal characteristics. The contrast and antagon- ism of these two women offer, indeed, many striking * Construe: stands in sharp contrast, the false, etc. t See Exercise XV. "MARIA STUART" 75 and tragic aspects. Schiller has been criticized for exaggerating the purely personal element, and for making the final catastrophe turn upon personal passions, aroused by a fictitious interview. But herein 5 the author followed a true poetic instinct. It is, after all, not events, however momentous, but persons and the collision of personal feeling and action that most interest us. And it is really tragic that an interview, for which in fact Mary had earlier begged in vain, is made the scene of the supreme conflict and the swift occasion of her death. In a still profounder sense, also, this interview becomes the central point of the play; for Mary is thus made an active agent, provok- ing her own ruin. A passive martyrdom is pathetic 5 indeed, but not tragic. But not only in her under- standing with Mortimer and her intrigue with Leicester, but especially in this interview, Mary displays the passionate elements of her own character. Goaded to desperation, she becomes herself the aggressor, D thus creating the situation in which poetic justice demands her doom. These bold fictions of Mary's relations with Mortimer and with Leicester, and of her interview with EHzabeth — which all, in fact, serve one purpose — are the soul of the play, and are 5 perhaps Schiller's happiest achievement in dramatic invention. Edward S. Joynes. 76 GERMAN SYNTAX AND COMPOSITION XI SCHILLER^S DRAMA "DIE JUNGFRAU" IN ITS RELATION TO HISTORY Although the drama "Die Jungfrau von Orleans" bears the name of an historical character, it must not be regarded as an historical play. Schiller called it a Romantic Tragedy, by which he meant to assign it to that class of imaginative compositions where the i poet is controlled only by the general laws of human action and by the requirements of his art. The play is not merely non-historical, it is unhistorical in that it is deliberately false to history. But it must be remembered that this fact is in itself in no way a ic reproach to the poet. The deliberate disregarding of known historical facts may make his task — the pro- duction of dramatic illusion — more difficult, but he is free to choose his subject-matter wherever he will, from fact or from fable, and to treat it as he will, pro- it vided only that he succeeds in engaging the interest and moving the feelings of the spectator so strongly as to produce the deep emotional pleasure which is the sole end and aim of the drama. The dramatist is no historian; it is not his task to teach or elucidate 2c history. One need only recall the so-called historical plays of Shakespeare to realize how independent our delight in them is of their historical element. "Anthony and Cleopatra" has no advantage as a drama over "Romeo and Juliet,'^ although the one is based on 25 history, the other on fiction. The one is as real and "DIE JUNGFRAU'' IN RELATION TO HISTORY 77 true to us as the other, because true to human nature and to the laws of dramatic art. So much idle criti- cism has been addressed to this particular play that the right of the poet to take his material where he will 5 and treat it as he will under the laws of his art cannot be too strongly insisted on. At the same time there may be certain incidental advantages and disadvan- tages in an historical subject. The interest of the audience in a well-known personage may heighten :o the effectiveness of the play, and their familiarity with his career may save much preliminary explana- tion. On the other hand, the poet will disturb the dramatic illusion too grossly if he departs widely from the facts in dealing with a period which is famil- [5 iar to the audience. Shakespeare, for instance, in his "Histories" where he was deahng with events then recent, all the incidents of which were fresh in his auditors' minds, is often compelled to sacrifice his dramatic structure in some degree to avoid doing* so violence to facts. Schiller, on the other hand, was dealing with a period removed from his own by more than three centuries, with a figure moreover about which had gathered a mist of legend and tale, a figure in itself so unusual that it seemed to belong to romance 25 rather than to sober history. His break, too, with history is so frank and complete that the spectator is not tempted to draw comparison with the facts. Nevertheless it must be admitted that the effective- ness of the play is injured by its violation of historical 50 truth. ■ A. B. Nichols. * Construe : not to do. 78 GERMAN SYNTAX AND COMPOSITION XII CHARLOTTE VON STEIN Shortly after his arrival in Weimar, Goethe was intro- duced to Charlotte von Stein. She was seven years older than Goethe, was the mother of several children, and at the time of her first acquaintance with the poet can hardly have attracted him by any physi- s cal charms. She had never been beautiful, and was now careworn and faded. Her husband, an equerry of the court, was a man of coarser nature than herself, and her marriage, if not of the kind usually called unhappy, brought her but little inward satisfaction. lo These things, together with the natural melancholy of her temperament, had led her to withdraw as much as possible from the gaieties of court life. Such an attitude of mind in one who, though still young, had seen through and outgrown the vanities of the world, 15 appealed strongly to the sober side of Goethe's charac- ter, and led him to see in her a higher type of woman- hood than he had hitherto imagined. She became his preceptress in the philosophy of resignation and self-control. 20 She was a woman who was perhaps socially above him, who knew much that he had yet to learn, who was capable of entering fully into all his best thoughts, and who, withal, seemed ready to help him with sym- pathy and counsel. So it was that almost from the 25 beginning he felt himself strongly attracted to this THE DRAMA "GOETZ VON BERLICHINGEN " 79 new friend, and after the lapse of a few weeks we find him visiting her almost daily. Calvin Thomas. XIII THE COMPOSITION OF THE DRAMA "GOETZ VON BERLICHINGEN" With the publication of the drama '^ Goetz von Ber- lichingen" in the summer of 1773, Goethe laid the ; foundation of his Uterary fame. With one stroke, as it appeared, he placed himself at the head of the young writers of Germany, who in their enthusiasm saw in him a "German Shakespeare,^^ a powerful champion of their common cause of freedom and nature. The ) work itself has all the freshness, vigor and impetuosity, the charms as well as the defects of youth. It is therefore in point of time, as well as in character, the most youthful of that remarkable series of pro- ductions which young Goethe threw off with astonish- ) ing creative energy during the four years between his return from the University of Strasburg and his call to Weimar in the autumn of 1775. The main part of "Goetz" was written during the last months of 1771, shortly after his return from Strasburg, largely under 3 the influence of the powerful impressions received during his sojourn in that place. It will therefore be well to recall in a few words the more important features of his Strasburg period. In September, 1768, Goethe, just nineteen years 80 GERMAN SYNTAX AND COMPOSITION old, returned from his three years of University Hfe* in Leipsic to his native Frankfort, thoroughly out of health and dejected in spirit. Then followed a period of dangerous illness and of slow and painful convales- cence, and it was not until the spring of 1770 that his health was restored so that he could resume his law studies at the university. His father was anxious that he should take his degree as soon as possible, and the University of Strasburg in the French province of Alsace was chosen as the place for him to do so. He arrived in Strasburg early in April, and at once found pleasant quarters and congenial company. He was deeply impressed by the great cathedral and was charmed by the beauties of the surrounding country, inviting him to frequent excursions. His health and spirits revived and life seemed to him more beautiful than ever. He carried on his law studies, as he himself says, "with as much industry as was necessary to take his degree with some honor, ^^ giving at the same time considerable attention to the study of medicine. But we are chiefly interested in his activity outside the university. He seemed to be in a peculiarly receptive frame of mind, perhaps owing to the long illness through which he had just passed. It is certain that the months which follow are among the most important in the history of his development. In three distinct directions we can see the trans- forming effect of potent influences all of which are clearly visible in ''Goetz von BerUchingen " : 1. he becomes decidedly German in his tastes and senti- * Construe: University years. "MINNA VON BARNHELM" AS A COMEDY 81 merits; 2. his mind is greatly enriched and stimulated by contact with Herder : 3. his romance with Friederika Brion gives new and living reality to his poetic crea- tions. Frank Goodrich. XIV '^ MINNA VON BARNHELM" AS A COMEDY 5 The conception of comedy as something more than a presentation of droll incidents is that of Shake- speare and Moliere. These dramatists present in their comedies the play of human passions, passions often so painful and destructive* that they might in them- o selves serve the purpose of a tragedy. What more terrible arraignment of human nature could there be than Shy lock and Tartuffe, both figures from comedy? The dramatist^s art lies, in the first place, in presenting human weaknesses and foibles in a fashion that shall 5 be amusing instead of painful, and in the second place in conducting the action to a happy issue. We see the strange mingling of good and evil in human nature, but from a standpoint that robs it of its painful aspects; and in the end we are shown the triumph of good and 10 the defeat of evil. It is this deeper conception of comedy that Ues at the bottom of Lessing's "Minna.^' He aims to amuse, not by stirring us to laughter — though that too he does on occasion, — but by putting before us a prob- \S lem of human character that, Uke all such problems, * Construe as relative clause. 82 GERMAN SYNTAX AND COMPOSITION has its tragic as well as its comic side, and then en- gaging our interest in its happy solution. Tellheim's mistaken conception of honor leads him to the brink of wrecking his own happiness and that of Minna. It is only the skill of the dramatist that hinders* the situation from taking more than once a painfully tragic tone. The conflict is a real one, but the emo- tions it begets in us are never allowed to become poignant, and the expectation of a happy issue makes us watch its progress with sympathetic amusement. Lessing's drama, like those of Moliere, appealsf to our intellect; it lacks the play of gay fancy with which Shakespeare invested his comedy. It is a bit of life submitted to us from a point of view that en- ables us to see beyond the confusion that involves the lovers. We smile at Tellheim^s error, enjoy the humorous discipline that weans him from it, and rejoice in the final happy solution of all the difficulties. A. B. Nichols. XV GOETHE'S '^DICHTUNG UND WAHRHEIT" Goethe's chief sources for his autobiography were his personal recollections and his diaries, notes and ; letters. He made extensive use, however, of the recollections of others, and of written and printed documents. After his mother's death he asked her * Construe : hinders that the situation . . . t See note J, page 67. GOETHE'S ''DICHTUNG UND WAHRHEIT" 83 friend, Bettina Brentano, to write down for him what his mother had told her of his childhood, but, knowing, Bettina's imaginative nature, he used her contribu- tions sparingly and with great caution. He con- 5 suited many other persons, and spared no pains to obtain correct information concerning matters that he did not clearly remember. He refreshed his memory by the study of the history and topography of Frankfort, and of numerous works dealing with the lo history and literature of the middle of the eighteenth century. He read, or at least consulted again, the works that had interested him in his youth, such as Goldsmith's ^' Vicar of Wakefield " and Klopstock's ^^Messias,'' in order to recall the impressions which 15 they had first made on him. But this autobiography was never intended by the author* as a reliable source of information concerning the individual incidents of his life; and he who would try to reconcile all the statements made in " Dichtung 20 und Wahrheit" with the facts of the poet's Ufe as they appear from more trustworthy documentary evi- dence, would soon find himself in a hopeless tangle. Many of the deviations from the exact historical truth are doubtless unintentional, for in spite of Goethe's 25 retentive memory, and in spite of the great precau- tions which he took, it would be strange if the man of sixty could have given an account of his early life true in every detail. Numerous inaccuracies of more or less consequence have been pointed out by ♦Construe: it had never been the intention of the author that . . . should be considered as . . . 84 GERMAN SYNTAX AND COMPOSITION modern commentators; for as nearly all of Goethe's correspondence and much other documentary evidence is readily accessible to them, they are in a better position to verify the details of his account than the author himself was. But this is not all. It « is clear that in some cases the poet intentionally deviated from the truth for artistic purposes. Inci- dents were invented, fictitious characters were intro- duced, real characters were endowed with qualities which they never possessed; several persons were made ic to exchange* with one another the parts which they played in actual life; liberties were taken f in the group- ing of incidents that really occurred at other times or in a different sequence. It is not our purpose here to enumerate all the points in which it has more or less it conclusively shown that ^'Dichtung'' has triumphed over '' Wahrheif; a few examples of the poet's method must suffice. So, for instance, the account of the Sesenheim episode is probably true in so far as it relates to Friederika's charming personality and lovely 2c character, as well as to the young poet's tender passion for her; in many of its details, however, it rests on very dim recollections, and is largely the product of Goethe's poetic imagination and consummate skill. He de- scribes his first visit to Sesenheim, as having} taken 25 place before the excursion which he made through Alsace and Lorraine in midsummer of 1770, though it really took place in October, and Goethe did not be- * Construe : had to exchange. t Construe : he took the liberty of grouping . . . } Construe: as if it had ... STRUCTURE OF THE NOVEL 85 come acquainted with "The Vicar of Wakefield" till a month later But the change of order, which enables the poet to see in the family of the parson of Sesenheim the likeness to that of Dr. Primrose, is the master-stroke 5 of an artist. The general conditions of the two famihes were probably very similar, but in particulars there was much difference, and these particulars Goethe changed with (a) free hand; he said, for instance, nothing of Friederika's younger sister, for whom there was no analogy in the Primrose family. The incident of the disguise is probably an invention; that of the christen- ing-cake surely. It must not, however, be supposed that all or even a large proportion of the particulars of this and other episodes are of the poet's invention ; on 5 the contrary, in a number of cases in which it was first thought that the incidents related could not have hap- pened, investigation has corroborated Goethe's story, so that the autobiography has come to be more and more regarded as a trustworthy account even of the D details of the poet's life. H. C. G. VON Jagemann. XVI STRUCTURE OF THE NOVEL In both play and novel, it is the first task of the author to explain the characters and circumstances which are essential to an understanding of the plot. Upon his skill in so presenting his personages and their 5 surroundings that may be understood at the outset. 86 GERMAN SYNTAX AND COMPOSITION depends a large measure of his success. The first act of a play is thus spoken of as ^^the act containing the exposition." Like the overture of a musical composi- tion, it indicates the nature of the whole. Now the opening of a novel, or the first lines of a short story, have a precisely similar function to perform. It is true that in the novel the exposition may be worked out in more detail.* The playwright has not a moment to lose after the curtain has once risen; every moment of the opening action counts heavily for or against his chances of interesting the audience in the personages of the play. But Walter Scott and Thackeray and Dickens ramble along in chapter after chapter off pleasant prologues without appreciably advancing towards the real story which they have to tell, — so confident were these authors, no doubt, of their power to secure the attention of their readers, and so unerringly, in general, did they utihze all their apparently trivial descriptive and narrative details in instinctively forecasting the final effect of the tale. These details are not only more deliberately pre- sented in the novel than would be possible in the play, but they are also more accurately presented. There is less for us to guess at. The novelist, in spite of all the suppressions which his art makes necessary,! tells us more and leaves us less often to our own inferences, than the playwright. When the story-writer describes his heroine, we doubtless see her less distinctly than if * Construe: more in details. t Construe : fill chapter . . . with. } See note f, page 67. STRUCTURE OF THE NOVEL 87 the dramatist had placed her on the stage for our in- spection, but whereas the dramatist is forced to let us infer what is in her mind by her appearance, her facial expression, gestures, words and the attitude of 5 other personages respecting her, the noveUst can tell us precisely and at once what she is thinking about and what she is likely to do. But whatever may be the differences in technique, both novelist and dramatist are bent first of all upon introducing their characters. lo Then comes, commonly in the middle or towards the end of the first act of the play, not far from the beginning of a well constructed tale, what is called the ^^ exciting force " or " initial impulse. '^ Something hap- pens, and even though this happening may be appar- 15 ently insignificant, it begins to effect the entire course of the plot. The Ghost appears to Hamlet; the witches confront Macbeth; Cassius talks with Brutus; the clash of interest begins; the objects of individual ambition or resolve are suddenly apparent. In the tale this 20 '^ moment " — that which turns the scale — is fre- quently quite undramatic and unimpressive, but it can usually be pointed out. In ^^ Pendennis '^ it is where the Major receives the letter from his sister which tells about Arthur's infatuation for Miss Fother- 25 ingay. In " The House of the Seven Gables '' it is the opening of the shop after all the years of* dust and silence. In a romance of adventure, like Stevenson's "Kidnapped," it is [when] the orphan boy leaving home at early dawn to seek his fortune in the world. Bliss Perry. 88 GERMAN SYNTAX AND COMPOSITION XVII SUDERMANN " Die Ehre," his first play, has much the same sub- ject as Wildenbruch's ''Die Haubenlerche " : each con- cerns the relations of a rich family to a poor family among its dependents; each shows the rich offering benefits for a return in flesh and blood and honor. ^ There are strong situations in each play and both were successful on the stage. But Wildenbruch's play is thin and conventional compared to Sudermann's, on account of the conflicting motives in ''Die Ehre/' which we recognize as so true to life. Robert, who has ic been ten years in India, accustomed to a larger, more modern hfe, comes back to a restricted, old-fashioned family which belongs decidedly to the lower middle- class; Alma, who has stayed at home, has been con- tinually escaping from the annoyances of parental i^ control* to the temptations of the free, Bohemian circle to which she finds her way. It is all the same sort of thing that we may easily see around us; it does not take particular striking forms as we see it, but it would [do so], if a dramatist should deal with it. Robert 2c comes back from the freedom of his independent life to the pettiness of his old father and mother; so do hundreds of boys and girls come back from the uni- versity, say, to the farm. Alma, who chafes under the restrictions of the elder generation, wishes to seek 21 amus^ement and pleasure in her own way; and we have * Insert: and has yielded. SUDERMANN 89 examples of that, too, from the farm to the city, or from the house to the street. It is no great exhi- bition of genius to have noted so much, but it is, I think, a sign of genius, to conceive an action that shall 5 be a focus for half a dozen such motives, to carry it on by characters that shall continually represent them to us, and to express them and comment on them by con- tinual epigram or chance remark that strike us surely and often remain in the mind. lo Just what the action is, seems to me of lesser im- portance, if only it be interesting. " Die Ehre " was a successful play, and the critics, as a whole, paid very little attention to what I have been speaking of. Thus Bulthaupt, who is representative enough, criticizes the IS play severely because of Graf Trast's disquisitions on honor. Now that turns the play into what is hid- eously called a problem-play. And further, it makes the play something that we, over here, cannot easily get hold of, for our ideas of honor are different in many 20 respects from those current in Germany, and though we may understand their feeling well enough, and Sudermann's criticism of it, yet it can hardly be a matter which we shall feel very keenly. Most Ameri- cans, I fancy, would agree with Graf Trast — he is 25 meant to be the man who has seen the world — in his view that honor differs with different people, being one thing in one nation or class and something else in another,* and that, if conventional honor were dis- pensed with in favor of duty, the world would be quite 30 as well off. Edward Everett Hale. * Construe : that it is in . . . something else than in . . . 90 GERMAN SYNTAX AND COMPOSITION XVIII THE VALUE OF THE DRAMA Now mark* that all great dramas, however complex and intricate their plot may be,t do J yet illustrate the greatest, and simplest, and tritest, and most universal of these great truths of Hfe. ''Hamlet," ''Macbeth," "Faust," "Agamemnon" do teach, and teach most 5 impressively, these great central truths. And^ because they do teach, and because they do purprose to teach, they are greater than dramas which do not concern themselves with these great central truths, and have no message for mankind, either about the mysteries ic of the Unseen, or those of human Hfe. That is, the greatest dramas teach, and concern themselves about, the greatest and tritest and most central truths. But beyond this purpose to teach, which marks the greatest dramas of all, there is in the drama an immense power 1 = of inculcating a wide knowledge of life. It is of course very difficult to divide this great knowledge of life from the great central purport in the plays I have just spoken about, seeing that the two are more or less mixed and blended in any play, and in the greatest of 2c plays are almost completely fused. The knowledge of life and mankind is in itself an education. Now this wide knowledge of fife and mankind is what * Construe: Let us mark. t See Exercise XIV. J Emphatic present do not translatable. THE VALUE OF THE DRAMA 91 the drama can give in a transcendent measure. No book, no other art, no mere spoken address, no system of education can so instantly and vividly brand the memory with the reaUties* of Ufe, and leave them 5 forever stamped on the mind as can the acted play. But is this wide knowledge of Ufe desirable? How far does it tend to perfect the science of wise living, which is the ultimate end of all education? I say the two are inseparable. Though in individual cases there lo is or seems to be no necessary connection between full knowing and wise doing, though there is an eter- nal warfare between man's passions and man's peace, between what men preachf and what they practice, t between aspiration^ and accomplishment,! yet there 15 is a constant ratio between what a nation or a race knows and what it does, between what it holds as the highest truths and the smallest daily actions of its people. Intellectual advance means sooner or later moral 20 advance, and intellectual advance always comes first. I say then that this wide knowledge of life, of good and evil, is a good§ in itself. And further, we live in an age when there is a loud and general demand to know the truth about life. It is an age of upheavals, 25 of inquiry, of searching. You cannot quench this demand for knowledge of what life is and what life means. It is not only on the * Construe: the realities into the memory. t Translate by infinitives used as nouns. t Translate by past participles used as adjectives, i. e., be- tween the aspired to . . . § Construe: something good. 92 GERMAN SYNTAX AND COMPOSITION stage that* this demand is made; it meets you every- where — in the reviews, in the latest novel, in drawing rooms, in the talk of the street, in the pulpit itself. And unless I much mistake the drift of modern thought, it will not be easily quieted and answered. Henry Arthur Jones. * too* PART THIRD SUGGESTIONS FOR THEMES TO BE WRITTEN IN GERMAN, BASED ON SUCH CLASSICAL GERMAN TEXTS AS ARE MOST GENER- ALLY READ IN OUR SCHOOLS AND COLLEGES d3 FIRST SERIES Short themes of two or three hundred words. ®ebtd?te ®(!^ttter, Set San^jf mit bcm ^xa^m 1, SBelc^e ©riitibe fil^rt ber SJitter an, um Un Santpf mit bent ©rad^cn gu entfd^ulbigcn? Sd^itter, S)tc Siirgfrfiaft 2. 3n metd^er ^eife tier^crrlid^t ©driller in biefcr ^allabe bie greunbe^treue? 3, ©c^itbern ©ie bie brei §auptperfonen in ber Sallabe unb erfldren ©ie, au^ tneld^en 9Wotit)en fie l^anbeln, Ufiranb 4. 2?ergteid^en ®ie ben ^onig in ber 93atlabe „95ertran be ^orn" mit bemjenigen in „S)e^ ©angers glnd^" in be^ug auf i^ren S^arafter unb i^r ^zxi)altni^ jur ^unft. Dramen Scffmg, 5(Kinna t>on Sani^clm 5* SSeld^e ©riinbe gibt ^Tell^eim fiir feine ^Beigerung, aWinna p l^eiraten, unb mie fu(^t fie, biefelben ju tniberlegen? 6, SSeld^e 9^oI(e fpielen bie jlDei ^Ringe in biefem S)rama? 95 96 GERMAN SYNTAX AND COMPOSITION Scffmg, emiKa ©alotti 7. §at ?ef[lng bic grmorbung ©ntUia^ burd^ il^rcn SSatcr gcnttgenb motitjiert? 8- S3ct(^e dloUt fpielt Orfina im ®attg ber §anblung? SBeld^c Sigenfc^aften ^eigt [ic bem ^ringen, SOJarinelli unb Dboarbo gegeniiber? ScffiiiG, aiati^ati bcr aScifc 9. 3ft ber 3Sortt)urf bcr ^rltlfer bered^ttgt, ba^ ?effing in bicfem 2)rama ungered^t gegett ba^ Sfirtftentum getr>efen fcl? Sniffer, aBattcnftctti 10* Surd^ metd^e SH^ ^^t ©driller ben SBaKetiftein bcr ©efd^id^te im 3)roTtia bercbelt unb un^ fl)mpat]f)t[d^ gemad^t? IL SBtrb SSallenftcin ^um 53errater burd^ ben S^^^^ bcr 93cr]^a(tniffc ober burd^ feln etgene^ SBefen? ©d^ittcr, 9Raria (Binaxt 12. 2Bic tnirb Wlaxia Don i^xtn grcunben unb toit mn ifjrcn gcinben bcurteilt? 13* SBa6 ift 5Warla^ Huffaffung U)xtx ©d^utb unb ©ii^ne? ©d^ittcr, S)te ^wngfrau tion Orleans 14» SBetc^c inncren ^onftlftc mac^t ^ol^cinna im ?aufc ber §anblung burd^? Sd^tHer, 2)tc fSxant 'oon 9Kcffma 15. SSirb Son Sefar burd^ feine eigne ?eibenfd^aft fd^ut^ big ober ift feine Zat cine gotge be^ glud^e^? Sann bie SUGGESTIONS FOR THEMES 97 Xat gleid^settig frel fein unb au^ felnem clgenen E^arafter f)ert)orge^en unb bod^ eine golge be^ gluc^e^ fein? 16, 2Ba6 ift ba^ ©d^idtfal? 2Bic t)emenbet ed^tlter biefe 3bec in ber „^raut t)on 9}Jeffina"? 3Bdre biefe^ Srama ol^ne bie ©c^icffal^tbee benfbar? Skitter, SBil^ctm Sett 17, 9Kit metd^en ©rilnben t)erteibigt 9?ubcn3 feinc 2ln^ pngUrf)feit an Ofterreid;? (3I!t II.) 18, Sefc^reiben ©ie bic ^Sercinberung im Sl^arafter XtlU^ tnetd^e im ^rama t)or fid^ gei^t; burd^ tnelc^e Sinfliiffc mirb er au^ einem rul)igen ^anbmann gu einem tiitigen Stopfer fiir bie grei!)eit be^ ?anbe^? @oct()c, ©oci? Don aSerltc^ingctt 19, ^efd^reiben ®ie @oe^, triie n)ir i^n au^ ben SBorten feiner greunbe unb feiner geinbe fennen (emen. ©oet^c, ©gmont 20, 3nmieU)eit ift e6 bered^tigt gu be^aupten, ba^ ba^ !E)rama „@gmont" feine Sragobie ift? 2L SBetd^e ©riinbe bemegen aj^argaret^e t)on ^arma gu bem 5lu^fprud^: „3d^ fUrd^te Oranien unb id^ fiirc^te fiir ggmonf ? (2I!t I.) ®0ct^c, S ^otoifjca S3ie fal^ ba^ ©tdbtd^en au^, tDeld^e^ ©oetl^e jum ©d^au^ pla^ feine^ ©ebid^te^ „§ermann unb Sorotl^ea" gemal^lt ^at? Sntlnerfen ©te ein ^ilb biefer ®tabt nad6 ben ^Ingaben be^ ©ebid^te^ liber: a) bie ?age, b) ha^ 2lu^[e^en ber ©iirten, §(iufer unb ©trafeen, c) ba^ ®a[tl^au^, 6^) bie 5lpot^efe, e) ba^ §au^ be6 Saufmann^, /) bie Obrigfeit ber ©tabt. IX. 2>a^ giibelunfiCttUeb ©d^reiben ©ie eine au^fiil^rlid^e (S^arafterfd^itberung t)on ^rieml^itbe aU ^ungfrau unb aU ©attin, aU troftlofe SBittDe unb al^ rac^fud^tige^ ^eib, unb geigen ©ie im ein- 102 GERMAN SYNTAX AND COMPOSITION jelnen, vok unb marum il^r S^aratter eine fold^e Ummanb* lung burd^tnad^t, X. SlHgemeine 2)t^|j0fitt0n einer g^araftcrftubie I. 35orQefc^id^te be^ §elben (ober ber ^elbin), II. Stufeere (Srfd^emung, III. S^arafterelgenfd^aften, feftgeftellt: a) au^ feinen eigenen SBorten unb latcn; b) au^ htn $3orten ber anberen ^erfonen. IV. S)er l^errfd^enbe Sfiarafterjug unb beffen glnmirfung auf bie §anblung. V. Sufeere Sinflilffe, bie auf htn El^arafter hjcil^renb be^ S)rama^ [ober be^ 3ioman^] elntDirfen. VI. gnttDidtung ober ©ntfattung be^ S^arafter^ unter blefen Slnftiiffen. VII. ®er ©eelen^uftanb be^ §elben am Snbe be^ S)rama^ [ober be^ 9toman^] t)erglid^en mit bem am 2ln* fang be^felben^ VOCABULARIES VOCABULARIES ABBREVIATIONS USED a. adjective n. neuter gender (ace.) accusative npr. proper noim ad. adverb pi. plural art. article pr. pronoun c. conjunction prp. preposition (dat.) dative refl. reflexive verb (ec.) ecclesiastical (I) conjugated with fctn /. feminine gender s. substantive (fig-) figurative (sep.) separable verb (gen.) genitive (theat.) theatrical (in comp ) in composition tr. transitive (insep.) inseparable verb V, verb intr. intransitive * Old (or Strong) or (jur.) jurisprudence, legal irregular verb m. masculine gender Nouns; the declension is designated by numbers as follows: 1, gen. -g, pi. like sing. 1", same with Umlaut in pi. 2y. gen. -S or -eg, pi. adds -c. 2", same with Umlaut in pi. 3, gen. -g Sr -eg, pi. adds -ex. 3", same with Umlaut in pi. 4, gen. -(e)n, pi. adds -(e)n. Remember that feminine nouns make no changes in the singular. See table of noun and adjective endings, page 187. Adverbs; adverbs ending in -ly are not given, being translated in German by the simple adjective. Prepositions; for cases which follow prepositions, see tables, page 188. Verbs; all Old (or Strong) and irregular verbs are indicated in the vocabularies by an asterisk, *. For all forms, see table, page 189. Verbs compounded with the prefixes be-, ent- or emp-, gc-, toer- and gcr- are inseparable. All other compound verbs are separ- able except those compounded with burc^, urn, unter, iiber and toiebcr, which may be either. These are marked (sep.) or (insep.). Verbs are marked as transitive or intransitive only when there is a difference between the two languages. 104 GERMAN-ENGLISH VOCABULARY ah, ad. off, away. ^bbitb, n. 3. image, portrait. ahWin^cn,* v. bring off; dis- suade, divert. 5(&cnb, m. 2. evening; west. II — lanb, n. 3''. western land or country, West. ahtx, c. but, however. aft^angen,* v. depend. ^bfunft, /. descent, family. abfc^Iagcn,* v. strike off; re- ject, refuse. ^Ibll^^t, /. 4. view, aim, inten- tion. aBujeic^en,* v. turn away or aside, deviate, depart. a^tcn, V. respect, regard. || intr. pay attention; regard, con- sider. ^tton, npr. Acre. aUf pr. and a. all, entire, whole. II atle^, all, everything ; every- one. aflgcmettt, a. common to all, general, universal. attcrcrft, a. first of all, very first. at^, c. as; as being, in charac- ter of ; than ; else than, other than ; as if. || ju ebel — ha^ [it, too noble to or for her to. alt, a. old, aged. titter, n. 1. old-age. jjdon — 3 f)tx, of old, of yore. 5C(tcrtum, n. 3". antiquity. 5(mt, n. 3". office, place. an, prp. at, close by, by; about; in, of, to, by means of. tlnbcnfcn, n. 1. remembrance, memory. anbcr, a. other, else, different. 5(nbcutung, /. 4. indication, intimation. ancrfcnncn,* v. recognize, ac- knowledge. 5lncrfcnnung,/. 4. acknowledg- ment, recognition. 5(nfang, m. 2". beginning, com- mencement. anfangctt,* v. take up, begin. anfii^rcn, v. lead on, command; adduce, allege. ^ngaBe, /. 4. statement, dec- laration. angreifctt,* v. lay hold on, seize, attack, fall upon. 5lnf)(tngcr, m. 1. (/. -in) ad- herent, follower. 5ln^ftng(i(3^Ictt, /. 4. attach- ment, adherence. 5tnfttnft, /. arrival. anlangcn, v. arrive, come. 105 106 GERMAN-ENGLISH VOCABULARY onmutig, a. agreeable, graceful, charming. anttcl^mcn,* v. take on, take; assume, take for granted. \\refl. (with gen.) take an interest in. Stltreguttg, /. 4. stirring up, in- citement, inspiration, sug- gestion. anrufcn,* v. call on, invoke, appeal to. 2(nf(^auung, /. 4. view, aspect, contemplation. SCnf(i^(ag, m. 2'\ stroke; plan, design, plot. anfcl^cn,* v. look on, regard, consider. anftettcn, v. put in place, ap- point. 5(ttftcttuttg, /. 4. appointment, situation. ^nteit, m. 2. share, sympathy, interest. 5(tt5a^t, /. 4. number, multi- tude. anjicl^cn,* v. draw on, attract. ^Injicl^Uttfl, /. 4. attraction. II — ^fraft, power of attrac- tion. 5(n5ug, m. 2''. dress, attire. ^pottjtU, f. 4. apothecary's shop, drug-store. (irmltc^^ a. poor, needy; miser- able. %xvt\t, m. 2. arrest. ^Xif /. 4. kind, sort; manner, way. 5CftCtt, npr. Asia. anii^, ad. and c. also, too, like- wise. auf, prp. upon, on; at, in, of. 3(ufbau, m. building up, erec- tion; (drama) structure. aufbcrfen, v. uncover; disclose, reveal. 5Cufent^alt, m. 2. stay, sojourn, place of abode. auffatten,* v. (dat.) fall on, strike the notice of, appear striking. 3(uffaffung, /. 4. conception, apprehension. 5(upi>rung, /. 4. (theat.) rep- resentation. SCufgalDc, /. 4. task, theme, problem. auf^aWen,* v. hold up. \\refl. stop, stay. aufne^meit,* v. take up, re- ceive, entertain. aufrcgcn, v. stir up, agitate. aufru^tcrifc!^, a. riotous, muti- nous, revolutionary. 5tuffa^, m. 2''. composition, essay. Stuff^luft, m. 2". disclosure, opening. 5(ufft(!^t, /. oversight, inspec- tion, superintendence. auf trctcn,* v. step up, enter upon the stage, make appearance. Sfugc, n. (pi. Hugen) eye. ^n^tnUid, m. 2. moment, in- stant. GERMAN-ENGLISH VOCABULARY 107 an^, prp. out of, from, of. Stu^bturf, m. 2". expression. aui^einanber, od. apart, asunder. II — fetjen, v. set asunder, ex- plain. au^fu^rctt, V. carry out; ac- complish, perform ; work out in detail. au^fiil^rliiJ^, a. complete, de- tailed. 5Ju^0a6e, /. 4. delivery; edi- tion. SCu^lanb, n. 3". foreign lands or places. au^ft^licfitid^, a. exclusive. ou^fcl^cn,* V. look, appear, seem. |1 s. appearance, as- pect. ftuftcr, a. outer, external. 5(U!§fi^t, /. 4. outlook, view. II in — ftetten, hold out the prospect of. au^fprec^ctt,* v. speak out, pronounce, express. 5tUi^f)jnt(^, m. 2". utterance. au^iificn, v. exercise. au^jci^ncn, v. mark out, dis- tinguish. Balb, ad. soon, shortly, quickly. S3aHabc, m. 4. ballad. S3anb, n. 2. bond, tie. Ibangen^ v. be anxious, be afraid. || s. anxiety, alarm, ©art, w. 2". beard. S5aucr, m. (-erg, -cm) peasant, country man. || — ^nburfd^c, m. 4. country fellow, young peasant. || — nflcib, n. 3. peasant's dress or costume. ficbeuten, v. point at, mean, signify. || bebeutenb, signifi- cant, important. S3cbcutung, /. 4. meaning, sig- nificance, importance. Scbingung, /. 4. condition, terms. Bcbiirfctt,* v. stand in need of, be in want of, need. ftccinftuffcn, v. inspire with, influence. JBcfcl^t, m. 2. command, order. Bcfc^lcn,* V. commend; com- mand, order. ficfoKgcn, v. follow, obey. ficfrcmben, v. astonish, sur- prise. Bcgciftcm, v. inspire, fill with enthusiasm. S^cgeiftcrung, /. 4. inspiration, enthusiasm. 6egierig, a. desirous, eager. Ibegnabigen^ v. show grace to, pardon. SBe^anbtung,/. 4. treatment. Bc^au^Jtcn, V. maintain, assert. Ibci, prp. by, by the side of, near, at, in, with, to; at the house of. icibe, a. both, the two. l&etbcrfettig^ a. of or on both sides, mutual. SBeit, n. 2. axe, hatchet. 108 GERMAN-ENGLISH VOCABULARY fStiipitl, n. 2. example. || jum — , for instance. Bcitoo^nctt, V. be present, as- sist. Befanni, a. known, noted, ac- quainted. ]6cfcnncn,* v. confess, acknowl- IDcfommCtt,* V. get, obtain, gain, receive. htlt^txif V. enliven, animate. Mttfxmf V. teach, inform, in- struct. Bclctbigcn, v. offend, insult. ficmitl^cn, refl. exert one^s self, endeavor, try. htohatijim, v. observe, watch. l&erotf ^(agcn, v. deliberate, con- fer, consult. BcrauBcn, v. rob. berc(^tigcn, v. authorize, en- title, warrant. Bcreit, a. ready, prepared. ^creit^, ad. already. S3 erg, m. 2. mountain. S3cruf, m. 2. vocation, profes- sion, business. Beru^cn, v. rest one's self; be founded, depend. bcriil^mt, a. famous, renowned, celebrated. bcf^iiftigcn, v. busy, occupy. bcfdjctnen,* v. shine upon, il- luminate. 6cf(i^rci6en,* v. describe, write on. l^efonber^ a. peculiar, particu- lar, special. |1 — ^, ad. in particular, especially. Bcffcr, a. better. Bcft, a. best. |1 auf^ bcftc, in the best manner. Beftcl^cn,* V. endure, bear, in- sist, consist (of, au^, in). Beftctgcn,* v. mount upon, ascend. I6eftrafcn, v. visit with punish- ment, punish. 23cfuc§, m. 2. visit. 6etra(!^ten, v. consider, view, look at. fSttxaqtrtf n. conduct. l&ctmuen, v. entrust. Ibctrcffcn,* V. surprise, have to do with, concern. fictretcn,* v. tread upon, set foot on or in. Betrtigeti,* v. deceive, cheat, impose on. 6eurtet(en, v. judge, estimate. JBcbiJlfcrung,/. 4. population. ]6ett)a!^ren, v. keep, guard, pre- serve. Bclticgcn,* V. induce, impel, move, stir, agitate. BchJeifCtt,* v. show, prove. Ibettiugt, a. known, conscious of, aware of. bcjcid^nctt, V. mark, denote, point out. JBcjug, m. relation. H in — auf, in relation to, with ref- erence to. JBibel,/. 4. Bible. GERMAN-ENGLISH VOCABULARY 109 JBUb, n. 3. image, picture, por- trait. Bttben, V. make, build; edu- cate, cultivate. hi§, ad. as far as, till. || prp. as far as to, till, imtil, to. II — auf, — ju, even to, un- til, all but. JBtttc, /. 4. request, entreaty. bitten,* V. ask, request, beg. btcibcn,* v. continue, stay, re- main. f8ixd, m. 2. look, glimpse, sight. bttcfen, V. look, show. blog, a. bare, mere, simple. II — ftettcn, lay bare, expose. f8xaui, f. 2". bride, betrothed. brct^cn,* v. break. brctt, a. broad, wide. brcnncn,* v. bum, scorch. 23rcntt|junft, m. 2. focus. bringcn,* v. bring, fetch. S3ruber, w. 1''. brother. SBunb, m. bond, league, con- federacy. . S3urf(^c, m. 4. fellow. S3ufte, /. 4. atonement, pen- ance. (J^araltcr, m. 2. character, disposition. || — eigcnfc^aft, /. 4. quality or trait of character. || — fcf)ilberung, /. 4. character-drawing. II — ftuMc, /. 4. character- study. II — jug, m. 2''. trait of character, characteristic feature. Shrift, m. 4. Christian. G^^riftcntum, n. Christianity, Christendom. ba, ac?. there, then. || c. when, as, whereas, since. babet, a. thereby, by it or them. baburc!^^ ad. through or by or by means of it or them; by that means. bagegen, ad. against it; on the contrary, on the other hand. bftmonifd^, a. demon-like, de- moniac. bann, od. then, thereupon. batan, ad. thereon, on it ; about it, in regard to it. || e§ Uegt nid^t^ — , nothing is depend- ing on it, it is of no conse- quence. barauf, ad. thereupon, upon or on it or that. barin, ad. therein, in or at it or them. barftcffcn, v. set forth, exhibit, represent. batitber, ad. thereover, con- cerning it. "^^^ c. that, so that. baucrn, v. last, continue. batjon, ad. thereof, of or from it or that or them. baju, ad. thereto; in addition, besides. 110 GERMAN-ENGLISH VOCABULARY benlBat, a. imaginable, con- ceivable. bcttfen,* V. think, imagine. ^enfmal, n. 2. or 3". monu- ment, memorial. bcnn, ad. then ; for. || c. for. II after comparative^ than. ber (bic, bttig), def. art. the. \^dem. pr. a. this, that. llreL pr. who, which, that. bcrjentgc, pr. that one, the one, he. bcrfelbc, pr. the selfsame or same; he, she, it, they. beSl^alb, ad. on that account, for that reason, therefore. beutfc!^^ a. German. I| as s. a German. || — lanb, n. Ger- many. bid^ten, -y. compose, invent. ^i(^tfunft,/. poetic art, poetry. ^id^tcr, m. 1. poet. bt(!^tcrif(!^, a. poetical. ^ti^tung, /. 4. poetry, mental invention. |I — ^art, /. 4. form of composition or poetry, poetic style. btcnctt, V. serve, be of service to, be useful to. hxc^f bicfcr, pr. and a. this, this one. ^i^^JOftttOtt, /. 4. disposition, arrangement, outline. \>o(i^, ad. though, nevertheless, yet, after all. bort, ad. there, in that place. ^tati^Cf m. 4. dragon. ^rama, n. (-a8, -en) drama. ^ramatifer, m. 1. dramatic writer, dramatist. 2)rattg, m. 2". pressure, ar- dent desire, impulse; crowd. ||®turm unb — , storm and stress. brct, a. three. bringctt,* v. urge, crowd; pene- trate, pierce. brol^cn, V. threaten, menace. biinfcn, impers. seem, appear. burc!^, ad. through. || prp. through, by means of, ow- ing to, by. burd^blttttcm, v. (insep.) turn over the leaves of, skim through. bur(!^ma^en, v. (sep.) perform, accomplish; go through, ex- perience. burrf|f(^tttttUrf|, ad. on an aver- age. biirfctt,* V. be permitted or al- lowed, venture, dare ; may or might. II {vnthneg.) must not. cbcl, a. noble, lofty, exalted, generous. || — mut, m. mag- nanimity. ti^tf c. sooner than, before. e'^Ct, ad. sooner, rather. @l^re, /. 4. honor, glory, re- spect. Q^tjXtnplaii, m. 2". place or seat of honor. GERMAN-ENGLISH VOCABULARY 111 e^tett; V. honor, respect, revere. ^fcrfuri^t, /. 4. jealousy, envy. ©igcnfrfiaft, /. 4. property, characteristic quaUty, char- acter. citt, num. one. II indef. art. a, an. II cincr, -t, -c«, pr. a person, they, one, people. einanber, indecl. pr. one an- other, each other. ©inBitbung, /. 4. imagination, fancy. |I — gfraft,/. 2''. power of imagination. Qin'Otud, m. 2". impression, sensation. \ ^influft, m. 2". influence, power. cingcbenf, a. mindful of, re- membering (gen.). eingrcifcn,* v. take hold, inter- fere, exert influence. /• ©in^cit,/. 4. oneness, unity. cittig, a. one, united, single; any, some. einlaben,* v. invite, ask in. etnmat^ ad. one time, once. Cinncl^mcn,* v. receive, take possession of, occupy. cinrttumcn, v. make room in, concede, yield. cintrctcn,* v. step in, enter; commence. ctnhJtrKctt, v. work in, exert in- fluence, operate. ^inmirfuttg, /. 4. influence. cinjcttt, a. single, solitary, in- dividual. II im elnjclncn, in detail. elnstCl^Ctt,* V. tr. draw in; take in. \\intr. move in, enter. ^tenb, n. exile; misery. etenb, a. miserable, pitiful, wretched. ©Item, pL parents. mk cm|jfangcit,* v. receive, take, accept. cm|jfftttg(t(^, a. susceptible, sensitive. cm^finbcn,* v. be sensible of, perceive, feel. tmpoXf ad. upward, on high. @nbc, n. (-eg, -en) end, con- clusion. enbgultig; a. definitive, final. enblt(!^^ ad. finally, at last. cng, a. narrow, close. cngtifti^, a. English. cntbcrfen, v. discover, reveal. entcrbcn, v. disinherit. ©ntfattung,/. 4. unfolding, de- velopment. eittfcmctt, V. put far off, go off, withdraw. Ij entfernt, remote, distant, far off. entgegen, ad. against, in opposi- tion, forth to meet, jl prp. against, to meet. cntgcgcnfcl^en,* v. look forward to, expect. ent^itflett^ v. unveil, disclose. tnttommcn,* v. come off, get away, escape. tnilax\)tn, v. unmask. cntfrffeibcn,* v. decide, deter- mine. 112 GERMAN-ENGLISH VOCABULARY Sntf(iftctbuttg, /. 4. decision, de- termination. cntfti^Uefectt,* V. resolve, deter- mine, make up one's mind. 11 entfd^toffen, resolved, reso- lute. entft^ulbigctt, v. excuse, justify. ^nttftuf(^ung, /. 4. disabuse, disappointment. cnthjcrfcn,* v. sketch, draw in outline, devise, plan. ©ntttiidlung, /. 4. unfolding, development, evolution. cntjurfctt, V. ravish, enrapture. (^piiOQ, m. 2. epilogue. @|jifobc, /. 4. episode. cr, jpers. pr. he, it. erac^ten, v. deem, hold, con- sider. @rbc, /. 4. earth, ground, world. (Srcignii^, n. 2. occurrence, event. ~ ©rfotg, m. 2. result, issue. (Jrforbcnti)^, n. 2. requirement, requisite. crfiittcn, v. fill; fulfil, accom- plish. ©rfiittung, /. 4. fulfilment, ac- complishment. crtiattcn,* v. obtain, receive; keep, preserve. er^cbcn,* v. lift, raise. crinitcrn, v. remind, \\refl. re- member, recall. (Srinncrung,/. 4. remembrance, recollection, memory. crfcnncn,* v. perceive, under- stand, recognize. crftilrcit, v. explain, declare, announce. erleBen, v. experience, meet with. crlctrfltcni, V. make lighter or easier, alleviate, lighten. crlcibcn,* v. suffer, bear, en- dure. ©rmorbung,/. 4. murder. crncnncn,* v. nominate, ap- point. ©rnennung, /. 4. nomination, appointment. emcucm, v. renew. Q:xn)t, m. earnestness, serious- ness. ernft, a. earnest, serious, grave. crreici^en, v. reach, attain, ar- rive at, gain. ©rrungcnfc^oft,/. 4. acquisition by effort. crf(^cmcn,* v. shine forth, ap-" pear. (Srfrfjeinung, /. 4. appearance, apparition. erfc^Ctt, V. restore, replace, make up the loss of. erftnncn,* v. think out, devise. II er[onnen, invented. crflJarcn, v. spare, save. crft, a. first. II ad. firstly, for the first time ; but just, only, not until. crftcn^, ad. firstly, in the first place. GERMAN-ENGLISH VOCABULARY 113 crftcr, a. former. crftrcben, v. gain by striving, procure by effort. ©rtottguitg, /. 4: weighing, con- sideration. ertuitl^ncn, v. make mention of, mention. IfttJartcn, v. wait for, await, expect. WtDcrfcn, V. awaken, rouse. erstt^lcn, v. relate, tell. ©rjiciiung, /. 4. bringing up, education. C§, pers. pr. n. it. tttoa, ad. nearly, about. cttoa^f indef. pr. indecl. some- thing. II ad. somewhat, a little, rather. ^uro^a, npr. Europe. curo^Jftifd^, a. European. ©g^jofitton, /. 4. exposition, in- troduction. fcl^tett,* V. go, drive, sail. faflctt,* V. fall, descend. || fd^toer — , come hard. fatt^, ad. in case, if. ganati^mu^, m. fanaticism. fangen,* v. catch, capture, make prisoner. faffctt, V. hold, include, lay hold of, grasp, seize, conceive. faft, ad. almost, nearly. fcl^l, ad. wrong, amiss, in vain. II — (d^Iagcn,* intr. miscarry, fail. gcinb, m. 2. enemy, foe. fjctb^crr, m. 4. commander-in- chief, general. fern, a. and ad. distant, far off. IlintDtc — , how far, in what ^^ measure. ^^ fcft, a. fast, firm, solid, fixed. ||--ftctten, fix, settle. finbcn,* V. find, meet with. finftcr, a. dark, gloomy, mo- rose. flc!^en^ V. beg, beseech. || as s. supplication. fticl^cn,* V. flee, escape. fjlu(^, m. 2". curse, oath. f{u(!^en, V. curse, swear. gluft, m. 2. flow, river, stream. Solgc, /. 4. series, order, re- sult. fotgen, v. follow, succeed, obey. fijrbertid^, a. furthering, bene- ficial. gorm,/. 4. form, shape. fort, ad. forth, away, gone, off. fortgel^cn,* v. go forth or away, go on, continue. ijragc,/. 4. question, inquiry. granfrcici^, n. 2. France. fjrattjofc, m. 4. Frenchman. franjiJftfdl, a. French. grau, /. 4. woman, wife. fret, a. free, clear. freif)>re(!^en,* v. declare free, acquit. freihJtttig, a. voluntary. grei^eit,/. 4. freedom, liberty. 114 GERMAN-ENGLISH VOCABULARY frcmb, a. strange, foreign. 1| as s. stranger, foreigner. fJrcmbUng, m. 2. stranger, alien. IJrcube, /. 4. joy, pleasure, de- light. freuen, v. tr. give pleasure. ||re/Z. be glad, feel pleasure, rejoice. greunb, m. 2. friend. || — ^^ treue, /. 4. fidelity in friend- ship. frcunbli^, a. friendly, kindly. gricbc, m. 4. peace. grtcbric^, npr. Frederick. fritjol, a. frivolous. \x'i\)ix6), a. joyous, gay, merry. fritl^, a. early. fJrii^C, /. 4. early time, morn- ing. fiil^tcn, V. feel, touch, be con- vinced of. fufirett, V. bring, conduct, lead, wield. gittircr, m. 1. leader, guide. fjii^rung^/. 4. leading, guiding, direction. fiinf , num. five. 1| — gel^n, num. fifteen. fitr, prp. for, in behalf of. fiirrf|tcn, v. be afraid of, fear, dread. || refl. be afraid. gtitf^rad^c, /. 4. speaking for any one, intercession, medi- ation. fjilrft, m. 4. sovereign, prince. guff, m. 2". foot. ©ang, m. 2". motion, progress, walk, passage. ganj, a. whole, complete. || ad. wholly, entirely, quite. ©arlcn, m. V. garden. ©aft, m. 2". guest, visitor. II — f)au«, n. Z". inn, hotel. ©atte, m. 4. husband. ©attin,/. 4. wife. Qcbftren,* v. bear, give birth to. ©cbaubc, n. 1. building. QClbcn,* V. give, confer, bestow. ©cl^ictct, m. 1. commander, ruler. ©cburt,/. 4. birth. || — gftftttc, /. 4. birthplace. ©cbanfc, m. 4. thought, idea. ©cfa^r, /. 4. danger, risk. ©cfftngm^, n. 2. prison. ®cfu(|l, n. 2. feeling, sensation, sentiment. gegen, pry. against, toward. II — \q,%, m. 2". opposition, contrast. || — teil, n. 2. con- trary, reverse. gegeniiber, ad. opposite. || prp. opposite, over against, in presence of, in relation to, as concerns. gcl^ctm, a. secret. ||iin — en, in secret, privately. gcl^en,* v. go, walk, leave, de- part. II in (Srfilttung — , be accomplished or realized. ®cpr, n. hearing, attention. gc^0rrf|Ctt, V. listen to, obey. gcprcn, v. belong to. GERMAN-ENGLISH VOCABULARY 115 ft, m. 3. spirit, mind. geiftig, a. spiritual, mental. gelangen, v. arrive, reach. gcUngcn,* V. prove successful. II eg gelingt x^m, he succeeds or prospers (in something). gcUen,* V. have value, pass. II {with dat.) concern, apply- to. &tinbhc, n. 1. solemn promise, vow. ©cmiit, n. 3. ^spirit, state of mind, mood. genau, a. close. genug, ad. enough. gentigcn, v. be enough. || gc* nligenb, satisfactory, suffi- cient. (Scttuft, m. 2. enjoyment, pleas- ure. II — fud^t, /. greed or desire for enjoyment. gerabe, a. straight, direct. || ad. directly, just, precisely. gerec^t, a. righteous, just. gereic^en, v. be conducive, re- dound to. gem, ad. with pleasure, gladly, willingly. gefammt, a. united, joint, col- lective, total. II — bct)(5tfe= rung, /. 4. total population. ©cfd^i^tc,/. 4. story, tale, his- tory. gcf(^icl^tU(^, a. historical. ©cfettf d^af t, /. 4. company, so- ciety. ^, n. 2. law. QbtSx^if n. 2. or 3. face, visage. II — gpunft, m. 2. point of view, aspect. gefinnt, a. minded, disposed. ©cfmnung,/. 4. intention, sen- timent. gcfonncn, a. disposed . || — fein, be resolved. ©cf^jcnft, n. 3. ghost, phantom. ©cftalt, /. 4. form, shape, figure. ©cftftnbnt)^, n. 2. confession. gctoinnett,* v. win, gain, ob- tain. II neugctDonnen, newly won. getuii^inen, v. accustom to. getDofint, a. wont, accustomed (an, to). ®(an5, m. radiance, brightness, splendor. glau^en, v. believe, have faith in, think. gtcid^, a. like. || — setttg, a. at the same time, simultane- ous. glciti^ett,* V. be like, resemble. ©lorfc,/. 4. bell. %ivid, n. luck, good fortune, happiness, prosperity. gtittftid^, a. fortunate, lucky, happy. II — eriDcifc, ad. for- tunately, luckily. ©ilnncr, m. 1. well-wisher, pa- tron. grctfcn,* V. grasp, sei^e. @ric(^e, m. 4. Greek. (^txiii, m. 2. rancor, ill-will. 116 GERMAN-ENGLISH VOCABULARY gwff, a. great, large, big. II — ftaat (-g, -en), m. great power or nation. ©riJfte, /. 4. greatness, magni- tude, size. gritl^eln, v. brood, ponder. ©ntnb, m. 2". ground, bottom, basis ; cause, grounds. |1 gu ©runbe, to the bottom, to destruction. || — i3erf(^ieben, a. radically different. gUnfttg^ a. favorable, gracious. gut, a. good, excellent, jj ad. well. ©iite, /. goodness, kindness. l^aBcn,* V. have, possess. i|al6, a. half. ^laltcn,* V. hold, keep, retain; endure, esteem, think, con- sider. II — filr, deem, con- sider as. $anb,/. 2". hand. I^anbeln, v. act, behave, deal. ^anblung, /. 4. action, deed. l^art, a. hard, stiff, difficult. II — ^ncicfig, a. stiff-necked, stubborn. ^aft, m. 2. hate, hatred. ^au^t, n. Z". head, chief. II — perfon, /. 4. chief per- son or character. || — fiid^* Xx^f a. chief, main. S^aw^f n. W\ house. S^ttXf n. 2. host, army. l^eftettr V, fasten, attach, fix. ^txmaiff. 4. home. iicitaten, v. marry. tfcitct, a. clear, bright, cheerful. J^clb, m. 4. hero, champion. II — engeftalt, /. 4. heroic figure. J^clbin, /. 4. heroine. ^cr, ad. hither, along; ago. ^err, m. 4. master, sir, Mr. ^txx\6)a\if /. 4. dominion, gov- ernment. %ztx\^tn, V. rule, reign, govern. I^ertjorgc^cn,* v. come forth, proceed, follow. ^crt)ortagcn, v. be prominent, be distinguished. ^tx^, n. 4. heart, courage. \)tx^\\^, a. hearty, cordial. ^crjog, m. 2. duke. I^eute, ad. to-day, this day. I^icr, ad. here. \)mci\>, ad. down. || — jlc^cn,* ir. draw down, pull downT l^tnau^, ad. out, hence, forth, away, out. || — rctten,* intr. ride out. ^tnbemi^, n. 2. hindrance, ob- stacle. l^inrctften,* v. tear or carry away, carry along with vio- lence. ^mhtx, ad. over thither, over, across. l^iftorifc^, a. historical. ^tiHOjf a. high, tall, great, exalted, subhme. || superl. 'i)'66)\t, highest. |j as ad. in GERMAN-ENGLISH VOCABULARY 117 the highest degree, most, extremely. l^offcn, V. hope, expect, ^offnung, /. 4. hope, expecta- tion. II — ^lo^, a. hopeless. pfifc^, a. courtHke, courteous, at court. ^ilfling, m. 2. courtier. ^Ol^n, m. scorn, mockery. || — lad^en, v. laugh scornfully, laugh to scorn. prcn, V. hear, Usten. ^iiOf(§, a. pretty, fair. l^utbifiCtt, V. pay homage to, devote oneself to. ^umor, m. humor. ](|unbctt, num. hundred. i(^, pr. I. gbcatt^mu^, m. idealism. gbcaltft, m. 4. ideaUst. 3bec, /. 4. idea, notion. i^r, pers. pr. 2nd pi. you. || — pr. poss. sing. f. her. \\pl. their. || ^i)X, your. tl^rcrfcit^, ad. on her, its or their side, for . . . part. i^rctttJcgcn, ad. on her, its or their account, for . . . sake. immcr, ad. ever, always. in, prp. (ace.) in, into. || (dat.) within, at, in. in^riinftig, a. ardent, fervent. Snl^att, m. 2. contents, sub- stance. inner, a. inner, interior. tnntg, a. intimate, hearty, warm. 3nfcl,/. 4. island. ^ntcrcffe, n. 4. interest. 3^^>l^igemc, npr. Iphigenia. ttgcnb, ad. ever, whatever, at all. II — ein, any . . . soever, some, any. Stalicn, npr. Italy. ita(icntf(^, a. Italian. ^at)tf n. 2. year. || — l^unbert, n. 2. century, hundred years. \tf ad. always, ever. || t)on ie(^er), always. iebcr, -t, -t^, pr. and a. each, every. jc^tg, a. present. jlc^t, ad. at the present time, now. Sugenb,/. 4. youth. || — {a^rc, years of youth, youth. jugcnbK^, a. youthful. jung, a. young, youthful, new. 3ungfrau,/. 4. maiden, virgin. Siingling, m. 2. young man, youth. ^atfcr, m. 1. emperor, tam^f, m. 2". fight, combat, battle. ^om^jfcr, m. 1. combatant, fighter, ^ort, npr. Charles, ^aftanic,/. 4. chestnut. 118 GERMAN-ENGLISH VOCABULARY Staitjolx^x^mn^, m. Catholicism. ^aufmann, m. {pi ^aufleute) merchant, tradesman. {aunt, ad. hardly, scarcely. (c^ren, v. turn. fcin (felncr), pr. and a. no, none, not one, not any. II — c^tDeg^, ad. in no wise, noways, by no means. fenncn,* tr. know, be ac- quainted with. ^enntnt)^, /. 2. knowledge, in- formation, science. ^inb, n. 3. child. 1| — cria^rc, pi. childish years, childhood. ^inb^cit, /. 4. childhood, in- fancy. ^tagc, /. 4. lament, complaint, accusation. f(afftf(^, a. classical. ^(eib, n. 3. garment, clothing, dress. {(eiben, v. clothe, dress. iUxUf a. Httle, small. || — aficn, Asia Minor. || — ftaat, minor state, small country. fnii|)fcn, v. fasten together, unite, tie. fommcn,* v. come, approach, arrive. ^onftift, m. 2. conflict, prob- lem. UM^f m. 2. king. ^anigin, /. 4. queen. ttnnen,* v. can, be able. ^raft, /. 2". strength, vigor, power, force. franfcn, v. give pain to, mor- tify, insult. ^ranf^cit, /. 4. illness, disease. ^rei^, m. 2. circle. ^ttVL^f n. 2. cross, crucifix. II — jug, m. 2". crusade. ^rieg, m. 2. war, strife. |I — 3* fc^auplalj, m. 2. seat of war. II — gpg, m. 2". military ex- pedition, campaign. ^titifcr, m. 1. critic. ^ronc, /. 4. crown. ^riinung, /. 4. crowning, coro- nation. ^unft, /. 2". skill, art. ^urfiirft, m. 4. Elector. im^f a. short, brief. VXx^W^f ad. shortly, briefly; a short time ago, recently. \^6ntXif V. laugh. taben,* v. load, charge, burden. II — auf, take upon. Sage, /. 4. situation, position. Sager, n. 1. couch; camp, en- campment. Sanb, n. 2. or Z". land, coun- try. II — mann, country man, farmer. || — e^filrft, ruler of a country, sovereign. lang, a. long. laffcn,* V. let alone, leave ; let, permit, allow, suffer. || be- fore infin. cause, make, have. Sauf, m. 2". run, course. launifc^, a. capricious, peevish. GERMAN-ENGLISH VOCABULARY 119 Ufttn, V. live, exist, dwell. II as s. life, living. || — ^= fro^, a. enjoying life, joyful. II — Sn)a{)r^eit, /. 4. truth to life. Sel&jcit: ju feincn — en, in his lifetime. Scflation,/. 4. legation. Icgcn, V. lay, place. (e^rcn, v. teach. Sel^rcr, m. 1. teacher. lei(!^t, a. light; easy. Sei(t|tfintt, m. levity, frivoUty, indiscretion. Icibcn,* V. suffer, endure, put up with, allow. Scibcnf d^af t, /. 4. passion. Ictfc, a. soft, low, gentle. leiftcit, V. perform; do, render. Seitung, /. 4. guidance, direc- tion. Unltn, V. direct aright, steer, govern. Icmcn, V. learn. tefcn,* V. read. Scfcr, m. 1. reader, lecturer. Ui^i, a. last, latest, final. (c^tctr a. latter. Ixth, a. dear. SicBc, /. love. II — t)0tt, a. lov- ing, affectionate. lieden^ v. love, like. || geliebt, a. beloved; as s. lover, sweet- heart. SieBcn^hJiirbigfeit, /. 4. loveli- ness, amiableness. SicBKng, m. 2. darling, favorite. Sicb, n. 3. song. Kcgen,* v. lie, be situated, be. II e« Uegt i^m Die! baran, it is of much importance to him. Sinbc, /. 4. linden, lime-tree. Sift, /. 4. craft, cunning, arti- fice. Siifung,/. 4. loosening, release, solution. ^Utoc, m. 4. Hon. || — nfierj, npr. Lion-hearted, Cceur-de- lion. Sttft, /. 2". pleasure, delight, joy, desire. SuftflJicl, n. 2. comedy. luftmanbctn, v. walk for pleas- ure, walk. madden ; v. make, bring about, do. II \\6) auf htn SBeg — , set out, depart. SJlain, npr. Main (river). Wdi, n. 2. token; time, turn. matcrtf(!^, a. picturesque. man, indef. pr. subject, one, people, they. mantlet, -c, -t§f indef. pr. and a. many a, many a one. \\pl. many. mand^mat, ad. many a time. mangctn, v. impers. be want- ing, lack, be in want of. SSStanxXf m. Z". man, husband; soldier, men. 9R(tr(!^cn, n. 1. story, tale, le- gend. 120 GERMAN-ENGLISH VOCABULARY 9Jlargarctc, npr. Margaret. mc^t, ad. more. mt\)XtXtf pr. pi. more than one, several. mciftcn^, ad. for the most part, mostly. ntilb, a. mild, gentle, benevo- lent, charitable. miUtttrif(^, a. military. ayiittion, /. 4. million. SJliniftcr, m. 1. minister. aUinutc, /. 4. minute. mift fatten,* v. displease, be dis- agreeable to. mxi, prp. with, along with, by. mitcinanber, ad. with one an- other, together. Mxittlalitx, n. 1. Middle Ages. mitten, ad. midway, in or into the midst of. miigen,* v. may, might; like, . choose, care, desire. mj)gli(^, a. possible. ajliigU^fcit, /. 4. possibility. SJlonat, m. 2. month. SJlorb, m. 2. murder. 1| — be^ fel^I, m. 2. order to put to death. SWorgcn, m. 1. morn, morning. SJlotiiJ, n. 2. motive, theme. motitJtcren, v. motivate, fur- nish ground or reason for, account for. SD'lotioicrnng, /. 4. explanation of motives, justification. mUbe, a. tired, weary. W^^tf f. 4. toil, labor, pains. muff en,* v. must, be com- pelled, have to. abutter,/. V. mother. naci^, prp. after, behind; for, about; to, toward, for. na(j^bcm, c. after the time that, after. || ad. afterwards. na^folgen, v. follow after, suc- ceed to. nfti^ft, a. next, nearest, closest. na^ttjeifen,* v. point out, show, prove. S^lation, /. 4. nation. national, a. national. S^latur, /. 4. nature, character. natiirUti^, a. natural. || ad. naturally, as a matter of course. S'lcapel, npr. Naples. ncBcn, prp. beside, by the side of, by. S^lcbenftul^ler, m. 1. competitor, rival. nel^men,* v. take, take away. S'lcignng,/. 4. inclination, affec- tion, attachment. ncnncn,* v. name, call, speak of. ncu, a. new, fresh; late. || — « QCtDonnen, newly won or ac- quired. nit^t, ad. not. S^i^tiglcit, /. 4. vanity, noth- ingness. nit^t^, pr. nothing. nie, oaI. never, at no time. GERMAN-ENGLISH VOCABULARY 121 nicbcr, ad. down, ttiemanb, pr. nobody, no one. notij, ad. besides, still, yet. ^otf f. 2" . need, necessity. nottoenbig^ a. necessary, in- dispensable. nun, ad. now. nur, ad. only, simply. 06, prp. for, on account of. II c. whether, if. ofiglcit^, c. although, though. o6cr, a. upper, chief. || — l^anb, /. upper hand. Ofirigfcit, /. 4. magistrate, authorities. ubcr, c. or. offctt, a. open, frank, sincere. dffentU^, a. public, open. Offtsicr, m. 2. officer. oft, ad. oft, often, frequently. ol^ne, prp. without, except. Onfcl, m. 1. uncle. D|)fer, n. 1. offering, sacrifice, victim. opfem, v. make an offering of, sacrifice. Otanien, npr. Orange. Dtcft, npr. Orestes. unctttaUft!^, a. Oriental, East- em. Oricnttcrung, /. 4. finding one's bearings, setting right, find- ing out. Ort, m. 2. or 3". place, spot. £)ftcrrci(i^, npr. Austria. tti)txxi\6)tn, V. glorify, extol, exalt. JBcrjrt^tung, /. 4. superannua- tion. tierfcl^rctt, v. hold intercourse, associate. tocrfttti)3fen, v. tie together, con- nect, unite. tjcrfrii^j^jctn, v. cripple, be crip- pled. t)cr(angcn, v. desire, require, de- mand. tiertaffctt,* v. leave, forsake, de- sert. tjcrltcrcn,* v. lose. JBcrrat, m. 2". treason, treach- ery. SJcrttttcr, m. 1. traitor, be- trayer. JBcrf(!^rticnbung, /. 4. waste, ex- travagance. Scrfd^ttjcnbung^fuc^t, /. 4. lav- ishness, prodigality. tjcrfittlcn,* v. sink away, be submerged. tocrf^jrcd^cn,* v. promise. || as s. promise. JBctrftanb, m. 2". understand- ing, intellect, judgment, sense. JBcrftftnbni^, n. 2. understand- ing, comprehension, intelli- gence. tJcrftcJien,* v. understand. tytt^toxhtn, a. deceased, dead. bcrftoftcn,* V. thrust away, re- ject, repudiate. t)crfu(^cn, V. attempt, try. ticrtcibigcn, v. defend, justify. tierttiatftr a. orphaned, bereaved, desolate. tjerttjanbetn, v. change, trans- form. Ucrhjanbtfd^aftU^, a. kindred, allied. t)txtt)tXQtxn, V. refuse, deny. t)txttjtn\>tn, V. turn away, avert. II apply, spend. t)txtt}xdtin, V. complicate. || ttcr= tDidclt, compUcated, intri- cate. JBcrtotrflung,/. 4. compHcation, entanglement. ticrtotrJcn, v. forfeit, lose. bcr^cl^rcit, v. consume, devour. SBcfutJ, npr. Vesuvius. tJtcI, a. much, many. ftettetd^t, ad. and c. perhaps, may be, by chance. tielmel^r, a. much more, rather. 128 GERMAN-ENGLISH VOCABULARY toicr, num. four. || — fad^, four- fold. fSoltf n. 3''. people, nation. Uott, a. full, complete, whole. topttcr, a. full. tjon, prj). from, of, among, by. II — ... au«, from. tJor, jorp. before, in front of, for, on account of ; from, against. Uotau^fagctt, v. predict, proph- esy. toorgeficn,* v. give out, assert, plead. tJorgctfcn,* v. go before, pro- ceed; take place, occur. JBorgcfti^ic^tc,/. 4. previous his- tory. tjorl^er, ac?. beforehand, before, previously. toprnc^m, a. distinguished, aris- tocratic, elegant. SJorttJurf, m. 2". reproach, re- proof. ©prjug, m. 2". preference, su- periority, advantage. || — ^= XQt\\tf ad, especially, by pref- er/. 4. weapon, arms. toagen, v. hazard, risk, venture. hJtt^lcn, V. choose, select. toal^r, a. true, veritable, real. tDCil^renb, 'prp. during, in the course of. || c. while. SSal^r^aftigfcU, /. veracity, truthfulness. SSa^r^eit,/. 4. truth. toal^r^citi^tjott, a. full of truth, sincere. SSamung,/. 4. warning. luarum, ad. why, wherefore. hJa^, pr. what, that which. SEScg, m. 2. way, path, road. llfic^ auf ben — mac^en, set out. Uiegen^ prp, on account of, be- cause of, for the sake of. ttJcff, a. sad, painful. hjcfjfkgcn, v. wail, lament, moan. 99Sci5, n. 3. woman, wife. SScigcrung, /. 4. refusal, de- nial. SBeifc,/. 4. manner, way. ttJCtfen,* V. point out, indicate. SSct^l^cit, /. 4. wisdom, pru- dence. Xotxif a. wide, far, distant. II inmie — , how far. tt)Cttau§, ad. by far. which, what, that; some, any. aSettc, /. 4. wave. SSctt,/. 4. world, earth. SBclttocrftanb, m. 2". knowledge of the world, worldly wis- dom. tnentg, a. little, few, not many. \otx\w, c. when, whenever; if. totx, pr. who. tocrbcn,* v. become, grow, turn. GERMAN-ENGLISH VOCABULARY 129 SBcrf, n. 2. work, deed, pro- duction, composition. SBcrt, w. 2. worth, value, price. II — fc^fi^ung, /. 4. esteem, regard. _ SScfcn, n. 1. being, demeanor, conduct. ttJcfcnttit^, a. essential, real. X0t^\\aXhf ad. or c. on which ac- count, wherefore, why. toiti^tig, a. weighty, impor- tant. Ujibcr, jprp. against. hiibcr^attcn, v. resound, echo. njibcrlcgcn, v. refute, confute, disprove. toic, ad. in what way? || c. how, as, like as, like. || — . . . aud), however, howsoever. II iniDiefern, how far, in what measure. hJtcbcr, ad. again, anew. toicbcrfc^en,* v. see or meet again. SSit^elm, nj)r. William. SSiffc(n), m. 1. will, design, purpose. SSittfur, /. 4. arbitrariness, ca- price. SBintcr, m. 1. winter. ItJtr, pr. we. n)trf(i(^, a. real, true. totffcn,* V. know, be aware of. II with following infin. know how to. SBittoc,/. 4. widow tt>o, ad. where? || c. where, in which, when. ||m camp, with prp. which, what. SSo(^c,/. 4. week. toot^lf ad. well, indeed, prob- ably, I presume. || — ge* fatten, n. 1. satisfaction, gratification, contentment. II — ttttcr, m. 1. benefactor. toottcn,* V. will, wish, be will- ing, intend; be on the point of; claim to. SSort, n. 2. or 3". word, term. SBunf(^, m. 2". wish, desire. toiinf^cn, v. wish, desire. toiirbtg, a. worthy of, deserv- ing. totirbtgctt, V. deem worthy of, deign, vouchsafe. "^^^X, /. 4. number, tale. 5aubcrit, v. delay, linger, be hesitating. ^eid^nen^ v. design, depict, draw. Seigen, v. show, point out, in- dicate. 3cit,/. 4. time, season, period. jcrrcigcn,* v. tear in pieces or apart. jtel^en,* v. draw, pull; go, move. II in @rhj(igung — , take into consideration. 3tcl, n. 2. end, limit, goal, aim. jiemttt^, a. suitable, moderate, tolerable, pretty. Bigcuncr, m. 1. gypsy. 130 GERMAN-ENGLISH VOCABULARY jiJgem, v. linger, loiter, hesi- tate. 5W, prp. to, unto, at, in ; to, in order to. jufiringcn,* v. pass (time), spend. 3ut^t, /. training, bringing up, discipline. || In — \)aU ten, keep under discipline. 5it(^tigen, v. chastise, discipline. jucrft, ad. at first, first. 3ujlu(i^t, /. refuge, recourse, shelter. jufricbctt, a. content, satisfied. 5Ufu^tcn, V. lead to, conduct. 3ug, m. 2'\ drawing, pull, tug, impulsive emotion. || breath, gasp. II lineament, feature, trait . II procession , train , ex- pedition. 3wge]^iing!ctt, /. 4. belonging to. S^^h ^- 1- rein, bridle. II — lo^f a. imbridled, unre- strained. 5Urti((, ad. backwards, back. ^nxMUtixtn, v. turn back, re- turn. jurtirffc^ncn, v. refl. wish one's self back, long to return. 5«rttrfttJcifcn,* v. send back, re- pel, reject. SUtiirfstc^cn,* v. withdraw, re- treat, retire. jufagcn, v. promise. || impers. agree, suit. jufammen, ad. together. Sufammcntrcffcn,* v. meet, en- counter. II as s. meeting, encounter. 5ufammcntrctcn,* v. come to- gether, meet. 3utraucn, n. 1. trust, confi- dence. jujtc^cn,* V. draw on, occa- sion, bring upon, contract. 3tottng, m. 2" . compulsion, constraint, force. jhjar, ad. it is true, to be sure, indeed: 3tt>crf, m. 2. aim, object, pur- pose. gttici, num. two. 5h)Ctcrlet, a. of two kinds, two- fold. 5n)eit, a. second. jtociten^, ad. secondly, in the second place. jttJtngcn,* v. force, compel. jtoifc^Ctt, prp. between, among. ENGLISH-GERMAN VOCABULARY a, an, art. ctn. able, a. (capable) fa^ig, im ftanbc. about, ad. Ijcrum, uml^er, liber. II (more or less) ungefft^r. II — ) WV' (around) um . . . lucrum, above, ad. oben. || — , prp. llbcr. II — all, t)or aHcnt. II — ^mentioned, — named, a. oben cmfil^nt, genannt. II be — , ilberlegen fein (dat.). abroad, ad. braufeen. 1| (in foreign countries) im, in§ 5lu«Ianb. absence, s. 5lbh)efent)eit, /. 4. absolute, a. abfolut. || (uncon- ditional) unbebingt. abstract, s. (summary) Sluggug, m. 2". academy, s. Slfabcmie, /. 4. accept, V. anne^men.* accessible, a. gugiingUcS^. accompany, v. begteiten. accomplish, v. tjotletiben, burd^* fUl^ren. || (obtain) erreid^en. accomplishment, s. 3lu«fili)ning, according to, prp. gemtt^, iaut, nac^ (dat.). \\ — to his idea, feiner Slnfid^t nad^. account, s. (explanation) (Sr« flarung, /. 4. || (narrative) (Srjftl^tung, ^arftellung, /. 4. II to call to — , gur dit(i)tn^ fc^aft giel^en. accurate, a. gcnau, forgfattig. accuse, v. anflagen, befc^ulbigen (gen. and ace). [if)n bc^ ©iebfta^Ig — .] accustomed, a. gelDO^nt (to, an ace.). achievement, s. Setftung,/. 4. acknowledge, v. anerfennen.* acquaintance, s. ^efanntfd^aft, /. 4. II (knowledge) ^ennt* ni«,/. 2. acquainted, a. befannt, acquiesce, v. (submit) ftd^ fiigen (in, in ace), {[(assent) tin* milligen (in, in ace), beiftim* men (in, dat.), across, prp. mitten burc^, liber, lion the way — , untermeg^ auf (dat.). act, s. (deed) Xat, f. 4. || (theat.) TO, m. 2., Sluftug, m. 2". act, V. (theat.) barftetten, geben,* fpielen, auffU^ren. || intr. (be- have) ()anbcln, fic^ betrageilf* fi^ benel^men.* action, s. (deed) §anblung, 131 132 ENGLISH-GERMAN VOCABULARY §anblunggn)cife, Zat, f. 4. \\{theat) ^anblung; ascend- "ig — , ftcigcnbe §anblung. Ij descending — , fallenbc ^anblung. activity, s. jlfttigfeit, /. 4. ||life and — , Seben unb Xxdhm. actor, s. X'ditx, m. 1. || (theat.) ©c^aufpieler, m. 1. actual, a. tDirfUd^ acute, a. fpiig. || (of the senses) fein. add, V. f)mjufilgen. || — ed to which, bagu fommt noc^. address, s. {speech) 5lnfprad;e, Seebe,-/. 4. address, v. (irnYe io) fd^reibeti* an (ace). II (direct) fic^ rid^* ten an, fid^ icenben* an (ace), fi(^ befd^aftlgen mit. adequate, a. angemeffen, cnt* fprcd^enb. adhere, v. (fig.) feftl^atten* (to, an dat.), bleibcn* (f.) (to, bei). adherent, s. 3ln^ anger, m. 1. admiration, s. S8ert)unberung, /. admire, v. betDunbem. admirer, s. S8ett)unberer, m. 1. admissible, a. plftffig. admit, v. elnlaffen.* || (ac- knowledge) einrttnmen, gu* geben* adorn, v. ^iercn. advance, s. (improvement) , gortf^ritt, m. 2., 53ert)oa= fommnung,/. 4. advance, v. tr. (bring forward) bormart^bringen.* || (further) fijrbem. || intr. (progress) gort* fd^ritte madden. advantage, s. ^oxtdi, m. 2. adventure, s. Hbenteuer, n. 1. advice, s. (counsel) D^Jat, 9iat* fd^Iag, m. 2". advise, v. raten,* empfelfilen* (dat.). aesthetic, a. aftl^etifd^. affair, s. Hngelegent)eit, /. 4. affect, V. (influence) einlDirfen anf (ace), beeinftuffen. afford, V. (supply) gemttl^rcn. afraid, a. furdjtfam. || be — of, fid^ filrcf) ten t>or (dat.). after, prp. nadt). || — all, to'vch X\6). II book — book, ^u(§ auf S^u&j. again, ad. ttiieber. age, s. 5llter, n. 1., 3eit, /. 4. 11 (historical) 3cttaUer, n. 1. agent, s. (instrument) SBerfgeug, n. 2. II (cause) Urfad^c, /. 4. aggressor, s. Slngreifer, m. 1. II to become the — , gum 5ln* griff iibergef)en. agitate, v. (excite) crregcn, be* unru^igen. ||to be — d by unrest, toon Unru^e befcelt fein. agitation, s. (Srregung,/. 4. agony, s. ^ein, Ouat,/. 4. agree, v. (be of one mind) tlbcr* einftimmen (mit dat.), einig fein (f.) (about, ilber). aim, V. (have in view) ftreben (to, nad^), beabfic^tigen. ENGLISH-GERMAN VOCABULARY 133 aim, s. {object) 3^*^^/ ^- 2. II (purpose) 3^ccf, m. 2., 5lb^ [ic^t, /. 4. II — in life, Se^ ben^jmecf, m. 2. all, a. gan^, all,, alleg. H — Germany, gang !Deutfcl)lanb. II—, ad. ganj, gctngUci). Unot at — , burcliau^ nid)t. || — but, fa[t gang, bclna^e. alliance, s. ^crbinbung, /. 4. II (league) SBunb, m., ^iinbm^, n. 2. allied, a. toerbiinbet. allow, V. (concede) gemal)ren. II (permit) erlauben, geftatten. II (adinit) einraumen. allude, V. anfpielen (to, auf ace), ertt)ttl)neTi. almost, acZ. beinal^e, faft. Alpine, a. ^llpen- (in comp.). already, ad. \^on, bcreit^. Alsace, npr. (Slfafe, n. also, ad. and c. aiid^, ebenfall^, gleic()[all^, ferner, aufierbem. alter, v. anbern. although, c. obgleid^, oblco^l. always, ad. immer, ftet^. ambition, s. (Sl^rgeij, m. America, npr. 5lmerlfa, n. American, s. 5lmerifaner, m. 1. II -in,/. 4. among(st), prp. unter, jiDifd^en, bei. amuse, v. unter^alteix, ergfi^en, belu[tigen. amusement, s. Unterl^altung, /. 4., SBergnilgcn, n. 1. amusing, a. unterl)altenb, er- giii^Uc^. analogy, s. 5lnalogie, /. 4., @Tit= fprec^enbeg, a. as s. \\ libera einftimmung, /. 4., ©egenftiicf, n. 2. and, c. unb, unb auc^. anew, ac?. t)on neuem, auf^ neue, mieberum. anger, s. Srger, 3oi^n, w., Uti= njille (=n)illeng), w. angry, a. argerltd^, gornig. annoimce, v. befannt madden, anjeigen. announcement, s. iBefannt* mac^ung, /. || (news) "HJltU bung, 5^ac^rid)t, /. 4. Hat the — , bei ber — . annoyance, s. 'ipiage,/. 4., Srger, m. 1. annual, a. jcil^rUd^, 3cii^vc^= (in comp.). answer, s. HntiDort, Srmlberung, /. 4. answer, v. beanttDorten, antn)or= ten (auf, ace). antagonism, s. Hntagoni^mu^, SSiberftreit, m. Anthony, npr. 3Intoniug, m. antique, a. antit, alt. antiquity, s. Slltertum, n. 3., ^Sorjeit, /. 4. || antiquities, Slttertumer, pi. anxiety, s. 5lng[t, SBeforgnig,/. 2. anxious, a. bange, beforgt, un= rul)ig. any, a. irgenbein, ein, einigc, 134 ENGLISH-GERMAN VOCABULARY njeld^e. i| not — , tdn. \\ not — longer, nic^t I anger or tne^r. anybody, anyone, s. lemanb, irgenb eincr. ||not — , iiie= manb. |i scarcely — , fa[t nie- manb. apology, s. ^ntfc^ulbigung, /. 4. II to make an — , fic^ entfd^ul- bigen. || to send apologies, fi(^ entfc^ulbigen laffen (to, bei). apparent, a. fcfieinbar. || {vis- ible) fic^tbar. il (evident) augen- fd^einUc^. appeal, v. (invoke aid) anrufen.* II (apply) fi(^ tr>enben* (an, ace). II — to, (please) gefaU len* (dat.), 5lnflang finben* (bei), angie^en,* fic^ tDenben* an, II — to one's sympathy, SSol^lgefatlen erregen, ^eifall finben. appear, v. erf($eincn.* appearance, s. (Srfd^eincn, n. II (aspect) 5lnbU(f , m. || (ex- terior) Su^ere^, a. as s. appease, v. berul^igen, befcinf^ tigen. apply, V. (employ) antDcnben. appoint, V. (nominate) ernennen* (m). II (fix) beftimnten, feft- fe^en. appointment, s. 58eftimmung, /. 4. II (office) Hmt n. 3''., ©tetle,/. 4. appreciably, ad. (considerably) betr(id)tU(^. j| (noticeably) mcrfUc^. appreciate, v. (estimate rightly) fc^ci^en, miirbigen. appreciation, s. ©d^tii^ung, ^ux^ apprehension, s. (mental) 5luf= faffung,/. 4. || (dread) gurd^t, /., ^eflird^tung, /. 4. approach, v. (come near) fic^ na^em (dat.). approaching, a. balbig, bet)or^ fte{)enb, na^enb. April, s. 5lpril, m. arbitrariness, s. SSiltfilr, /. arbitrary, a. n)itlfiirU(^. || (ah- solide) unnmfd^rdnft. ardent, a. (hot) i)ei6, glU^enb. arise, v. auffte^en* (f.), fic^ er= t)eben.* || (come forth) tnU fte^en* (I). arm, s. (limb) 5lrm, m. 2". II (weapon) SSaffc, /. 4. arm, v. betnaffnen. army, s. ^eer, n. 2., Hrmee,/. 4. arotmd, ad. and prp. nm . . . ]^er(um). arouse, v. (excite) erregen, aiif- regen. arraignment, s. Hnfiagc, 33e* fd^ulbignng, /. 4. (against, gegcn). arrest, s. (act) 5luf]^alten, n. II (detention) SIrreft, m. §aft, /. arrest, v. (stop) an^alten.* II (legal, of persons) t)er{)aften. arrival, s. Slnhinft, /., ^Infom- men, n. ENGLISH-GERMAN VOCABULARY 135 arrive, v. {reach) anfommen* (f.) (at, in). II {gain) gelangen (f.) (at, gu). arrow, s. ^feil, m. 2. ait, s. tutift, /. 2''. II — of war, ^rieg^funft. article, s. {object) ©egcnftanb, m. r. II — of value, SSert- gegenftanb. artist, s. ^linftler, m. 1. artistic, a. fiinftlerifd^. as, c. vok. II ad. mic, aU, ebenfo h)ie, fo gro6 hJte. || — a child, aU tinb. || — much — , fo toiel alg. II — well — , fomo^J ascend, v. be[teigen.* \\intr. {mount) l^inauffteigen* (f.). \\ {drama) — ^ing action, ftei- genbe ^anblung, /. ashamed, a. befc^ftmt. l|to be — of, fid^ f(§aTneTi {gen.). ask, V. {request) bitten* {ace. of pers.) (for, urn). I| {demand) berlangen, forbem. || {ques- tion) fragen (for, nad^). Asia, npr. 5lfien, n. aspect, s. {view) 5lnbU(f, m. 2. II {appearance) (Srfd^einung, /. 4. II {fig.) ©eitc, / 4. aspiration, s. {desire) ^^rad^tcn, ©treben, n., ©c^nfu(§t, /. aspire (to), v. erftreben. assert, v. {maintain) berfed^ten,* berteibigen. assign, v. {allot) gnteilen {dat.). II {attribute) jufd^reiben* {dat.). association, s. SSercinigung, Srin* ncrung,/. 4. assimie, v. annet)men.* astonish, tr. befremben. ||be — ed, intr erftaunen (at, liber ace). at, prp. an, auf, au^, bei, in, liber, dor, p. || — all, liber= ]^an|)t. II — last, enblic^. II — once, fofort. attack, s. Slngriff, m. 2. (on, auf ace). attack, V. angreifen.* attain, v. eriangen, erreid^en, ge= langen (f.) gu. attempt, v. Derfud^en. attend, v. {apply the mind) be* ad^ten, merfen auf. || {school, etc.) befud^en. || {be present) . gugegen fein (f.), ba fein (f.), beimol^nen {dat). \\ — to, beforgen. attention, s. Slufmerffamfeit, /. 4. II to draw or call — to, Slufmerffamfeit auf {ace.) len* fen. II to give — , ^ufmerf* famfeit fd^enfen {dat.). attitude, s. ©teltung, ^attung, /. 4. II — of mind, ®emlit«:= guftanb, /. 2. II -p toward life, !2eben^auffaffung, /. 4. attract, v. angiel^en* (by, burd^), ]^ingie()en* (to, gu). attraction, s. Slngie^ung, /. 4. » II {attractive power) 3Ingie= ^unggfraft, /. 2". audience, s. (hearing) &tf)'6x, 136 ENGLISH-GERMAN VOCABULARY n. II (assemblage) ^ui)'dxtv=^ fd^aft, /., ipubUfum, n., gw f)'6xtx, pi. auditor, s. (hearer) ^u^'6xzx, m. 1. Austria, npr. t)\itxxd^, n. Austrian, s. Ofterreld^er, m. 1. II — in,/. 4. II a. iifterreid^ifc^. author, s. 33erfaffer, m. 1., ©d^riftftetler, m. 1. autobiography, s. ©elbftbiogra- p^ie, /. 4. avenge, v. rctd^en, a^nbcn, ftrafen. II to — oneself, ftc^ rdd^en oxi (dot. of per s.) tDegen (gen.). avenue, s. ©trafec, /. 4. || (of trees) 5ll(ec, /. 4., (mit ^au* men bepflanjte) ©trafee, /. 4. average, s. ^urc^fd^nitt, m. 2. II on an — , burc^fd^nittUd^, im ^urd^fct^nitt. avoid, V. t)ermeiben.* await, V. ermarten, cntgegen* fe^en* (dat). awake, v. (er)medfen. aware, a. getDal^r. |I to be — of, n)iffen,* ^enntni^ ^ahm Don. away, ad. fort, n)eg, fiintoeg. awe, s. (dread) gurrfit, /. 11 (reverence) (Sd^eu, (Sl^rfurd^t, /. (of, t)or dat.) back, at?, gurildf, mieber jurlldf. background, s. §intergrunb, m. bar, V. fperren, tierfperren. barrier, s. ©durante, /. 4. base, t\ griinben. be, V. fein* (f.), tDcrben* (f.), be* fte{)en.* || to — about to do something, ettoa^ tun lootten. II to — well off, gut baran fein. II to — in love, Derliebt fein (with, in ace.). \\ — pres- ent at, beimo^inen (dat.). II that is, bag t)d^t || there is, eg gibt. beach, s. ©tranb, m. 2., ®e* ftabe, n. 1. bear, v. (carry) tragen.* || (give birth to) gebftren.* |1 — upon, (have relation to) fid^ begie= l^en,* ^egug l^aben auf (ace). II to — in mind, fid^ erin* nem an (ace), fid^ berg eg en- tBcirtigen. beautiful, a. fc^tJn. beauty, s. ©d)5n'^eit, /. 4., (charm) Hnmut//. because, c. tDeil. || — of, toe* gen (gen.). become, v. toerben* (f.). before, prp. t)or. || c. tt)t, beDor. beg, V. Utimf (for, urn), fle^en. beget, V. geugen. begin, v. anfangen, beginnen. beginning, s. 5lnfang, m. 2"., ^eginn, m. |Iin or at the — , im Slnfang. Hfrom the — , Don Hnfang an. behmd, prp. l^inter. being, s. (person) SBefen, n. 1. hmnan — , 3)^enfd^, m. 4., menfd^Ud^eg SSefen. ENGLISH-GERMAN VOCABULARY 137 believe, v. glauben (in, an ace). belong, V. ge^iiren (to, dat.). beloved, a. geliebt. benefit, s. (kindness) SBolfiltat, /. 4. bent: || to be — upon . . ., ftc^ anftrengen, [ein 9JJi3gUd)= fte^ tun. besides, ad. au^erbem. best, a. beft. || ad. am beften, au[g be[te. betake, v. \\ to — oneself, [ic^ begeben* (place, nac^; person, gu). betray, v. Derraten.* betrothed, s. Srauttgam, m. 2., ^raut,/. 2"., berlobt (a. as s.). better, a. and ad. beffcr. between, prp. jtnifc^en, unter. bewail, v. bemclnen, beflagen, be^ trauem. beyond, prp. iiber . . . l^inau^. Bible, s. ^ibcl,/. 4. bid, V. (command) gebieten,* ^eifeen.* bill, s. (account) 9le(^nnng,/. 4. birth, s. ®eburt, /. 4. || (line- age) Slbftammung, ;©cr!unft,/. birthday, s. ©eburtStag, m. 2. birthplace, s. ©cburtSort, m. 3. bit, s. (bite) Sig, m. 2. || (piece) ©tM, n. 2. black, a. \d}toax^. blame, v. tabeln. blameless, a. fd^ulblo^. blend, v. ijcrmengcn, mifd^cn. 8. 3ipfel, m. 1., {)0(^fter ®rab, w. || (drama) ^'d^tpuntt, m. 2. climb, V. crfUmmen,* erfteigen.* close, s. crk^cn. || (im- pair) beeintrttd^tlgen, fc^aben (dat.). injustice, s. ling ercc^ tig fei t, /. 4. inn, s. ©aft^of, m. 2'\, SSirtS- l)avL^, n. 3". innocence, s. Unfd)ulb, /. innocent, a. itnfc^ulblg (of, cm dat.). inniunerable, a. UTija]j)Ug, ^af)U log. inquiry, s. (interrogation) (Sr- funbigung, /. 4., i^rage, /. 4. II (investigation) Unterfuc^ung, /. 4. inquisitive, a. ncugicrig. inseparable, a. ungertrennUd^. insight, s. ©infid^t, /. || (knowl- edge) ^enntnig, /. 2. insist, V. (be persistent) feft be= {)arrcn, befte^cn (on, auf dat.), betonen. inspection, s. SBefid^tigung, /. 4. II for — , gur — . inspiration, s. ^Tifpiration, /. 4. instance, s. briugenbe Sitte,/. 4. II for — , gum ^elfpiel. instant, a. (immediate) unmit* idhav, fofort(ig), augenblidfUd^. instead, ad. ftatt beffen. || — of, prp. anftatt, ftatt (gen.). instigator, s. Hnftiftcr, m. 1. instinct, s. ^nftinft, m. 2. instinctive, a. tnftinftit), unn)iH=« fiirtic^. institution, s. ©nrid^tung, /. 4. II (society) ^^ftitut, n. 2., Slnftalt,/. 4. instruct, v. unterrid^ten, bclel^ren. insult, s. 33elelbtgung, /. 4. insult, V. beleiblgen, befc^impfen. intellect, s. ^ntdhtt, S3erftaTib, m. intellectual, a. (of things) geiftig. II (of persons) intelligent. intelligent, a. intelligent, Hug. intend^ v. beabfi(§tigen. intention, s. 5lbfi(^t, /. 4. II with the — of, in ber 216* fic^t . . . gu (injin.). intentionally, ad. abfidjtlid^, be- abfid^tigt, mit S3orbebad^t. interest, s. ^ntereffe, n. ^., %t\U 158 ENGLISH-GERMAN VOCABULARY na^me, /. l|to take an — in, cin ^tttereffe ()abcn fiir. interest, v. intereffieren. || be — ed in, fic^ intereffieren fur, fic^ anne^men {gen.). interfere (with), v. burdfifreugen (ace). II {clash) in ^onflift fommen* (f.) mit, l^inbern (ace). interpret, v. {explain) au^Iegen, beuten. interview, s. Unterrcbung, /. 4., 3ufammentreffen, n. 1. interweave, v. toertDcbcn (with, in ace). intimate, a. Dertraut. intolerance, s. Unbulbfamfcit, /. 4., ^ntolerans, /. intricate, a. t)errt)i(JeU, tierhjorren. intrigue, s. ^^ntrige, /. 4. 1| "In- trigue and Love," {Schiller's drama) „^ahak unb ?iebe." intriguer, s. 9?anfef(^ntieb, m. 2. introduce, v. einftlt)ren. 1| {make known) t)orftetIen (to, dat.). introduction, s. (Sinfii^rung,/ 4. li {preface) (Sinleitung, /. 4. invent, v. {devise) erfinben.* invention, s. Srfinbung. || (lit- erary) (Srbid^tung, /. 4 invest, v. {clothe) befleiben. II {fig.) fc^mMen (with, mit). investigation, s. (Srforfd^ung, Unterfuc^ung, /. 4. invite, v. {ask) eintaben.* || {sum- mon) aufforbem. involve, v. {surround) umi)iX\lm, ein^iltten. || {make intricate) tjermirren.* || — d, t)crh)icfelt. lithe principles — d, bie gu @runbe tiegenben "ifringipien. inward, a. inner. island, s. ^n\ti,f. 4. issue, s. {exit) 5lu^gang, m. 2" . isthmus, s. 3ft^mu6, m. Sanb* enge, /. 4. it, prp. e«. II from — , of — , ba\)on; in — , barin, etc. Italian, a. itatienifc^. Italy, npr. ^talien, n. jealous, a. eiferfiid^tig (of, auf ace). jealousy, s. @iferfud^t, /. 4. join, V. {take part in) tcilnel^men* oxi {dat.), \\6) anfd^Iiegen* {dat.). journey, s. W\\t,f. 4. joy, s. greube,/. 4. judge, s. $Ric^ter, m. 1. || {arU- trator) (5(^iebgri(^ter. judge, V. {condemn) rid^ten. judgment, s. Uxtdl, n. 2. || sen- tence) 3SemrteiIung, /. 4. Juliet, npr. ^wXm, f. June, s. 3?uni, m. jurisprudence, s. 9^ed^t6n)iffcn* f«aft,/. 4. just, a. and ad. {exactly) genau, gerabe. || I have — been there, icf) bin (fo)eben ha gc= iDefen. |I — now; gcrabc jetjt, foeben. ENGLISH-GERMAN VOCABULALY 159 keen, a. fd^arf. || {eager) eifrtg. keep, V. ^alten.* kill, V. tiJten. kind, s. {sort) %xij. 4. kind, a. giltig, freunblid^. knight, s. $Ritter, m. 1. know, V. tDiffen.* |I {persons) fennen.* knowledge, s. Stiffen, n. 1., tenntni^, /. 2. |1 — of life, l^eben^fenntniS. known, a. befannt. || well — , n)of)lbcfatint. lack, V. SO^angel l^abcn* (an, dat.), dermlffen (ace). II fel^Ien, ntangeln {impers.), we — nothing, e6 fel^lt or mangcit un^ an nic^t^. lady, s. T)amt,f. 4. lake, s. ®ee, m. 4. || the — of Lucerne, ber SSiematbftiittcr* fee. lamb, s. Samtn, n. 3". lament, v. trauern. || {wail) (ti3e^)flagen (iiber, ace). landlord, s. {of an inn, etc.) SSirt, m. 2. language, s. ©prad^c, /. 4. lapse, s. {passing) 53erlauf, m. large, a. grofe. largely, ad. ^auptf ftd^Ud^. late, a. {tardy) [p(it. |1 {former) fril^er. I| {new) le^t. |I {de- ceased) toerftorben. [| — ly, ad. - fiirgUc^, iiingft, felt furgem. latter, a. leigterer, biefcr. laugh, V. la^cn (iiber, ace). II to — to scorn, Derlad^en. laughter, s. ©elftd^ter, w. law, s. ®efe^, w. 2. || {science of) ^Red^t^tDtffenfd^aft, /. || — studies, iuriftifrfie ©tubten, pi. II — court, ©erid^t^^of, m. 2". lay, V. legcn, ftetten, fe^cn. lead, V. {conduct) fiil^reit, leiten. II — to, fii{)rm gu laffen.* II — him to believe, i^n glauben laffen. leader, s. gll^rcr, Slnfii^rer, m. 1. leadership, s. gti^rerfd^aft, ?ci= tung, /. 4. leading, a. fU^renb. learn, v. (cr)ternen. || {ascer- tain) erfal^rcn,* erfc^en.* least, a. fleinft, gertngft, minbeft. ||aerfeinern. political, a. poUtifd^. ponder, v. nad^benfen* (ilbcr, ace). 168 ENGLISH-GERMAN VOCABULARY poor, a. arm; fd)Ied^t. popularity, s. i8eUebt{)eit,/. population, s. ^eljfilfening, /. 4. position, s. Sage,/. 4. || (rank) ©tellung, /. 4. || in a — to, imftanbe or in her Sage gu. II — in the theater, ©tellung am 2:^eater. possession, s. {ownership) 58e= fi^/ ?n. 2. possibility, s. S}2iJgU(^fett, /. 4. possible, a. miiglic^. potent, a. m(id;tig, getDaltig. poverty, s. 5lrmut, /. power, s. Tla6)t,f. 2"., ©etualt, /. 4. II {nation) m^^i, ©rofe^ mad)t, /. 2". powerful, a. mad) tig, getDaltig. practical, a. ^raftifc^. || — ly, ad. etgentUc^. practise, v. {do frequently) qm^- Uben, tun.* preach, v. prebigen, reben. precaution, s. 53orfi(^t, /. 4. 11 to take — s, S3orfi(^t^ma6= regein treffen.* precede, v. Dorau^gel^en* (f.) (dat.). preceptress, s. Sef)rerin,/. 4. precipitous, a. m, fteil. precise, a. genau, beftimmt. prefer, v. {like better) toorjiel^en,* lieber f)aben.* preliminary, a. einleitenb. preparation, s. S3orbcreitung, /. 4. (for, gu). prepare, v. borbereiten (for, auf ax^c). prescribe, v. borfc^reiben.* present, v. {give) geben.* || {theat. or literary) barftellen. present, a. {of time) gcgentDdr^ tig, ieljig. II {of place) an* tDefenb. || to be — at, bci* tDO^^nen {dat.). presentation, s. {act) !DarfteI* lung,/. 4. preserve, v. {project) fd^il^cn (from, t>or dat.). prevent, v. I^inbem. previous, a. t)or]^er{g. || — ly, ad. t)or]^er. priestess, s. ^ipriefterin, /. 4. prime, a. erft, ^aupt= {in comp.). II ^minister, ©taat^minifter, m. 1. prince, s. ^ring, m. 4. || {sover- eign) giirft, m. 4. princely, a. fiirftUd^. principal, a. \)aupt\a^\i^. principle, s. {tenet) ©runbfa^, m. 2"., ^ringip, n. (-ten, jjL). print, V. brucfen. prisoner, s. ©efangcnc, a. as s. II to take — , gefangen nel^men. probable, a. njal^rfd^etnlid^. problem, s. ^iproblem, n. 2. II play, *»ProbIem*^ramo, n. (-en, pi). procession, s. 3ug, w. 2''. proclaim, v. berfllnben. produce, v. I^ertiorbringcn.* ENGLISH-GERMAN VOCABULARY 169 \\ (bring about) l^crborrufen,* Dcrurfad^cn. || — on the stage, auffii^rcn (auf bent jti)eatcr). production, s. §crborbrlngung, /. 4. II (theat.) Sluffii^rung, /. 4. productive, a. frud^tbar. profound, a. tief. progress, s. gortfc^ritt, m. 2. progressive, a. fortfc^reitenb. prologue, s. "^Prolog, m. 2. promise, v. t)erfpre(^en.* pronounce, v. au^fprec^cn.* proper, a. (correct) rid^tig. II (real) eigentUc^, tuirfUd^. prophesy, v. pxop^qdm, mafir* fag en (sep.). proportion, s. 33er^aUni^, n. 2. II (share) 5lnteit, Zdi, m. 2. proposal, s. S5orf(^lag, m. 2. proposition, s. (offer) 33orf(^lQg, m. 2. prose, s. "^rofa, /. || — form, ^rofaform,/. 4. prosperity, s. ©ebei^en, ©tiicf, n., SSo(){fa^rt, /. prot6g^(e), s. (Fr.) (gd^ii^Ung, m. 2. Protestantism, s. 'proteftanti6= mu«, m. proud, a. [tolj (of, auf ace). prove, V. betneifen.* provided, — that, c. t)orau^=« gcfe^t bai province, s. ^rot)in5, /. 4. provoke, v. ^erau^forbern. II (cause) bcranlaffen,* bcrur* fad^en. Prussia, npr. '^Preufeen, n. public, s. "ipubUfunt, n. public, a. tiffentUc^. publication, s. (publishing) SBer* (iffentlic^ung, /. 4. pulpit, s. Mangel,/. 4. pulsation, s. "ipul^fc^tag, m. 2"^ punishment, s. (©trafe, 53eftra« fung, /. 4. pupil, s. ®(f)uler(in), m. 1. (and /• 4.). pure, a. rein, unf(^ulbig. || — ly, od. rein, altein. purport, s. ^ebeutung, /. 4., <8mn, m. purpose, s. Slbfic^t, /. 4. |I (aim in view) ^^Vdtd, m. 2. purpose, V. beabfic^tigen, t)or* l^abcn.* pursue, V. berfolgen (dat.). II (continue) fortfaf)ren* (f.). II to — one's way, feinen 2Seg fortfe^en. pursuer, s. S3erfo(gcr, m. 1. push, v., to — one's way, fid^ brftngeti. put, V. (place) fe^en, legen, fteden, bringen,* tun,* fc^affen.* || to — on, (clothes) antegcn, anjle* l^en.* II to — before, tiorlegen. quality, s. Oualitat,/. 4. H (na- ture) ^atur, /. 4. \\ (attri- bute) Sigenfc^aft, /. 4. 170 ENGLISH-GERMAN VOCABULARY quarrel, «. ©trelt, m. 2., S^^h m. quarter, s. SSlcrtct, n. 1. || — s, pi SBol^nung,/. 4. queen, s. ^5nigln,/. 4. quench, v. (extinguish) (auS)* Ififc^en. II (subdue) untcr= briicfcn (insep.). question, s. gragc, /. 4. I| with- out a — , utigtDelfel^aft, unbt^ bingt. II the — is, e^ l^anbclt \i6) (bar)um. quiet, s. 9^u^e,/. 4. quiet, a. rul^ig; ftltt. || (of dress) einfac^, ru^ig. quiet, V. berul^igen. || grow — , be — ed, fid) beru^tgeti. quite, ad. ganj ganjUt^, t)5lUg. race, s. 9^affc, /. 4. rage, s. 3Sut,/. rage, v, intr. tDiitcn. rain, s. 9^egcn, m. 1. raise, v. (lift) (auf)]^cben.* II (promote, raise to the rank of) erf)eben,* beforbcrti gu . . . rapid, a. f(f)net(. rather, ad. (sooner) e^cr, Ueber. II (more properly) toiclmc^r, cigentUcf). || — than, cl^cr aU. ratio, s. 3Ser§altni^, n. 2. reach, v. (arrive at) crrei(^cn. read, v. lefen.* 1| to — aloud to, t)orIefcn* (dat.). ready, a. bereit, fcrtij. || (easy) Id^tf bequcm. real, a. (actual) tatfiic^Hd^, toitU Ud^.. II — ly, ad. iDirflld^, in bcr Xat. realist, s. 9tcaUft, m. 4. reaUty, s. SBirHid^Mt, /. 4. II (^gr.) a^i^dt, f II m -, tatfdc^Iid^, mirflic^. realize, v. i3errt)irfU(i^cu. |1 (un- derstand) t)erfte!^eti,* fic^ flat madden, einfe^en.* realm, s. 9^eic^, n. 2. reason, s. SSermmft,/. 1| (cause) ®runb, ?n. 2\ \\ for that — , au^ biefem ©runbc. || by — of, mcgen . . . (gen.). rebel, v. fid^ cmpfiren. || (fig.) fic^ aufle^nen (gegen). recall, v. (call back) guriicfrufen.* \\ (recollect) fic^ erinnern (gen. or an with ace), fid^ in ba^ ©ebac^tni^ guriidfrufen.* receive, v. tvl^aitm* befommcn.* II (admit) aufne{)men,* emp* fang en.* || (welcome) bemitt* fommen. recent, a. neu, frifc^. reception, s. Smpfang, m. 2". II (of a book) 5Iufna'^me, /. 4. II to give a cordial — to, auf^ befte cmpfangcn. receptive, a. cmpfangtid^. recognize, v. tuicbcr erfenncn.* II (acknowledge) anerfennen.* recollect, v. fid^ erinnern (gen. or an, ace). recollection, s. (Srinnerung, /. 4. (of, on ace). ENGLISH-GERMAN VOCABULARY 171 reconcile, v. toerffi^nen (to, mit). II (harmonize) in (Sinflang bring en* (with, mit). reference, s. §inn>ei6, m. 2., §inn)ei[un9, /. 4. l|in, with — to, in bejug auf (ace). refined, a. (cultivated) t)orneI)m, fein, gebilbet. reflect, v. (think) nac^benfen* (upon, iiber ace.). reform, s. 9fteform, Umgeftal^ tung,/. 4. reformer, s. 3Serbefferer, m. 1., 9fJcformator, m. 4. refresh, v. erfrifc^en. || (fig.) anffrifc^en. refuge, s. 3ufrud)t, /., 3n= flud^t^ort, m. refusal, s. ^Beigemng^ abfd)ta= gige 5lntmort, /. 4. refuse, v. tjermeigern, fid^ meigem. II (decline) jnriidftDeifen.* regard, v. anfe^en,* beobaci^ten. II (look wpoji) anfe()en* (as, al^ ace). regulate, v. orbncn. reign, s. 9legiernng, §errfd^aft, /. 4. II in the — of, untcr bcr 9legierung . . . (gen.). reject, v. bertDe^cn.* rejoice, v. erfrcnen, fid^ frcnen (iiber, ace). relate, v. (tell) cr^ allien, beric^- ten. II (have relation to) fid^ begie^en (auf, ace). relation, s. (connection) 58e= jiel^ung, /• 4. || (relative) 33ermanbtc, a. as s. jjin — to, im 33erf)attni« P • . • release, s. ^efreiung, greilaf* [ung, /. 4. reliable, a. gubertaffig. relief, s. ©rleid^terung, /. 4., 33e[reiung, /. 4. relieve, v. erlcid^tcrn. || (rest) beruf)igen. religious, a. religifi^. remain, v. bleiben* (f.). remark, s. (notice) SSemcrfung, /. 4. II (comment) Slnmer- fung,/. 4. remarkable, a. (noticeable) be= mcrfen8rt)ert. |1 (important) bebeutenb. remind, v. erinncrn (of, an ace). remorse, s. $Reue,/., ®ert)iffen«* big, m. 2. removed, a. (distant) cntfcrnt. renounce, v. (cast off) entfagen (dat.). report, s. SBerid^t, m. 2. 1| (ru- mor) ©eriici^t, n. 2". || (noise) ^natt, m. report, v. beric^ten, metbcn. represent, v. barftetten. 1| (theat.) fpielen, auffU^ren. representation, s. (statement) ^arfteltung, /. 4. || (theat.) 5Iu[fii^rung, /. 4. representative, a. (typical) ttj^ pm (of, filr). reproach, s. (blame) SBoriDurf, m. 2". (gegen). reputation, s. 9^uf, m. 2. 172 ENGLISH-GERMAN VOCABULARY request, s. SBittc,/. 4., 5lnfud^en, n. 1. II at the — , auf bte Sditk. rescue, s. 9?ettung, ^efreiung, /. 4. rescue, v. rctten, befreien. residence, s. SSol^nft^, m. 2., aufent^alt, m. 2. resignation, s. Sntfagung,/. 4. resolution, s. ^ntfc^Iufe, m. 2". resolve, s. (Sntf(^Iu6, m. 2". resort, v. feinc 3uf(u(^t ne^nten* (to, su). respect, s. {esteem) Sld^tung, ^od^ac^tung, Sl^rcrbietung, /. 4. II in many — s, in ge* miffer §infic^t. respecting, prp. in begug auf . . . (ace). respite, s. grift, /. 4. response, s. ^InttDort, /. 4. rest, s. 9?ul^c, /. ^{remainder) 9kft, m. 2. rest, V. au«ru]()en. || {depend) ab^ttngen* (with, on, t)on). II — upon {he founded on) beru^en auf {dat.). restless, a. ru'^elo^. || {uneasy) unru^ig. restore, v. iDieberf)crfteIten {sep.). II to be — d to health, gc= nefen.* restrict, v. cinfd^ranfcn. restriction, s. (Sinfd^rttnfung, /. 4. result, s. ^rgebni^, n. 2., (Srfolg, m. 2., golge,/. 4. result, V. {ensue) erfolgen. \\{end) enben (in, mit). resume, v. {go on with) tDieber aufneljmen,* fortfe^en. || {con- tinue) fortfa^ren* (f.)- retard, v. giigern. retentive, a. gurlld^attenb. || — memory, s. gute^ ©ebadjtni^, n. 2. retire, v. guriicfjie^en.* \\intr. fic^ gurMjieiien.* || — d, ju- riidgegogen, einfam. return, s. dlMtti)V, f. \\ rec- ompense) 3SergeItung, /. 4. II {profit) ©eminn, m. 2. II on my — , bei meiner 9tilcf* tti)v. return, v. gurildCfenben,* guriirf* gcben.* |I intr. prilrf fel^ren (f.), gurlldfommen* (f.)- reveal, v. offenbaren. reverence, s. ^Sercl^rung, (S^rcr* btetung,/. 4. reverent, a. e^ircrbietig. review, s. {criticism) SSefprc* d^ung, /. 4. |I {publication) 3dmxi\t, f. 4. revision, s. 9tet3ifion, nod^maligc ^uxii)\id)t, f. 4., ttberarbei* tung,/. 4. revive, ?;. ir. miebcr erh)ccfen. II m^r. h)ieber aufleben. revolt, s. (Smpiirung, /. 4. revolt, V. (ftd^) empiiren (against, gegcn). revolution, s. ^^etiolution, /. 4., (Smpfirung,/. 4. ENGLISH-GERMAN VOCABULARY 173 revolutionary, a. rebolutionar, aufril^rerifd^. rhetoric, s. D^ebefunft, SBerebfam* tdt, di^ttoxit, /. rich, a. xd(i). riches, s. pi. D^ei^tum, m. 3''. ride, V. reiteu* (f.)- II ('in o, vehicle) fa^ren* (f.). right, s. D^ed^t (to, auf ace.), n. 2. II to be — , in the — , red^t 'i)ah^n. righteous, a. gered^t. rise, V. (person) aufftel^en. || (sun, curtain) aufge{)en* (f.)- risk, V. iDagen, auf^ @piel fe^en. rival, s. ^^ebenbul^ter, m. 1. river, s. glufe, ©trom, m. 2". road, s. ©trafee, /. 4. Hthe hollow — , bie ^o^te ®affe,/. 4. rob, V. (steal) rauben. || (a per- son) beraubm (of, gen.). robber, s. Sittuber, m. 1. romance, s. (novel) 9?oman, m.2. II (love affair) Stebe^Der* l^aitni^,/. 2. II (legend) ©age, /. 4. romantic; a. romantifd^. Rome, npr. 9^om, w. rough, a. rau§. |I (o/ manners) grob, rol^, unfein, ungcfdbliffen. II (shaggy) rau)^. round, s. (circle) ^xdi, m. 2., Gratis, m. 2''., 9?ing, m. 2. II (series) ditiife, f. 4. rouse, v. (excite) aufrel^cn, er* mimtem. row, s. 9^cl^c, /. 4. rudeness, s. Un^fif(id^!elt, /. 4. Il^rob^elt, /. 4. ruin, s. (destruction) (©turg, m. 2''. II (downfall) Unter= gang, m. rule, s. (government) SfJegterung, /. 4. II (swja?/) §errfc^aft J. 4. rule, V. regieren, bet)crrf(^en, ^err=» fc^en ilber (ace). ruler, s. §errf(f)er(ln), m. 1. (/. 4.). ruse, s. Si[t,/. rush, V. fi(^ ftiiqcTi (on, auf ace; into, in ace). sacred, a. t)etUg. sacrifice, v. opfern. safe, a. flc^er. safety, s. ©ic^er^clt, /. 4. || in — , tDo^lbe^alten, fld^er. sake, s. Urfad^e, /. 4. I| for the — of, urn (gen.) iDitten, iDegen (gen.). \\ for your — , urn 3()rctti3it(en. salary, s. ©efialt, m. 2. same, a. berfelbe. Hall the — , tro^bcm. II the very — , ganj berfelbe. satisfaction, s. SBefriebigung, /. II (pleasure) 33ergnilgen, n. satisfied, a. pfrieben. satisfy, v. (content) befriebigen, geniigeti (dat.). save, V. (rescue) xttttn, erretten (from, bor dat.). savior, s. 9?etter, m. 1. 174 ENGLISH-GERMAN VOCABULARY say, V. fogen. || (affirm) bc= ^auptcn. II — , c. ne^mcti* h)tr an; ctma. scale, s. (of a balance) SSag- female, /. 4. II to turn the — , ben 5lu«f(^Iag geben.* scene, s. (theat.) ©gene, /. 4. Ustage) S8ii§ne,/.4. \\ (place) ©d^aupta^, m. 2". || the — is laid in, ba^ ©tiid fpielt in (dat:). scheme, s. (plan) ^lan, m. 2''., Sift, /. 4., 3ntrtgc, /. 4. scheme, v. planen, "ipianc fc^mic- ben. school, s. (Sd^utc, /. 4. || at — , in — , in ber ©d^ulc. || Latin — , Sateinfc^ulc. science, s. SSiffenfd^af t, /. 4. Scotland, npr. ©d^ottlanb, n. scruple, s. (hesitation) 53ebcn* fen, n. 1., 3^cifct, ni. 1. search, v. (probe) priifen. seat, s. (Bii^, m. 2. || (chair) ©tu^I, m. 2". II — of war, ^rieg«f(^anpla^, m. 2''. seclusion, s. (solitude) ^nxM^c- gogcnl^elt,/. 4. || to live in — , ein gurilcfgegogene^Seben fii^ren. second, a. gtneitc. || — ly, in the — place, ad. jmeiten^, jum gmeiten. secondary, a. (subordinate) un* tcrgeorbnet, ^thtn^ (in comp.). secret, a. Qc()eim, im gel^eimen. secure, v. (make safe) fid^cm. II (obtain) criangen. see, V. fe^en.* || to — through, burd^fd^anen (sep.), \\ — ^ing that, iueil, ha. seek, V. fud^en. |1 (aim at) trad^ten nad^, ftreben nad§. li (resort to) feine ^uflud^t nt^- men* gu. || intr. fud^en (after, for, nad^). Ilto — refuge from ... in, fid^ retten au6 ... in (ace). seem, v. fd^einen.* seize, v. greifen,* crgreifen.* seldom, ad. felten. self, s. ©etbft, n. \\ com- mand, control, s. (Selbft= be^errfd^ung, /. 4. || — de- fense, s. @elbftt)erteibigung, /. 4. II development, s. SBeiterentmidlung, /. 4. || reproach, s. (Selbfttabel, m. 1. II — sacrifice, s. (£elbftauf= opferung, /. 4. || — -con- demnation, ' licgcnb. ENGLISH-GERMAN VOCABULARY 179 surroundings, s. Umgegenb, Urn- gebung,/. 4. survey, s. (act) iSefid^tigimg, /. 4. II to make — , to take a — (of), ilberbUden (in- sep.). suspect, V. (distrust) mifetrauen (dat.). swarm, s. ©d^marm, m. 2". swear, v. fj^miJren.* Swede, s. ©d^tnebc, m. 4. swell, V. [(^iDeKen,* atifd^tDcKen.* swift, a. fc^nelt. Switzerland, npr. bie ©c^meig. sympathetic, a. mitfil^^lenb, teil= ne{)menb, anteil^Dolt. sympathy, s. SJJitQcfu^l. n. system, s. @^ftem, n. 2. take, V. nefjmen.* || — an in- terest in, 3ntereffe ^abcn fiir, \iof)nUci^. ixnveil, v. entpllen. unwept, a. unbetDetnt unwilling, a. abgcneigt. || to be — to, nid^t motlen. upheaval, s. UmtDftlgung, /. 4. upon, prp. ouf. || — his re- tiuTi, bei feiner ?fiMtd)x. urgent, a. bringenb. usually, a. gemiil^ndcl^. use, s. ©ebraud^, m. 2"., Sin- njetibung, /. 4. ||to make (good) — of, (gut) gebrau* 6)tn, benu^en (ace). utter, V. (speak) fiufeem. || (pro- nounce) au^fpred^en,* au^* ftofeen.* utterance, s. (words) &6erung, /•4. vain, a, ettel. I| (useless) tjcr* geblid^. ||in — , bergeben^, umfonft. value, s. SBert, m. 2. vanity, s. Sitelfeit,/. 4. |1 (empti- ness) 9^id)tigfeit, /. 4. vehicle, s. ^u^xtdtxt, n. 2. II (fig.) ^(u^brudf, m. 2". vengeance, s. $Rac§e,/. vengeful, a. rac^fild^tig. venture, v. tDageti. ||to — (up)on, eg t)erfud^en mit, fid^ einlaffen* auf (ace). verify, v. feftftetten. |1 (test) priifen. verse, s. 55erg, m. 2., ©trop^e, /. 4., gebunbene ditb^, f. very, a. n)a^r(^aft), n)ir!Ud^, ec^t. II — , ad. fe{)r. I| — much, fe^r. II the — same day, am felben Xage. || the — thing, gerabe bag (rid^tige). Vesuvius, npr. ber SSefut). vice, s. i^aftcr, n. 1. victim, s. Opfer, n. 1. victorious, a. flegreid^. view, s. (range of vision) Slugc, n. 4. II (way of thinking) %n\iii)i, f 4., Wdmn, f 4. II point of — , ©efid^tgpunft, ©tanbpunft, m. 2. vigor, s. ©tdrfe, /. 4., ^raft, /. r. violation, s. SSerlei^ung, /. 4. violence, s. ©etDalt, /. || do — to, ©etDatt antun* (dat.). violent, a. l^eftig, gemaltfam. virtue, s. 2;ugenb,/. 4. visible, a. fidfjtbar. || (manifest) augeufd^einlid^, offenbar. visit, s. i8efu(§, m. 2. 184 ENGLISH-GERMAN VOCABULARY visit, V. befud^en. vivid, a. lebf)aft. vocation, s. {occupation) ^eruf, m. 2. walk, V. (lu gu6e) Qc^en* (f.), luftmanbeln (f.), fpajicren ge^eu* (f.). want, V. (be without) 9}?angel {)aben* an {dat.). \\ {require) brauc^en, bebilrfen* {gen.). II {desire) toerlangen, njilnfd^en, h)otten. war, s. ^rieg, m. 2. ||the seven years' — , ber fieben- jftbi^ige ^rieg. warfare, s. O ( Nell •p9jn"D| -Um sX^AVfB pMOA UI91S •SpjOM JSOIU HI pajn-Biuin pMOA uiaig O O l-H ;^ o Q O > 1— t H O W ►-> Q > o PL, H U w u H Pi o «> o Ji pi J:i «> «> O «> o o o o I s ,/3 ,0 jO -O JO J=t JQ JQ M JO JQ II dnoHO l^S:^ =3 > ^?=-^'2 S-. O Jj M S-> *> o.Ji.2iSS"S-S5 I daoHo ^-^ 1 r SJ'^KpkS il 55 p4 as> B 9P o o ^ o o kJ kJ o ^> ft> ves have abo if no word I or Group s. All pr [ adjectives e jssessives ta idings. 9 g^ li&ii'^S a o «-> o «-► Izi d Q < HViaONIS ^ d Q < 187 Gro prec nom cept thes PREPOSITIONS Prepositions governing the Genitive: onftatt, ftatt instead of au^tx^alb without, outside {of) bie^feit^ on this side of l^alber for the sake of inner^alb within, inside (of) jenfeit^ on the further side of, beyond fraft by virtue of Icings along iaut according to mittelft by means of ohtx^alh above ixoi^ in spite of um . . . raillen for the sake of imgead^tet notwithstanding unter^alb below untDeit not far from Dermiige by dint of ft)a!^reiib during h)egen on account of pfolge in consequence of Prepositions governing the Dative: au6 out of auger besides bel by, at binnen within cntgegen against gegeniiber opposite gemag in accordance with mit with nad^ after, to Tittd^ft next to ncbft along with ob above famt along with felt since Don of, from gu to jutDiber contrary to Prepositions governing the Accusative: bi^ till, unto burc^ through filr for gegen against o!)ne without fonber without um about, round tt)iber against Prepositions governing the Dative or Accusative: an on, at in in, into unter among, under auf on, upon, up neb en beside Dor before 'Winter behind iiber above, over gtoifc^en between These take the dative in answer to the questions where? or when?, the accusative in answer to the questions whither? or how long? 188 LIST OF OLD (OR STRONG) AND IRREGULAR VERBS Explanations. — In the following table are given the princi- pal parts of all the verbs of the Old conjugation, together with the preterit (imperfect) subjunctive; also the second and third singular indicative present and the second singular imperative, whenever these are otherwise formed than they would be in the New (or Weak) conjugation. Forms given in full-faced type (thus, gcBodcn) are those which are alone in use; for those in ordinary type (thus, had\t, bctcft) the more regular forms, or those made after the manner of the New conjugation, are also allowed. No verb is given in the List as a compound. If found only in composition, hyphens are prefixed to all its forms, and an added note gives its compounds. Infinitive. S3arfcn/bake' often of New participle. *Barcn only in ftebaren, Scifiett, 'bite' JBcrgcn/hide' S3icficn/bend' S3tetcn, ' offer' JBtnbcn, 'bind' S3tttett/beg' SBlafctt, 'blow' ^letben/ remain' J8tet(^en/ bleach' as intransitive, Sraten, 'roast' V^xt^tn, 'break' SSrcnnctt, 'bum' SBtingen, 'bring' =bci^cn obsolete except pres'tind.sing. pret. ind. pret. subj. imper. past part. had\t,h'idt bu! btife gcBarfctt conj., especially when transitive; except the ^bicrft, =biert =Bar 'bear, bring forth.' m Birgft, btrgt =6(trc =bter ^hottn Biffc gcBtffcn Bdirfi fittrgc 5lrg geborgctt ibog bijgc gebogcn hot h&tt gcboten Ibanb Bftnbe gcbunben hat hdtt gcbcten hlk§ filiefc gcblafen hlxth hlkht gcbUcficii blid^ blic^e gebUd^cn of either conj.; as transitive, of New only. briet brietc gcSratcn ibrad^ Ibrii^e ibrtt^ geBrot^en hxanntt hxtnntt gcBrannt Brad^tc hx&d^tt gcftrad^t Mt^t *bicl|cn UaU% hm bratft, bratet hx'x^% hxx^t 'bic^ in gebcll^cn, 'thrive.' 189 190 LIST OF OLD AND IRREGULAR VERBS Infinitive. pres't ind. sing. pret. ind. pret.subj. imper. past part. ^enfcn, 'think' bad^tc bcid^te gcbac^t *ber6cn =birbft, =birbt -barb =b(irbc *birb =borben ^blirbc only in bcrberben, 'perish'; which, as transitive, 'destroy,' is of New conj. ^rcf(^Ctt, 'thresh' brifc^eft, brifd^t brofd^ briJft^c ^bricftctt only in berbric^cn, 'vex.' ^ringcn, 'press' ^iirfen, ' be per- mitted' effctt,'eat' ga^rcn/go' gatten/fair gangcn/ catch' gct^tcn,' fight' barf ft, barf fa^rft,fa^rt fattftJaHt fangft^fangt ^broft ^briJffe brang brdnge burftc bttrfte brifd^ 0cbrof(^ctt -broffcn gcbrungcn wanting geburf t fu^r fiel fing ^cWf =fte^tt 4a^( fulirc ftetc fingc ^fal)lc ifi =fic^t only in befel^Ien, 'command,' cmpfel^Ien, 'commend.' ginbert^'find' gle^tcn, ' twine' fltd^tft, fTic^t giicgcn/fly' gUc^en,'flee' gUeftcn/flow' grcffctt, ' devour' f riffcft, frifet gricrcn/ freeze' Soften/ ferment' @cbcn, ' give' gibft, gtbt @c^ctt,'go' ©eWen, 'be worth' gittft, gitt =gcffcn =^9iffeft, ^gifet only in bcrgcffcn, 'forget.' ©tcfjcn/pour' ^ginnctt only in beglnncn, 'begin.' @tci(!^cn/re- semble' mtxttn, 'glide' ©limmcn, 'gleam' @rabcn, ' dig' gtftbft, grftbt ©rctf en /gripe' ^aben, ^ have' l^aft, f)ai .fatten/ hold' ]^aaft,^alt 4angcn, ' hang' ^angft, pngt $auctt/hew' ^cbcn,' raise fanb f(0(^t fiog m m frafe fror go^r gab salt ^0^6 *gantt fftttbc pt^te pgc fliijc ftoffe friifec frorc go^rc gdbe ginge gattc fiiiffe =g(ittnc fti«t m gib gUt glid^ gUd)c glitt gllttc glomm glommc grub griibc griff c ^(ttte l^iettc ^ingc l^lebc Iiattc ^tctt ^ing l^icb gcgcffcn gcfa^rctt gcfaticn gefongctt gefoc^tcn ^foljtcn gcfunbcn geftoc^ten gcftogcn geflo^cn gcfloffcn gcfrcffctt gefroren gegol)reti gcgcbcn gcgangctt gcgotten ^geffen ficgoffcn ^gonncn gcgtlc^en geglittm geglommcn gcgraben gcgriffcn gcftabt ge^alten gcgangctt gc^auen ge^oben LIST OF OLD AND IRREGULAR VERBS 191 Infinitive. pres't ind. sing, pret.ind. pret.subj. imper. past part. Wftr^Uft fannft, fantt ittbft, labt Iftffeftjofit laufft^lauft acfcft,Ucft ^^s ^atf plfc Janntc fcnntc nomm ftommc flang flange lam fttme fonntc fiitttttc ftUf Ue^ ^ciffeit/cair ^clfcti, 'help' ^cnncn/know' ^Ummctt, 'climb' ^Ungen/ sound' ^ommcit/come' ^iinncn,'can' ^ricrfjcn,' creep' ^iircn,' choose' Sabcn/load' Saffctt/let' Saufcn/run' Scibcn/ suffer' Sct^Ctt/lend' Sefctt/read' Stcgctt/lie' 4tcrctt only in Dcrtlcren, 'lose.' *lingctt only in gcUngen, * succeed, person only. Saft^cn, 'extin- Ufc^eft, Ufd^t guish' the forms of New conj. preferably limited to transitive meaning. Suflcn/lie' log tdge gctogctt 9Jlctbcn/shun' mtcb micbc gemicbcn a^cffen/measure'miffcft^mifet ma^ mftfic mift gemcffcn moc^tc mijt^tc wanting gcmod^t mufttc miifetc wanting gcmufit nimm gcnommen for lub Ucf (itt Uc^ tag 4or fore liibe Ucfic Ucfc rittc tie^c Iftfe lagc 4arc ge^cigctt gcliolfctt gcfannt geflommen geflungeti gefommen wanting gcfonnt gcfrodftcn geforen geUbcrt gclaffctt = gctoufcn gcUttcn gclic^cn gclcfctt gelegett 4oren 4attg 4ttngc - mifeUngen, 'fail'; used 4ungett in third lofd^ iofc^e Ufc^ gelofd^en 9Jl(Jgcn/may' gjluffcn/must' Sflc^mcn/take' S'lcnncn/name' ''ttCfCtt magft, mag mu|t, muft nimmft, ni'mmt na^m nft^me ttantite ncnittc ^na^ 'Uafe only in genefen, 'recover, get well.' ^nicfectt *ttog ^naffe obsolete, except in genie^eit, 'enjoy.' $fctfcn,' whistle' ^rcifcn,' praise' Cluctten, ' gush' quitlft, quittt fRaitrtf ' advise' rcttft, rat SlciBcn/rub' aiciftctt/tear' SRcttcn/ride' JRcnnctt/run' 9ltcd|cn/smeir Sdingcn/ wring' ^M Vfiffc pm§ pricfe quoU qualle rict rietc ticb ricBc rift riffc txii rittc xdmtt rcntitc rod^ rii(^c rang range quitt genannt ^nefcn ^noffen ge^ftffctt gc^jricfcn gequolien gcratcn gericftcn gcriffcn gcrittctt gcrannt gcrot^en gemngen 192 LIST OF OLD AND IRREGULAR VERBS Infinitive. pres't ind. sing, pret.ind. pret.subj. imper. past part. SRtnnctt/run' xann rftnne gcronncn aUufcn/cair ricf tiefe gcrufcn ©c^aff en/ create' ^ — fd^uf fc^ilfe gefc^affen generally of New conj. when meaning ^be busy/ or 'procure.' ©fatten/ sound' fd^off fc^otte gefclolleti only in gefcf)et)en, 'happen'; used in third person alone. ©c^cibcn/part' @(^einen, 'ap- pear' ©^clten, ' scold - f c^ieb - f c^icn frfjicbc fd^ienc gef(^icbctt gef^ienen Sc^ieben, ' shove' f ^o0 f rfliiSc ©(^icfien, ' shoot ' f t^oft f t^iiffe e(!^lafen,' sleep' Wtafft, frf)(ief Wltcfc ©tJitagctt, f^lftgft, fd^tug f(^litgc 'strike' f^tiigt ©(^leic^cn, f(!^(t(^ ft^Ut^e ' sneak' (S(^Uefictt,'shut' W^^ f<^Wffe ©^Ungen/slino;' f^tang ftfilangc ©^melscn, 'melt' fc^miljeft, fc^molj f^molge fc^nitlst (S(^ncibctt/cut' Mmtt Mnittc ©ci^rerfen,'be fc^ricfft, fd)raf fd^rcife afraid' fi^ncft of New conj. as transitive, 'frighten.' (B^xtxbtn, \(i}mh ft^rtcfic 'write' ©c^rcien/cry' f^rtc ft^mc (5 ^reiten/ stride' fc^ntt ft^ritte ®d^ttJCtgcn/be W^ftcg Mnjiegc silent' 'swell' fc^millt of New conj. as transitive. Sd^njtmmcn, ' swim ' ft^alt f^itltc f(^iU gcfd^oltctt ©(^hjtnbctt, 'vanish' 'swing' ©rffttJiirctt, 'swear' f c^ttjamm f c^njammc - fti^ttjanb fd^hjanbc - f^toang f(!^tt)ingc - gcft^oficn gcfd)offcn gefr^lafcn gcfd^tagen gefd^liti^cn gcfc^loffen gcj(^{ungcn fd)mi(3 gefc^moljm gef^nittcn fd^ridf gef(f)roden gefrfjricben gcf(^nccn gcfc^rtttcn gcfc^njiegcn fd^toltt gefd^molten - gef(!^tt)ommcn - gcfd)tt)unben - gcfc^toungcn - gcf^ttjorett LIST OF OLD AND IRREGULAR VERBS 193 Infinitive. pres't ind. sing, pret.ind. pret. subj. imper. past part. (Sc^cn/see' fic^ft, mt M fatie fic^ gcfc^cn Sein/be' bin, bift, ift zc, tear njttre ei gehjefcti ©enbcn/send' anbtc 'cnbetc ott enbetc gefanbt Sicbcn/boir lebete gefotten ©ingen/sing' ang ttnge gefungcn (Binfcn/sink' ant cinfc gcfuntcn ©inncn/ think' ann anne gefonnen ©i^cn/sit' a^ •ftjic gcfeffcn Sottcn/ shall' foUftJott foIUe oUtc want'g gefpttt ©|)inncn, 'spin' fiJann ^cinnc ponm gcf^onnen rijffc gcf^roffcn ^sprout' ©^ringcn, f^rang grange gcf^rungcn spring ©tcc^Ctt/ prick' m^mt ftac^ 1 'tatftc fti« gcftot^cn ©tc()cn/ stand' ftanb tanbe geftanbctt ©tc^kn/ steal' ftic^tft, fticfttt fta^t 1 tittle fttc^t gcfto^lcn ©tcigcn, 'as- cend' ©ter0cit/die' ftieg 1 ticgc gefticgcn fttriift,ftirbt ftarB 1 taxU fttrb gcftorftcn ©toficn, 'push' ftiineftjto^t fticji tte^c gcMcn ©trci(^cn, ftric^ j tri(^c geftric^ctt 'stroke' ©trcitcn, 'strive 7 ftritt 1 trittc gcftritten Sragcn, 'carry' trftgft, tragi trug 1 triigc gctragcn ^reffen,'hit' triffftrtrifft traf ) trttfc triff gettoffcn S^reiben,' drive' tdeB 1 trtcbc gctriefien Srctcn, 'tread' trittft, tritt ixat i trfttc tritt gctrcten Xtinfm, 'drink' ixant i triinec gctrunfen XxiXQtn, 'de- trog \ trijge gctrogctt ceive S;un,'do' tat i tiitc getan S®0(^fctt, 'grow' m^\t\t, m6)\i itjut^^ 1 tt)U(^fC gertjad^fen SBctgcn,' weigh' tt)oq \ ttJdgc gcltJogcn aSafc^en^'wash' iDctfd^eft, mafc^t ttJufd^ 1 miift^c genjafc^cn aScbcn,' weave' h)ob ) t)obe gemoben SGSetc^cn, 'yield' SBctfcn,'show' h)id^ ) v'lfiit gemic^en njtc^ 1 itJtefe gcttJiefen SScnben/turn' hjanbtc ) njcnbctc tjcnbetc gcttjanbt gcnjcnbet aSerfien/sue' tottrbft, njtrBt toaxh \ tidrbe toirb getuorben 194 LIST OF OLD AND IRREGULAR VERBS Infinitive. pres't ind. sing. pret. ind. pret. subj. imper. past part. SBcrben/ be- come' SSctf en/ throw' toxx\tf mirb hjatb hjurbc toirfft, ttJttft njcrf hJiirbc ttJiirfc toiitfc njiigc toanbc Stoctngc toirf gctoorbcn gctoorfcn SSicgcn/ weigh' ffi3inbcn, 'wind' 2Siffcn/know' gSotten/wiir 3 ci^ en /impute' t)ergei^cn more 3tc^en/puir Btoingen, 'force' njog njanb toiiift, toin mate 3ie* common. m njiffe gchJogcn gotiunben geltjuftt gettJoKt gcjic^cn gcjogcn gegttjungcn / r CV THE \\ UMfVFRCSTV OF DAY AND TO *1.00 ON Tu.°'' """^ "O^RTH OVERDUE. ^'^ ^"E SEVENTH DAY KSr- Mjjjim LU IN STACKi LD 2]-95w-7,'37 10f^')f THE UNIVERSITY OF CALIFORNIA UBRARY