He had freed himself with powder coating paint

So mild, so convincing had Ludwig not yet heard the stern father speak. He barely knew this tone in him. And just at this occasion he missed his impression the least. He was deeply shaken; he felt the truth of his father’s words, and gradually came to his senses. Finally he should blow up this gang completely.

Again, the comrades had taken a joint foot trip. They had just left Brandenburg when Bothe suddenly declared that he had to go back there again, alone. Irrespective of this, Louis urgently added his escort. “I can not need you,” he replied coldly, “and I’ll go alone!” Once again, all the passion flared up. Crying and imploring, at least to give him reasons for this unexpected decision, he spent some time beside Bothe. As he silently pursued his way, his patience tore, and suddenly love seemed to turn into hatred. “So go, stupid boy!” He shouted defiantly. But at the same moment he was overcome with horror at the blasphemy he had dared to expel. He wanted to ask forgiveness from the injured, but he left without to continue to respect the vilification. Ashamed, Ludwig stopped. Then he made himself pouting and defiant alone on the way home.

He had freed himself with that boyish exclamation; he remembered the words of the father, the veil that had lain on his soul was torn. He began to doubt and test, and at last he looked at the hard friend with different eyes. The transfiguring gleam with which he had surrounded him had vanished; he seemed indifferent and ordinary, like many of his schoolmates. His passion had become a riddle to him in the end.

Thus, just from the fullness of his heart, the bitter feeling of human weakness had sprung to the point of self-contempt, and his overflowing bliss had borne him a grief that he had not experienced more deeply and sharply. With the bitter experiences she had brought with him, he had also bought that, testing the spirits and learning to distinguish them.

As he had sought friendship where he did not find her, the best among the schoolmates had solicited his friendship, but in his blind affection for one he had not reciprocated it, indeed paid little heed. And he was made to become the center of a circle of friends. Full of spirit and fire, with an ardent in youthful lust and mood, to the point of high spirits, bold and sure in his judgments, rich in knowledge, ready for every help in word and deed, good-natured, open and devoted, even in times soft, physically strong, in handsome in his face, how could he not have gained the attention and inclination of the most gifted among his schoolmates? Even more than by a . But he seemed to be attracted to them by a silent and inexplicable spell that spoke of his whole being, and thus formed a circle of youth-companions around him, among whom he found more than a friend of his heart.

To him spirit, talent and endearment to him the most relative, as friend the most loyal and devoted was Wilhelm Heinrich Wackenroder. He was one with Ludwig, as he was born in 1773, and belonged to one of the most respected families in Berlin. His father, the secret war councilor and mayor Wackenroder, was a strict and honorable official, fully formed in the spirit of the age of Frederick the Great, clear, sober and dutiful, prudent and indefatigable, filled with the idea of ​​civic virtue, and of warm devotion to the young, growing state and the great king who had created him. In the difficult times of the Seven Years’ War, when Berlin was occupied by Russians and Austrians, he had negotiated with the enemy generals in the name of the city, and later by his zeal had emerged in city and state offices. With the utmost care, he had his only son educated. He first had him educated at home and then handed over to his friend Gedike’s accredited school. It was in the second class of the Friedrich-Werder Gymnasium that Ludwig and the young Wackenroder first met. Immediately he felt attracted to it, and after the painful experiences he had made, Ludwig now held his new friend all the tighter.

Wackenroder was a foreboding, prophetic nature. Silently and dreamily, he seemed to lower his gaze only to the depths of his interior, and his sense of the outside world neither own nor miss. In everyday intercourse he was awkward and awkward, so more wise comrades often smiled at him, and made him the object of their wits with a modest effort. They did not understand the soft, tender, even touching, which rested on its whole appearance like a mysterious veil. In him lived the simple, innocent child-faith, to which it is an unconscious need to surrender to higher things. For his sake, he could accept the greatest confidence, which was contrary to his own nature. Therefore, nothing was easier than to deceive and mislead him in ordinary things. The miracle seemed to be the world in which he actually lived, while the everyday became a miracle for him. From these dreams lightning flashed like profound conceptions; he could seem enthusiastic at times. As if he had felt dark, that this inner world needed an external counterweight, if he did not want to get completely lost in it, he clung anxiously to certain orders. Once they became a habit, he did not give up. He was an embarrassingly hard-working student, and with all his exuberance he clung tenaciously to a certain period of intimacy that had been instilled in him. Anyone who saw him only at such moments could consider him sober, even pedantic. The bourgeois nature of the father then seemed to gain the upper hand. Gradually he developed the happiest plants. Above all, the music seemed to permeate its whole being. An electric matter had accumulated here, waiting only for the right kind of touch to dazzle through its sparkling sparks.

Two spirits had been brought together for seemed to be created for each other. Both turned to life in fantasy and poetry with all their might. But they differed in the fact that Ludwig strove to expand his circles, to embrace more, Wackenroder silently immersed himself in the depths of the individual, that he was critically humorous, this faithful, the one more creative, the other more receptive. This led to some disagreements in detail, but they dissolved again and again in the same basic tones of their souls. Wackenroder held z. For example, Ramler, who frequented his father’s house, was for a long time one of the first and greatest poets, while Ludwig’s bold judgment described him as a poet of the old style, lacking the real poetic streak. Wackenroder was very difficult to escape this belief by the merciless remarks of his friend. From now on they shared all the sorrows and joys of the inner life as well as the school traffic, and Ludwig became a welcome daily guest and friend in the house of the mayor of Berlin.

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An opposite nature was Friedrich Toll, the son of an official of the Berlin porcelain factory. He was firm and sure, ambitious and eager, full of ambition. Totally and completely, he sought to explore things. With hard work, but without pettiness, he threw himself on the school sciences, which should pave the way for his life. He, too, possessed important facilities, was youthful, energetic and poetically enthusiastic. His appearance was noble and engaging; she had something knightly about. In all the arts of physical dexterity he was a model to his comrades.

These were joined by Wilhelm von Burgsdorff, son of a Mark nobleman. First, according to the principles of the then new apprenticeship in the philanthropist at Dessau , he had become Gedike’s pupil only later on. He was fresh, natural, and lively, of quick conception and happy gifts, good-natured, but also reckless and arrogant.

The humorist in this youthful circle was Viering, the son of a country preacher. He lived in the house of the military councilor Müller, whose care he was entrusted. Rich in witty ideas and ever new attacks, he had a not insignificant sense for the comic and its conception and representation. What he wrote often carried such a peculiarly fresh sense of humor that in later times, when Jean Paul began to read, Ludwig was reminded of his childhood friend. There was once a moral treatise on the saying, “How to do it, that’s how it’s done.” Viering gave a lively and felt description of the simple life of nature and the countryside, in which he finally made the appearance, with surprising surprise, of two goose boys, who in different ways and at different times drove their herds to the common pasture. The teacher shook his head at such absurdity, while Ludwig’s whole sympathy was won by the satirical impudence of the sound. Often the new friend shared his bright and spacious room with Ludwig. Here they worked together, and also contrived many a willful plot.

In this way Ludwig also met Adam Müller, the son of the military councilor Müller. However, like Wilhelm von Schütz, he belonged to a younger generation. Without being able to enter this circle at that time, they did not join individual members until later.

The friends, on the other hand, had found another companion, several years older, who represented everyday mediocrity among these perky ghosts, but sought to be enthusiastic with a sincere and thorough zeal for everything that moved them. It was a certain Piesker whose father had been a steward on the Good Fredersdorf near Berlin. He loved playing the old-fashioned mentor, the conscience, in this circle. With displeasure he watched the willful drifting of the others, who in their wild moods did not care much for more or less. To her great amusement, he could then get excited. He gave them the most penetrating remarks about their folly, their carelessness, and above all about their tendency to lie. For under this name he pursued with comic earnestness every fleetingness in the conception, every youthful exaggeration, every ironic turn. Then he instructed the friends that he would show them what actual truth was, and give them a simple account of how the matter really was. As a result, he usually saw and heard less than anyone else. His appearance was repugnant; he had a flattened nose, a bulging, thrown mouth, his face disfigured by leaf-scars. Yet he was universally loved, in spite of his stiffness and his unjust and sullen scolding. He was known for his loyalty, his reliability, and he felt the safety of a straight, simple nature.

No one clung to him more firmly than Ludwig, who suspected that he needed the addition of a sober and well-intentioned friend to his resentful irritability and changing moods. He also visited him on the Good Fredersdorf. Here they roamed through woods and fields, spent the summer nights in the open air, made heart-affirmations, and lost himself in a thousand lofty plans for the future.

If the friendship with Wackenroder was of great importance to Ludwig’s inner development, and which later had important consequences for his outward life with Burgsdorff, then at last a third ratio was added, which was to gain a decisive influence on his fate on both sides , This was the connection with Wilhelm Hensler, the step-son of Kapellmeister Reichardt.

He, too, was an open, cheerful, and mobile nature, capable and receptive to every significant impression. Only later did he come to Berlin in his stepfather’s house to complete his training at Gedike’s. Here he became Ludwig’s immediate neighbor on the school bench. One liked each other, discovered many agrees in nature and affection, and finally established a confidential relationship. Hensler did not omit to introduce the newly-arrived friend to the stepfather’s house, where he aroused such universal sympathy and affection that he soon became completely at home in it. At times Ludwig relocated there completely, and, like work and distractions, Hensler also shared the room with him. He could count more for the son than the friend of the house. The father put this traffic no obstacle in the way. With full satisfaction he saw the son’s installations becoming more and more independent; it seemed advisable to allow him greater freedom to allow him to do so.

In Berlin, too, perhaps there was no house which would have been a better school for the further education of a burgeoning poetic power than that of Kapellmeister Reichardt. It was a gathering place for the arts and artists. The fresh spirit of the poetic and artistic upheaval that had permeated Germany for almost two decades and seemed to rejuvenate it seemed more alive here than anywhere else. One possessed spirit and taste, pursued with interest each new turn in art and literature, and took eagerly for and against party. Music was impelled by the emphasis of the deeper artificer, Goethe was revered as the genius of modern times and poetry, and general artistic training was regarded as an indispensable duty. Here was the circle in which Ludwig’s youthful talent could be brought to maturity.

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Reichardt himself was a man well suited to stimulate, educate, introduce into the understanding of poetry and music. He stood at the center of musical life, which had taken a brilliant upswing in recent years. In 1775 he had been appointed to Graun’s post in Berlin, he had composed a number of operas, and since the reign of Frederick William II, as director of the newly founded orchestra of the Italian Opera, he had entered a broader sphere of influence. His vocation brought him into contact with singers and actors, with artists of all kinds, he had connections with many scientific and poetic names, foreign artists and scholars missed it. not to visit his house. He himself was full of spirit and agility. He laid no exclusive value on the development of his musical talent. He wanted to distinguish himself from his one-sided associates by a varied, general education, by knowledge in the most diverse subjects, by lively participation in all tasks of life, he did not want to be a poor, half-formed music master. He was a zealous follower of Kant and the new critical philosophy. He had worked for a while in administration. Later he had made important journeys, had seen Italy, been in Paris and London, and had come into contact with Goethe, whose “Claudine von Villa bella” he had composed. He also appeared as a writer. He was a virtuoso and composer, a theoretical and writing musician. But this unruly activity splintered his strength and promoted a strong self-confidence which, since he wanted to know and understand everything, at times led him beyond his own limits.

At first the freshness of the stimulating force, the important name in the art world, the respected position of the man, had an effect on Ludwig. For the first time he looked here in a recognized, spirit-born, brilliant-looking artistic life. What he had otherwise seen only a few pages from afar came to him here as a whole, in his own accord. He began to measure his powers by these new role models. From the general preparation of the school he now went into the artistic apprenticeship, which should give him the direction that led him a few years later in the literature.

At first, his passion for the theater not only found new food, but also education. It [S. 78] was the time when theater hobby gained more and more ground in Berlin. The stage was considered to be a major means of general and popular education, and the suggestions of great talents in the world of actors were added, which began to gain recognition for the once despised state. They emulated them, read dramatically poems by role distribution, and at last, for their own practice in social circles, began experiments in the mimic arts. In Reichardt’s house, therefore, it was not disliked when a number of capable young men gathered around the step-son, and from infantile beginnings a love-theatrical work emerged, which at last assumed the attitude of serious study.

Until then, Ludwig had continued his drama in the old way. At home, in the open air, where it was concerned, he had played with his siblings on an improvised stage as before. As before in the church, he had later discovered a vacant place in a remote part of the garden, surrounded by trees and dark bushes, inviting, by his deep silence and safety, the attacks of troublesome strollers to represent some tragedy. Immediately Gerstenberg’s “Ugolino” began to play, and at that time enjoyed special favor, because with the least amount of manpower, he accomplished the utmost in the ghastly, which was achievable. Of course, Ludwig played the Ugolino, the rest did their best, when, to their great surprise, a man emerged from the side bushes, who had overheard the actors unnoticed. “You did a pretty good job, young man,” he said to Ludwig; “But how do you come to this horrible piece in your youth?” A reproach, which one in very much liked the recognition that had been found.

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Everything gained a different reputation than it did under Reichardt’s eyes. It should not be a game anymore; it should be an opportunity for the education of good taste and fine manners, a school for happy investments. The leading insight was accompanied by more significant resources. A fairly numerous, enthusiastic for the cause staff was together. All the friends of Hensler and Ludwig were consulted, who had some inclination and inclination to take part in these experiments. By purchase and gift one acquired a sort of cloakroom, and for some other need the dexterity of Friedrich Tieck’s, which the father in 1790 gave to the sculptor Bettkober in apprenticeship. He took less of a share in the representations, but he knew how to make the indispensable helmets and armor with cardboard, gold, and silver paper, and to imitate the noble rust of antiquity so deceptively that he too received general applause in his art acquired. At last one could count on a public, albeit not numerous, yet educated and capable of judgment, which, at the same time, encouraged by its personal participation.

People ventured to portray great, indeed classic, plays. There was no difficulty in shaking off, the more insurmountable the obstacles seemed, the better the young artists sought to overcome them. Their imagination took the highest flight, and the heaviest they believed to have grown. In addition to some common stage plays they played Lessing’s “treasure” and “Philotas”. Then they went over to the popular knight pieces in which they were in arms and finally in the storm steps to Shakspeare. One divided into roles and role subjects; a true artist’s vibrancy arose, everyone sought to show their best side. Wackenroder seemed by its serious nature for the representation of kings and princes suitable, Toll and Hensler played the teen martial heroes, Bothe the old, Viering and Piesker took over the strange roles. Ludwig had ceded the most difficult characters in the funeral games as well as in the comedy in full recognition of his superiority.

And indeed, in addition to the childish incivility of the one and the easy hobby of the others, the happy attachment to facial expressions of character unequivocally emerged from him. He also possessed all that was required; a noble, slender figure, a sonorous, voluminous voice that swelled from the subtlest transformations to the mighty thunder of passion, an expressive face that reflected with unsophisticated art every movement of the interior. But his chief strength lay in another point; the poet made the actor with him. It was not the mimicry of the ordinary actor he gave, but he created himself when he played; he did not follow the poet on his own; he often supplemented and overtook him. It led him to a deeper, suspicious understanding of the poetry works. With the first words he spoke his role filled him completely, the deception became the truth, he changed into the strange character. He thought he was the person he portrayed, and was also close to the impression he made on his friends, on the spectators. At the moment when Otto von Wittelsbach (he played this role in the then popular piece of this name by Babo), spurred on by the feelings of mortal insult and black indignation, became a murderer, he seized him by the strangely dark words: What do the dogs want with their barking? “An inner rage, such an out-of-sortsness in the true sense of the word, that Wackenroder, who played the Emperor, and his surroundings shyly withdrew before him, because they seriously feared he could do a mischief ,

He had a not insignificant success in humorous roles, in which he let shoot his whimsical whim full rein; as Falstaff, where Wackenroder appeared again as King, Hensler as Prince, Toll as Percy next to him. If, on the other hand, he observed the play of his friends, it did not seem to them that they were serious enough, as if they were dual beings in their roles, whose outer half did not suit the inner ones. If he himself had a role model in his depictions, it was stain, and he might try to evoke the impressions he had received from that in his leading roles.