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Weird Tales

BY

E. T. A. Hoffmann

A NEW TRANSLATION FROM THE GERMAN

WITH A BIOGRAPHICAL MEMOIR

By J. T. BEALBY, B.A.

FORMERLY SCHOLAR OF CORPUS CHRISTI COLLEGE, CAMBRIDGE

IN TWO VOLUMES
VOL. II.

NEW YORK

CHARLES SCRIBNER'S SONS

1885

TROW'S
PRINTING AND BOOKBINDING COMPANY,
NEW YORK.

CONTENTS OF VOLUME II.

THE DOGE AND DOGESS
MASTER MARTIN THE COOPER
MADEMOISELLE DE SCUDÉRI
GAMBLER'S LUCK
MASTER JOHANNES WACHT
BIOGRAPHICAL NOTES

THE DOGE AND DOGESS1

This was the title that distinguished in the art-catalogueof the worksexhibited by the Berlin Academy of Arts in September, 1816, a picturewhich came from the brush of the skilful clever Associate of theAcademy, C. Kolbe.2 There was such a peculiar charm in the piece thatit attracted all observers. A Doge, richly and magnificently dressed,and a Dogess at his side, as richly adorned with jewellery, arestepping out on to a balustered balcony; he is an old man, with agrey beard and rusty red face, his features indicating a peculiarblending of expressions, now revealing strength, now weakness, againpride and arrogance, and again pure good-nature; she is a youngwoman, with a far-away look of yearning sadness and dreamy aspirationnot only in her eyes but also in her general bearing. Behind them is anelderly lady and a man holding an open sun-shade. At one end of thebalcony is a young man blowing a conch-shaped horn, whilst in front ofit a richly decorated gondola, bearing the Venetian flag and having twogondoliers, is rocking on the sea. In the background stretches the seaitself studded with hundreds and hundreds of sails, whilst the towersand palaces of magnificent Venice are seen rising out of its waves. Tothe left is Saint Mark's, to the right, more in the front, San GiorgioMaggiore. The following words were cut in the golden frame of thepicture.

Ah! senza amare,

Andare sul mare

Col sposo del mare,

Non puo consolare.

To go on the sea

With the spouse of the sea,

When loveless I be,

Is no comfort to me.

One day there arose before this picture a fruitlessaltercation as towhether the artist really intended it for anything more than a merepicture, that is, the temporary situation, sufficiently indicated bythe verse, of a decrepit old man who with all his splendour andmagnificence is unable to satisfy the desires of a heart filled withyearning aspirations, or whether he intended to represent an actualhistorical event. One after the other the visitors left the place,tired of the discussion, so that at length there were only two menleft, both very good friends to the noble art of painting. "I can'

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