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 ^^\m^^
 
 EARLY INFLUENCE 
 
 OF 
 
 GERMAN LITERATURE 
 
 IN 
 
 AMERICA. 
 
 BY 
 
 FREDERICK H. WILKENS. 
 
 Reprint No. 1 
 
 AIVlERICANA OERMANICA 
 
 Vol. III. No. 2 
 
 Publishers: 
 
 IRew IL'orft: TLon&on: 
 
 THE MACMILLAN COMPANY MACMILLAN & CO., Lt'd 
 
 JSerltn: 
 MAYER & MULLER
 
 UNIVERSIl^:;' Or TALIFORNIA 
 A<i? SANTA BARBARA 
 
 EARLY INFLUENCE OF GERMAN LITERATURE 
 IN AMERICA. 
 
 Any retrospect of the civilization of the United States during 
 the centur}^ now drawing to a close would be incomplete if it 
 neglected to give due recognition to the influence of German 
 culture on the higher artistic and intellectual life of the nation. 
 In the pursuit of knowledge in all its forms, in the cultivation 
 of literature, music, and the arts, the influence of Germany has 
 been deep and inspiring. Any one of these fields offers ample 
 rewards to the student of the cultural relations of the two 
 people. Confining ourselves to literature alone, the relations 
 between Germany and the rich literary and intellectual life of 
 New England during our century are so well known as to 
 form an open chapter in the history of American literature. 
 Since the time when Ticknor and Everett (in 1815) and, follow- 
 ing them, many of the greatest intellects of our country sought 
 inspiration at the shrines of German learning, and became 
 prophets of German literature, which they had learned to 
 appreciate, the influence of German culture on our national life 
 has never ceased. German literature, while it was still a privi- 
 lege of the chosen few who craved new revelations, probably 
 acted upon the hearts with an intensity which has passed away 
 now when its highest efforts have won the restful distinction of 
 classic literature. The stream flows broad, majestic, and 
 imperturbable at the present time and bears many crafts. 
 While the knowledge of German in the beginning of our
 
 4 Early hifluence of German Literature in America. 
 
 century was so rare as to confer distinction, it has long become 
 a requisite of general education and has attained a vogue which 
 would probably have seemed a sheer impossibility a hundred 
 years ago. 
 
 It is the purpose of this study to deal with the influence of 
 German literature in America during an earlier period when 
 the German language was practically unknown, and when the 
 significance of German culture and literature was but imper- 
 fectly appreciated.' It would be unreasonable to censure our 
 country for this ; it will rather be our aim to unfold the causes 
 to which this want of understanding was due. 
 
 It is in the nature of things impossible to draw a sharp 
 boundary line between different phases of literary development. 
 It has been deemed advisable, however, to confine these observa- 
 tions to a period including and antedating the first quarter of our 
 century. This is a period upon which the historian looks with 
 somewhat unj ustifi*able soreness of heart ; it is the time of plentiful 
 American reprints of the issues of the English press, with but few 
 original contributions of any value. The mournful complaint 
 of the American author of the time about want of encouragement 
 dins in our ears on turning over the pages of long-forgotten 
 American reviews. It was hard for him to realize, or, when 
 realized, to acquiesce in the fact that it was impossible for him 
 to compete with the accepted classics of English literature and 
 the new developments of the end of the last and beginning 
 of the new century. A literary movement, however, cannot be 
 made to order, and we do well to derive some satisfaction from 
 the fact that the American public, with much trash, read much 
 that was valuable, even though not a native product. 
 
 It would be useless to claim that America could vie with 
 England or Germany in appreciation of literature. American 
 civilization was far too conservative to permit of that play of 
 
 ^ The consideration of German literature among the Germans of Pennsyl- 
 vania does not fall within the scope of our article. On this subject many 
 interesting communications have been made in the pages of Americana 
 Germanica and elsewhere.
 
 Frederick H. Wilkens. 5 
 
 sentiment and imagination, or to favor the experimental 
 handling of social problems, a certain amount of which is an 
 absolute requisite for art production, or even art appreciation. 
 The radicalism introduced by the French Revolution was un- 
 doubtedly helpful to bring into favor certain products of German 
 literature like the works of Schiller and Kotzebue. But it is 
 well known that the French Revolution affected the political 
 life of the nation more than its intellectual or art life. Con- 
 ceding all this, it is nevertheless true that the American public 
 was always a reading public. Charles Brockden Brown ex- 
 presses himself on this subject in words that evidently reflect 
 his convictions:^ "Ill-informed persons might draw false infer- 
 ences from the scarcity of original books among us. . . . 
 America is probably as great a mart for printed publications as 
 any country in the world ; the proportion of readers is probably 
 not exceeded even in England and Germany." He also refers to 
 the difficulty of forming a bibliography of these publications 
 owing to the fact that there were twenty to thirty publishing 
 towns in the United States. 
 
 These reprints give us the best idea of the extent to which 
 English works were circulated in this country, and they deserve 
 attention from this point of view. We cannot depend for our 
 information on reviews or annual catalogues or any of the other 
 means we have at the present day for obtaining a knowledge of 
 new publications. During the last century the problem was 
 attempted again and again, but never solved satisfactorily, how 
 to produce a periodical publication of sustained vitality. Scores 
 of reviews and magazines were started, each one according to 
 the sanguine hopes of the editor the successful periodical of the 
 future, but all perished after more or less protracted struggle. 
 There is something irresistibly comic in this constant repetition 
 of the same experience, unless we should feel inclined rather to 
 respect our ancestors for their tenacity in the face of adverse 
 fortune. We must remember the small size of even the princi- 
 
 ' The American Register and General Repository for 1806-07, Vol. I.
 
 6 Early bijiiience of Germari Literahire in America. 
 
 pal towns of the country and the restricted local circulation of 
 such magazines, to appreciate the difficulty of the task. Even 
 when reviews, towards the beginning of the century, had some 
 hope of greater longevity, reprints do not form, as a rule, a sub- 
 ject for their consideration unless they set aside part of their 
 space for a list of books newly published in America. 
 
 From the fact that a practical acquaintance with German was 
 extremely rare in America during our period it is clear that 
 German literature must reach our country, if at all, through the 
 medium of reprints of English translations. This was the case. 
 The few original translations from the German made in America 
 during this early period will receive attention in proportion to 
 the rareness of any such efforts. Strictly speaking the reprints 
 of translations should be judged in connection with the whole 
 subject of American reprints. The fact is frequently empha- 
 sized by contemporary and modern writers that reprinting was 
 done in an absolutely indiscriminate fashion, the stamp of 
 approval by an English audience being sufficient to obtain cur- 
 rency for a work in America. We may concede the general 
 truth of this remark and still hold the opinion that the attitude 
 of the American public must have been a selective one, in some 
 ways, towards the large mass of prints that flowed in from 
 England directly or through the intermediary of reprints. To 
 deny this fact would be equivalent to denying the difference 
 between the political and social development of England and 
 America. Such investigations do not to my knowledge exist, 
 leaving us to interpret, to the best of our means, the special 
 significance which these reprints of German translations pos- 
 sess for America.^ 
 
 While the reprints of English literature give us the best idea 
 what books were more or less extensively read, it is hardly 
 necessary to mention that many books were imported from 
 
 ^ That the significance of these reprints is not overlooked is shown by the 
 fact that they are usually enumerated with the originals in modem biographical 
 works on English authors. To obtain trace of them is the principal difficulty.
 
 Frederick H. IVilkens. 7 
 
 England, or in the form of Dublin reprints. Among these were 
 many works that appealed only to a limited circle of readers 
 and found a place on the shelves of the society libraries that 
 existed in all the larger towns of the country, or in the collec- 
 tions of the educated book lover. Among this class of litera- 
 ture were many translations from the German which it would 
 not have paid to reprint in America. Circulating libraries fur- 
 nished the public with abundant reading, much of it of an 
 ephemeral character. 
 
 While it has been our duty to call attention to the imperfectly 
 developed sides of American culture, in order not to appear 
 guilty of seeming to enhance the value of our discussion at the 
 expense of truth, it would be as unfair to hide the brighter 
 sides of the picture. Among the conditions favorable to literary 
 appreciation may be mentioned the respectable and established 
 intellectual culture of Philadelphia, the tendency of Boston 
 towards intellectual predominance, the first signs of which made 
 themselves felt by the beginning of our century, and the ambi- 
 tious attempts of the literary circles of New York during the 
 end of the eighteenth and beginning of the nineteenth century 
 which presaged the coming of greater lights of literature. 
 Apart from the fact that reading was general (as already stated), 
 eloquence in all its forms, as pulpit, forensic, and parliamentary 
 eloquence, appealed to Americans, and we often hear the claim 
 advanced in the beginning of our century that America excels 
 all nations in forensic eloquence. We need only refer to the 
 fact that the beginnings of Cooper and Washington Irving' fall 
 within our period, not to mention the earlier, highly creditable 
 work of Charles Brockden Brown. After these introductory 
 remarks — to say more would carry us away too far from the 
 purposes of our investigation — we may proceed to the considera- 
 tion of our subject. 
 
 ' Both Cooper and Irving enjoyed the greatest popularity in Germany. We 
 could quote several examples of eminent German authors and critics 
 declaring Irving to be their favorite author.
 
 <^ 
 
 8 Early hifiueiice of Germaii Literature i7i America. 
 
 Gessner and Klopstock. 
 
 The first work of German literature that reached America 
 proved also the most popular of all, not only during the time when 
 it was comparatively new, but almost during the whole period of 
 sixty years and more, of which we are treating. In the year 
 1762 the first American reprints of Gessner's Death of Abel ap- 
 peared, and from that period till 1820 scarcely a decade passes 
 without furnishing us with a number of reprints of this work, 
 which enjoyed the greatest popularity both in England and 
 America. I have enumerated in all seventeen reprints of the 
 same, without claiming to have stated the full number actually 
 printed.* 
 
 It is difficult enough for us to appreciate at the present day 
 Gessner's Idylls^ which at one time formed the delight of the 
 world of belles-lettres. It is still more difficult to appreciate 
 the Death of Abel^ which was taken quite seriously in its day. 
 Every page breathes sentiments of the loftiest virtue with a 
 monotony that makes the work unreadable even for the most 
 patient reader of modern times. In spite of its virtuous tone 
 the work aroused some opposition in England on account of its 
 free treatment of a biblical subject. Whether such objection was 
 raised against it in America I have not been able to ascertain. Its 
 great popularity makes it reasonably certain that it was regarded 
 as a work of highly acceptable nature. I have found traces of 
 the fact that it was used in America as a gift book, just as in 
 England. Gessner was an especial favorite with ladies, so 
 that it is not astonishing to find that "a Lady" wrote a work in 
 imitation of the Death of Abel^ entitled The Death of Cain 
 (London, 1790?). This product of an imitator, written in a 
 turgid, inflated style, as if intended as a caricature of Gessner, 
 found its way to America and was several times reprinted and 
 sometimes bound in with the Death of Abel. 
 
 ^ For further information in this and similar cases it will be sufficient to refer 
 here to the appended "List of Translations," with an index containing the 
 reprints arranged under the head of authors, and with date stated.
 
 Frederick H. Wilkens. 9 
 
 About the beg-inning of our ceutury (1802) we find three re- 
 prints of Gessner's Idylls ; in two cases the Idylls are preceded 
 by the Death of Abel. With some difficulty it is possible for 
 the modern reader to appreciate the attitude of past generations 
 towards these much admired idylls. Gessner possessed an 
 artistic perception for nature that would make him particularly 
 acceptable to the English public ; it must be confessed, how- 
 ever, that this did less to endear him to the English (and presum- 
 ably American) reader than his "affecting simplicity and 
 sentimentality." 
 
 The *' divine Gessner " proved himself an inspiration to other 
 sentimental dabblers in literature than the " Lady " already men- 
 tioned. It would hardly be possible to find a style that is more 
 easily imitated than Gessner's sweetly sentimental effusions. 
 We often find palpable imitations of Gessner's style among the 
 " original " efforts of American writers in the ephemeral maga- 
 zines of our period. Selections from Gessner himself are also 
 quite frequent. 
 
 The principal literary significance of the Death of Abel is 
 probably the fact that it popularized Klopstock's style of reli- 
 gious poetry among English-speaking peoples. The first English 
 translator of Klopstock's Messias expressed this in a form that 
 seems somewhat astonishing to us, when he advertised the 
 Messiah as being "in the manner of the Death of Abel.'''' The 
 Messiah did not enjoy equal popularity with the lighter and 
 shorter Death of Abel. Still the existence of three early Ameri- 
 can editions (1788, 1795, 181 1) proves that there was a constant 
 demand for the work and sets us thinking what class of readers 
 were in the habit of perusing this work, which has always been 
 considered a trying one to the patience of the average mortal. 
 The explanation lies in the fact that the people of the last 
 century were accustomed to a much heavier style of religious 
 and contemplative reading than at the present day. Schubart, 
 the German poet, found the common people far more suscepti- 
 ble to the beauties of Klopstock than the over-educated. Let 
 us hope, too, that many American readers among the people
 
 lo Early Influence of German Literature in America. 
 
 derived inspiration from the poem, which could not easily be 
 the case with the more cultured. It is necessary to remember 
 that the poetic bloom of the original was lost in the indifferent 
 prose translation. Nevertheless a Rev. Solomon Hailing, of 
 South Carolina, drew his inspiration from this prose version when 
 he attempted in 1810 the first book of the Messiah in English 
 blank verse. He was evidently without knowledge of German.^ 
 
 The "German Drama" in America.^ 
 
 Probably no development in the realm of German literature 
 was so tangible to the American public, and so forced upon its 
 notice, during our period, as the " German Drama." The name 
 conjures up in our mind visions of the master works of Schiller, 
 Goethe, and Lessing. Not so to the American lover of the 
 drama at this time. Kotzebue dominated the stage, as well as 
 the minds of the public, and Schiller received an added lustre, 
 if his creations (as far as they were known in America at that 
 time) could stand comparison with the " German Shakespeare."^ 
 Kotzebue is a fallen idol. So great is the difference between 
 the popular adoration once accorded him and his present total 
 neglect that few care whether even the small measure of justice 
 that is his due is meted out to him. Needless to say that 
 Kotzebue' s world-wide reputation is not without good founda- 
 tion. 
 
 A few words will express all that need be said about the 
 
 ' Cf. 141. A reprint of the Memoirs of Frederick and Margaret Klopstock, 
 Philadelphia, etc., 1810 (No. 140), shows that there was a certain amount of 
 interest in Klopstock's life among the American public. With the Messiah 
 editions printed in New Jersey, New York, and Massachusetts, and the South 
 also heard from, we recognize that Klopstock's name was rather well known in 
 America. We find him referred to now and then as the celebrated Mr. Klopstock. 
 
 ^ Numbers used without further specification refer to the appended " List of 
 Translations." 
 
 'We have proof of the general interest that Kotzebue's works excited in the 
 popularity that his autobiographical works possessed. The American maga- 
 zines of the beginning of the century frequently contain biographical notices of 
 Kotzebue, which is a very rare thing in regard to the contemporary authors 
 writing in a foreign language.
 
 Frederick H. Wilkens. 1 1 
 
 German drama, before considering the prevalence of Kotzebue 
 and the active efforts of William Diinlap to introduce his plays 
 on the American stage. A translation of Lessing's Miss Sara 
 Sampson appeared in 1789 (or 1790?) from the hands of David 
 Rittenhouse, a Pennsylvanian, celebrated in his day as a scien- 
 tist.^ The translator says of it : "This translation was attempted 
 at the request of a friend ; and the many virtuous sentiments 
 and excellent lessons of morality it contains, will apologize for 
 its being offered to the public. To young ladies it may afford 
 useful instruction, and it will, from the nature of the distress, 
 be particularly interesting to them." It is of interest as one of 
 the earliest translations of a German drama into English. I 
 cannot find any record that the piece was ever performed on 
 the stage. Lessing's Minna von Barnkelm^ however, found its 
 way from England to the American stage and was performed at 
 Charleston, S. C. (1795), and Philadelphia (1796) under the 
 title The Disba7ided Officer^ or the Baroness of Briichsal^ the 
 title given it by the English adapter, Johnstone.^ Schiller's 
 Robbers was performed at New York, May 14, 1795, "to which 
 the company was pronounced unequal." ^ Reynold's Werter 
 and Charlotte^ a dramatization of Goethe's Wcrther^ was pro- 
 duced at New York and Boston in 1796 and 1797.* 
 
 Among the early friends, in America, of German literature, and 
 the German drama in especial, no one deserves so much our atten- 
 tion as the man of whom we subjoin a short biographical notice. 
 
 * W. Barton, Memoirs of the Life of David Rittenhouse. Philadelphia, 1813, 
 p. 495. It is to be presumed that Rittenhouse, whose ancestors were Dutch, 
 learned German from his Pennsylvania German surroundings. I have not been 
 able to trace a copy of Lucy Sampson. 
 
 '^G. O. Seilhamer, History of the American Theatre, 1792-1797, Philadelphia, 
 1891, pp. 207, 214, 217, 282, 283. About this adaptation cf. G. Herzfeld, William 
 Taylor von Norwich, 1897, p. 8, H. W. Singer, Studien zur Litteraturgeschichte, 
 M. Bernays gewidmet, 1893, pp. 8-10. 
 . * Seilhamer, pp. 11 1, 116. 
 
 *Seilhamer, pp. 317, 324,358, 369, 383, 395. The production of the Harle- 
 quin Dr. Fatistus, Philadelphia, June 3, 1796, might also be mentioned, on 
 account of the interest attaching to the story of Dr. Faustus. Cf Seilhamer, 
 207, 214, 218.
 
 12 Early Influence of German Literature iyi A?nerica. 
 
 William Dunlap was born at Perth Amboy, N. J., in 1766. He 
 went to Loudon in 1784 where he remained several years, study- 
 ing painting with Benjamin West. He was connected with 
 the management of the old John Street Theatre, New York, in 
 1796. In 1798 he assumed the management of the Park Street 
 Theatre. After the financial failure of his theatrical venture in 
 1805 he went back to painting, and, among other occupations, 
 served for a time as assistant paymaster of the New York militia 
 (1814-1816). Dunlap was the author of numerous translations 
 from the German and of a number of original dramas, and his 
 knowledge of the stage and painting enabled him to become 
 the historian of the American theatre and of American art. His 
 life was an unsettled one from want of permanent success in his 
 various ventures. He died at New York in 1839. We would 
 perhaps wrong Dunlap if we held him responsible for his want 
 of success. Dunlap did not escape the lot of those who attempt 
 to cultivate art in America without a main view to popular 
 demands and the business aspects of the situation. His name 
 is now appropriately honored by a society bearing his name, 
 whose aim it is to revive a knowledge of Dunlap and his writ- 
 ings, and to furnish information about the history of the early 
 American theatre.^ 
 
 When Dunlap entered on his duties as manager of the Park 
 Street Theatre at New York in the autumn of 1798, the most 
 profitable part of the season (September) was lost, the theatre 
 not being completed, so that the first performance could not 
 take place till December 3. Under these circumstances Dunlap's 
 venture was saved by bringing out Kotzebue's Stranger 
 [Menschenhass tind Reiie)^ which had already gained the height 
 of popularity in England. The success of this piece — " un- 
 doubtedly owing to the merits of Kotzebue " — alone enabled 
 him to keep the theatre open. It was an adaptation written by 
 Dunlap on the basis of a poor translation from the German, 
 
 'The publications of the Dunlap Society are not as frequently found in public 
 libraries as they deserve. Further information about Dunlap may be found in 
 his writings and the ordinary means of biographical and literary reference.
 
 Frederick H. Wilkens. 13 
 
 and was played for the tenth time on the eighth of March, 1799. 
 This was a long run at that period.^ 
 
 The success of the piece determined Dunlap to study German. 
 The study of that language is surrounded, at the present time, 
 by a prosaic atmosphere both for pupil and teacher. Dunlap 
 had the privilege of receiving his instruction from a highly 
 romantic individual, "a victim of the Inquisition," who enter- 
 tained him with a narrative of his life quite in the fashion of 
 the Tales of Horror, in which German literature held the 
 undoubted supremacy in the estimate of the English and 
 American reader.^ Dunlap's unaffected style rises to serious- 
 ness and grandiloquence as he dwells on the tale of this man, a 
 Swiss, who told him that he was devoted by his parents to the 
 priesthood, and that, while serving in Spain as chaplain to a 
 Swiss regiment, he was cast into the prisons of the Inquisition, 
 kept immured for two years, and submitted to cruel torture, for 
 attempting to escape with a Spanish lady, of whom he had 
 become enamored. 
 
 When speaking of the fact that he was consecrated to the 
 priesthood before he was born, "his eyes, which had glared 
 furiously while he spoke, became dim — his teeth grated, and 
 then became fixed — his hands were clenched — his whole frame 
 convulsed — an hysteric laugh relieved him — tears followed " — 
 
 ' Cf. William Dunlap, History of the American Theatre, London, 1833, Vol. 
 II, p. 8r. This work and Ireland's Records of the New York Stage have fur- 
 nished the principal information about Dunlap's management of the New York 
 Theatre. It was also possible to verify these dates for the seasons 179S-1799, 
 1799-1800, 1800-1801, in files of New York newspapers of the time. These files 
 were in general fairly complete, but January and February, 1801, were missing. 
 The number of performances that each piece went through are given in the 
 notes, as far as records could be obtained. If we consider that performances 
 were given only three or four times a week, we can estimate the great popu- 
 larity which the " German Drama " enjoyed. The Strayiger was played 
 December 10, 12, 17; January i (1799), 16, 30, February 6, 18, March 2 ("for 
 the last time this season "), March 9 ("by particular desire "), April 12 ("by 
 particular desire, and positively for the last time this season"); January 15 
 (1800), February 26 ; June 12 (1801). 
 
 ^Dunlap, Vol. I, pp. 391-401.
 
 14 Early bifiuence of German Literature in America. 
 
 etc. When Dunlap observed his morbid sensibility " the image 
 of that power \i. e. the Inquisition] which had broken down 
 such a frame and such a mind immediately presented itself." ^ 
 
 Dunlap gained such facility in reading German that he may 
 be regarded as a very satisfactory translator according to the 
 standards applicable to a time when German studies were in 
 their infancy. 
 
 Dunlap did not neglect the opportunity for further theatrical 
 successes offered by the popularity of Kotzebue's pieces. On 
 March ii, 1799, his version of Kotzebue's Lovers Vows {Kind 
 der IJebe) was played with full success.^ The public and 
 performers were so well satisfied with this translation that, 
 many years after, it was frequently played in preference to the 
 London copy.^ 
 
 " On the first of April, the play of Count Benyowski was 
 brought out with great expense and care. The audience was 
 much gratified, and expectation, though on tip-top, fully satis- 
 fied. The costumes of Russia and Siberia were strictly con- 
 formed to, and the snow and ice scenes of Kamschatka would 
 have been invaluable in the dog-days." "The play was well 
 performed for a first representation. It is necessary to say that 
 the literal translations of Count Benyowski can give no idea of 
 the drama as prepared for the New York stage. "^ It was played 
 at intervals for some fifteen years.^ 
 
 Encouraged, probably, by the gratifying success experienced 
 so far in introducing the " German Drama ", Dunlap ventured 
 on a bold undertaking. " The next play of note, as a novelty. 
 
 1 Dunlap, Vol. I, pp. 393, 394. 
 
 ' Dunlap, II, p. 95. Dunlap is mistaken when he states that his version of 
 Lovers' Vows was never published. It was published in 1814 (No. 158). 
 Lovers' Vows was played March 11, 18 (third time), 21, 29, April 8, 19, May 27, 
 November 22; October 20 (1800). 
 
 3J. N. Ireland, Records of the New Vork Sta^e, New York, 1866, Vol. I, 
 p. 185. 
 
 * Dunlap, II, p. 96. Count Benyowski was played April i, 3, 5, 20; January 
 22 (1800), February 8. 
 
 * Ireland, I, p. 185.
 
 Frederick H. Wilkens. 15 
 
 was Schiller's Don Carlos^ performed on the sixth of May, 1799." 
 Dunlap was compelled to curtail the piece to bring it within the 
 limits permitted to a play on the American stage, and it was 
 curtailed still more during the performance. " It was unmerci- 
 fully shorn of its beams." Although the attendance was satis- 
 factory, to judge by receipts (676 dollars), it could hardly be 
 expected that the piece would appeal to the existing taste. It 
 was not repeated. This was, according to Dunlap, the first 
 performance of Schiller on the American stage.^ On May 10 
 a second piece of Schiller was performed according to Ireland, 
 namely, Kabale and Liebe^ in the translation of M. G. Lewis 
 entitled The Minister -^ and on June 14, according to the same 
 authority, a comedy from Kotzebue, by Dunlap, called The 
 Indians in England^ or^ Nabob of Mysore {Die Indianer in 
 England)? When the season 1798-99 came to a close Dunlap 
 had performed on his stage four pieces of Kotzebue and two of 
 Schiller. 
 
 During the summer, while the theatre was closed, Dunlap 
 retired to Perth Amboy and employed his time in translating 
 Kotzebue's False Shame and turning Kotzebue's " farce " Der 
 
 > Dunlap, II, p. 97. To give an idea under what conditions a piece like Don 
 Carlos was performed in an American theatre of the time, I quote part of an 
 advertisement from the Daily Advertiser of that date: " The last night of per- 
 forming for the benefit of the lessee of the theatre. A celebrated tragedy 
 written by Frederick Schiller, author of the Robbers, etc. , called Don Carlos. 
 Between the play and the opera, a melodrama, called Ariadtie abandoned on 
 the Isle of Naxos. To which will be added the very popular comic opera of the 
 Prize. ' ' 
 
 Dunlap was not quite accurate in stating that this was the first performance 
 of Schiller in America. We have noticed an earlier performance of the Robbers. 
 
 'Ireland, I, p. 186. After the Minister was to be given, a comedy in two acts 
 called The Deuce is in Him. Between the play and farce was to be spoken a 
 eulogy on General Washington (New York Daily Advertiser). The Minisiet 
 was performed May 10 (1799), June 10 ( " for the second time the very popular 
 tragedy called I'he Minister;' etc.), December 20. These three performances 
 prove that the drama enjoyed a certain amount of popularity. 
 
 s Ireland, I, p. 187. It does not appear by what authority Ireland attributes 
 this version to Dunlap. Dunlap {History of American Theatre, II, p. 383) 
 mentions Indians in England among his works and adaptations for the stage.
 
 i6 Early Infiuence of German Literature in America. 
 
 Wildfang into an opera which he called the Wildgoose Chase} 
 On October ii Dunlaphad the gratification of receiving a letter 
 from Kotzebue, " in which he [Kotzebue] expresses his pleasure 
 that the favourable reception of his muse in America should 
 be owing to his correspondent [Dunlap]." Kotzebue offered 
 to sell Dunlap a number of his unpublished pieces, with the 
 same right as that given to Covent Garden, to resell to the 
 American stages, under guarantee that the pieces should not be 
 printed. Dunlap does not mention his entering on any such 
 arrangement ; nor does it seem that any such arrangement was 
 practical for America.^ 
 
 On November 29, 1799, was played, for the first time, Kotze- 
 bue's Self-Immolation., or., Family Distress {Der Opfertod). It 
 was unsuccessful and is not even mentioned by Dunlap.^ The 
 comedy of False Shame., however, as translated and adapted by 
 Dunlap, " was performed with the utmost success on the eleventh 
 December, 1799." "This play, without scenery or decoration, 
 by plain dialogue and natural character, supported the theatre 
 this, the second, season of the author's direction. As in the 
 case of The Stranger., it ran through the whole winter. The 
 Force of Calumny., Fraternal Discord'^ (from the same pen), 
 and other pieces did their part, but False Shame was the pillar 
 on which all rested." Dunlap thus dwells with particular 
 delight on the success of this comedy, which he states was 
 excellently acted in the principal parts.** 
 
 'Dunlap, II, p. 118. 
 
 ^Dunlap, II, p. 119. The Commercial Advertiser of November 21, 1799, 
 contains after the announcement of the next play {Lovers^ Vows^ November 22) 
 the statement: " We have authority to say that those manuscript pieces which 
 by contract are not to be printed for many years yet to come, will be forwarded 
 to the director of the New- York Theatre immediatel}' from their illustrious 
 author." This may be nothing more than a boast made for the sake of adver- 
 tisement, based on Kotzebue's proposal. At the same time it is possible that 
 Dunlap had entered upon negotiations with him. 
 
 ' Ireland, I, p. 190. Played November 29, December 2. 
 
 * I cannot find a record of a performance of this piece till the next season. 
 
 ^Dunlap, II, pp. 121, 122. The original MS. (4°, not paged) is in the Harris 
 Collection of American Poetry, Providence, R. I. False Shame was plaj'ed 
 December 11, 13, 18; January 6 (1800), 17, February 3, 22, April 25; March 25 
 (1801).
 
 Frederick H. Wilkens. 1 7 
 
 '■'■ Der U'ildfang^ as translated and metamorphosed into an 
 opera, called the Wildgoose Chase^ was first performed on the 
 twenty-fourth of January (1800), and continued a favorite as 
 long as Hodgkinson continued to play the Young Baron. The 
 Force of Calumny had likewise been successful ; ^ but the 
 secession of Mr. Cooper in March was a severe blow to the 
 theatre and its receipts. However, Kotzebue, with the man- 
 ager's industry, kept up the business. The Virgin of the Sun 
 was brought out at great expense, with splendid scenery and 
 dresses, and was attractive through the season,^ Pizarro^ com- 
 posed from the oiiginal and Sheridan's alterations, was performed 
 on the twenty-sixth of April ; the concluding scene by Sheridan 
 was omitted, and the sublime last lines of the author preferred.'* 
 These two pieces, with all their faults, have great merit, and 
 deserved the thanks of the ' manager in distress.' "^ 
 
 Ireland records further performances of Kotzebue's plays. 
 The Cotmt of Burgundy was brought out on March 3.® On 
 April 21 was played for the first time Kotzebue's Corsicans^ or^ 
 the Dawnings of Love j' on May 5, Dibdin's farce from Kotzebue, 
 The Horse and the Widow^ {Die Wittwe und das Reitpferd)^ and 
 
 * Published New York, i8or (No. 67). The Wildgoose Chase was performed 
 January 24 (1800), 27, 29, February 19, April 10, December 19, 22. 
 
 2 The Force of Calumny was performed February 5 (1800), 7, 10, March 7. 
 
 3The version "probably by Dunlap " (Ireland, I, p. 192). Dunlap's version 
 was published New York, 1801 (No. 64). The Virgin 0/ the Sun was played 
 March 12 (1800), 14, 17, 19, 22, November 21, December 10; March 30 (1801). 
 
 ♦Published May 23, 1800 {Daily Advertiser of date). (No. 59.) Pizarro 
 was performed March 26 (1800), 27, 28, 31, April 2, 4, 10, 23, May 16, December 
 12, 15, 26; March 18 (1801). The performance of March 26, 1800, is advertised 
 as vSheridan's adaptation. For April 23 Dunlap's adaptation was advertised, 
 May 16, Sheridan's again, so that Dunlap seems to have used his own version 
 only as an experiment. 
 
 ' Dunlap, II, p. 123. 
 
 ® Ireland, I, p. 191 It was repeated March 5. Ireland states that the adapta- 
 tion was by Dunlap and was less successful than most of his adaptations. Dun. 
 lap does not mention it among his works {History of American Theatre, II> 
 
 P- 383)- 
 ' Ireland, I, p. 192. I cannot find any record that the piece was repeated. 
 
 * Ireland, I, p. 193. I do not find any record of a second performance.
 
 i8 Early Influence of Germa7i Literature in America. 
 
 on April 23, a sequel to the Stranger called The Stranger'' s 
 Birthday} 
 
 Ireland does not even exhaust the list of German plays given 
 during this season. By reference to the newspapers of the day 
 we find announcements of the following performances : April 
 16, Sighs ^ or^ the Daughter (Prince Hoare's adaptation of 
 Kotzebue's yj?rw////> tind Edelsinn)\ May 28, Kotzebue's /(9«;;z?m 
 of Montfaucon (adapted by Cumberland)-; June 6 (?), Kotzebue's 
 Happy Fa7nily^ {Die Silberne Hochzeit\ and most interesting of 
 all, April 7, " the favorite tragedy of the Robbers}''^ 
 
 We find on reviewing this year that Dunlap presented fourteen 
 pieces from Kotzebue that were new to his New York audience. 
 Indeed a most remarkable testimony to his enterprise as theatri- 
 cal manager. 
 
 Dunlap sums up the significance of the " German Drama " 
 for his theatre in the words : " The necessity for producing 
 these attractive novelties (Kotzebue's plays) rendered Hamlet 
 and Macbeth^ and all the glories of the drama for the time a 
 dead letter."'' 
 
 While Dunlap's enterprise appeared to the outsider to be 
 prosperous there was much discord and discontent within. 
 " Even those plays which attracted the public, and gave bread 
 to some and the means of destructive indulgence to others, 
 were stigmatized by the actors as Dutch Stuffs and by other 
 epithets equally characteristic. But why dwell on evils of this 
 disgusting kind?" Dunlap adds : " Can they be removed ?" ^ 
 
 " The new season opened on October 20, 1800, with Lovers' 
 
 * Ireland, I, p. 192. According to Ireland this was an original sketch by 
 Dunlap. In the newspaper announcements it is mentioned as a translation of 
 Kotzebue's Die edle Lilge. 
 
 2 Ireland notes a performance for January 23, 1801. Dunlap (II, p. 140) 
 mentions the piece under the season 1800-01. It was "without success com- 
 pared to former plays by this author. " 
 
 ' Dunlap (II, p. 136) mentions this piece under the season 1800-01. It " was 
 played unsuccessfully." 
 
 * The Robbers is announced again for June 3, 1801. 
 
 * Dunlap, II, p. 124. 
 « Dunlap, II, p. 125.
 
 Frederick H. Wilkens. 19 
 
 Vowsy "The first play the manager [Dimlap] produced this sea- 
 son was perhaps the most meritorious of the many translations 
 and alterations which came from his pen. Fraternal Discord^ 
 altered and adapted from Kotzebue's Briiders Zwist {Die Ver- 
 s'dhmmg oder der Bruder2wist\ was made more English, par- 
 ticularly in the pro7ninent characters of Captain Bertram and 
 his old brother — sailor and boatswain — than any of the previous 
 pieces from the same source. The two parts were most admir- 
 ably played, and nothing was ever finer of the kind than Jeffer- 
 son's sailor, except the gouty captain of Hodgkinson. The 
 merits of this piece have been so far acknowledged by English 
 managers and actors, and even by American audiences, as to 
 obtain a preference over the foreign version from the same 
 source."^ 
 
 On March 9 Dunlap's version of the Abbe de PFpee (by 
 Bouilly ) was played for the first time and was eminently successful.^ 
 Possibly Dunlap used Kotzebue's adaptation of the French 
 piece. 
 
 "The manager [Dunlap] had, in the midst of annoyance 
 from sources as adverse to literary exertion as can well be im- 
 agined, translated and adapted to the American stage the play 
 of Abdlino^ the Great BanditV Dunlap did not know at the 
 time who was the author. " The success of the piece was great, 
 both in New York and elsewhere. It was performed for the 
 first time in the English language, the eleventh of February, 
 1801."^ " Zschokke's Abdlino has been translated into most of 
 the languages of Europe, and brought forward on most of the 
 European stages under various disguises. It was first played in 
 a language foreign to its author, in New York, and only played 
 
 * Dunlap, II, pp. 134, 135. Fraternal Discord -wdLS published New York, 1809 
 (No. 132). I have noted performances on October 24 (1800), 27, December 19, 
 29; March 2 (1801). The foreign version is Dibdifi's Birthday, London, 1800. 
 
 * Dunlap, II, p. 146. I find performances announced for March 9 (iSoi), 13, 
 16, 20, April 6. 
 
 ' Dunlap, II, p. 142. Printed at least four times. (No. 96, 170.) Performances 
 took place February 11, March 2 (sixth time), 11, April 10, June 5.
 
 20 Early Influence of German Literature in America. 
 
 in America by its original title.^ Never was a play more suc- 
 cessful, or a successful play less productive to its author or 
 translator. It was overwhelmed with snow."^ 
 
 The next season (i 801-1802) we find Dunlap again busy 
 translating from the German, but his efforts are not so success- 
 ful as in the preceding years. " On the fourth of December, 1801, 
 a farce called Where is He? by the manager [Dunlap], from 
 the German, was played with success. The Force of Cahunny 
 was successful this season, but in the commencement the busi- 
 ness was a losing one."^ " On the twenty-sixth of March, 1802, 
 Schiller's Fiesco^ curtailed, was performed (Cooper playing 
 Fiesco) : it was coldly received."* It may be recalled in this 
 connection that Fiesco was not properly appreciated by the 
 German audience when first presented. The newspapers 
 announce a performance of the Wise Man of the East (Mrs. 
 Inchbald's adaptation of Kotzebue's Indianer in England^ for 
 June I (1801). 
 
 For the following season (i 802-1 803) Dunlap made only three 
 translations. " The manager [Dunlap] had translated from the 
 German and brought out, on the fifteenth of November (1802) 
 a play called Peter the Great. Mr. Cooper, Mr. Hodgkinson, 
 and Mrs. Whitlock were the principal performers, but the piece 
 did not live."'' Ireland further records" a performance, on 
 February 28, 1803, of a farce. The Good Neighbor (an adaptation 
 from Iffland), which was favorably received, and Dunlap men- 
 tions^ a performance, on March 30, of The Blind Boy^ altered 
 from Kotzebue's EpigraDim^ which was produced with small 
 
 ^M. G. Lewis {Rugantino, reprinted, New York, 18 to [No. 146]) and R. W. 
 Elliston {Abellino, reprinted, New York, 1806 [No. 113]) furnished adapta- 
 tions for the English stage in 1805. We see that Dunlap commits a slight error 
 in stating that his version alone went by the original title. 
 
 2 Dunlap, II, p. 143. 
 
 3 Dunlap, II, p. 160. 
 
 * Dunlap, II, p. i6r. 
 
 * Dunlap, II, p. 165. Printed, New York, 1814. (No. 160.) 
 « Ireland, I, p. 212. Printed, New York. 1814. (No. 156.) 
 
 ' Dunlap, II, p. 191.
 
 Frederick H. Wilkens. 21 
 
 success (" Parts much applauded ; it was never popular"). This 
 is, apparently, the last piece translated from the German by 
 Dunlap for the purposes of his theatre. Dunlap struggled on 
 for some time longer, but on January 22, 1805, the theatre was 
 finally closed. 
 
 We have spoken at some length of Dunlap's theatrical enter- 
 prises, and told the story as much as possible in his own words.^ 
 We feel the evident pleasure with which, after a varied career, 
 Dunlap looks back, as an aged man, on the period when the 
 successful novelties of the ' ' German Drama " made his manage- 
 ment, for a time at least, a success. Although he dwells with 
 satisfaction on his somewhat subordinate activity as translator 
 and adapter of plays, he shows the greatest fairness towards the 
 author who provided him with the most copious materials for 
 his enterprise. Speaking of the disparagement that the German 
 drama suffered in England, Dunlap says that he appreciated the 
 old English drama more, but would not depreciate the Germans 
 to the level of the modern drama manufacturers of England. 
 " As my admiration of the German dramatists was not founded 
 on the praise of English writers, so my opinion has not been 
 shaken by their censures."^ He accuses the English playwrights 
 of writing down the German plays when they became the rage 
 in England, and at the same time stealing from them "as 
 unconscionably as they berated them unmercifully." There is 
 much truth in this accusation. About the author whose works 
 w^ere the mainstay of the " German Drama," Dunlap expresses 
 the following opinion : " Kotzebue's great talent was facility of 
 invention ; his incidents are admirable ; his delineation of 
 character is often fine ; but many of his characters partake of 
 the age in which he lived, and of his own false philosophy and 
 
 •The information furnished by Dniilap seems to be in general exact. He kept 
 a diary (several of these are in the library of the New York Historical Society) 
 and presumably used it for writing his History of the American Theatre. In 
 minor matters there may be mistakes, or there may l)e some obliquity of vision 
 here and there, a thing which is almost unavoidable in memoirs. 
 
 » Dunlap, Memoirs of G. F. Cooke, London, 1813, Vol. I, p. 230.
 
 22 Early Influence of German Literature in America. 
 
 false estimate of the foundation on which society ought to 
 
 rest.'" 
 
 This judgment, though apparently tempered by a long lapse 
 of years, would probably receive further modification at the 
 hands of the most lenient modern critic. Nobody concedes 
 Kotzebue at the present day any ability in character delineation. 
 It would be difficult to find in the world's history another author 
 so specious and at the same time so entirely devoid of sterling 
 worth. Kotzebue's creations reveal the base metal to even the 
 slightest scratch, all his excellence is merely superficial. But 
 superficial excellence (if the phrase be permissible) Kotzebue 
 possesses in the highest degree. The conversation in his plays 
 is that of living persons, handled with equal skill whether two 
 or more characters are introduced. It is clear that when his 
 plays were impersonated on the stage by actors, persons of flesh 
 and blood, an effect must have been produced, on half-cultivated 
 minds, of highest truth to life. We should finally add Kotze- 
 bue's unscrupulous use of all the sentimental and humanitarian 
 foibles of the age, although he was by nature entirely incapable 
 of handling ethical questions. It has been the experience of all 
 times that the great mass of the reading public and of the 
 theatre-goers is satisfied with dummies reiterating the fashion- 
 able or popular sentiments of the hour. As long as Kotzebue's 
 sentimentality and sham heroism appealed to the public, or part 
 of the public, his pieces held their own. As soon as public 
 taste changed in these matters they fell into oblivion, and now 
 only the student of literature has occasion to pass over the waste 
 grounds of what was once a flourishing literary reputation. It 
 should be added, however, in justice to Kotzebue, that in the 
 field of low comedy the brilliancy and spontaneity of his wit, 
 though always inclined to the cynical or heartless, have kept him 
 a place on the stage during our century, at least in Germany. 
 
 It is interesting to note how Dunlap's endeavor to make the 
 stage an instrument of higher moral and artistic culture failed 
 
 * Dunlap, II, p. 90.
 
 Frederick H. Wilkens. 23 
 
 in the face of the same abuses that lower the drama at the 
 present day and cripple its possible influence for good. The 
 intense objection that the stage encountered from many on 
 moral and religious grounds and the attempts at legislative pro- 
 hibition of theatrical performances did not, it appears, deter society 
 from patronizing the theatre. The theatre certainly enjoyed a 
 proportionately greater popularity than it did during many 
 parts of our century. But the tendency toward the "star" 
 system and the temptation to consider the play merely as a 
 vehicle for an actor's skill, the necessity, on part of the manager, 
 of conforming to, instead of forming, the public taste, so as to 
 insure the necessary financial success — commercialism is an apt 
 name for this evil in the domain of art, — all these abuses 
 Dunlap felt as a heavy handicap or a positive hindrance. It is 
 not possible to enter into the consideration of these interesting 
 problems, which from the conservative character of American 
 institutions and, consequently, American life remain very much 
 the same at the present day. It was necessary, however, to call 
 attention to them so as to obtain a background for an estimate 
 of the significance of the " German Drama " in America. It 
 will be apparent from these remarks why Kotzebue's plays 
 enjoyed such a great vogue. Besides exploiting certain senti- 
 mental fallacies of the day they possess excellent qualities as 
 acting plays. Dunlap thought that his endeavors as a theat- 
 rical manager would have been crowned with better success, if 
 he had been able to conduct his theatre on the plan of the 
 model theatres of France and Germany, without all the petty 
 annoyances already enumerated. He casts a longing eye on 
 Goethe and Ifiiand in their capacity as managers of an ideal 
 stage. While it is not possible to tell how far some of the 
 knowledge of the German stage that Dunlap reveals in his 
 History of the American Theatre may have been acquired at a 
 later time, there can hardly be any doubt that during the period 
 of his active management he was well informed about the con- 
 dition of the German stage. 
 
 While the vogue and world-wide reputation of Kotzebue is a
 
 24 Early Influence of Germa^i Literature in America. 
 
 literary fact of some significance, the single works of Kotzebiie 
 are so lacking in artistic individuality as to deserve no minute 
 examination. For the same reason the single translations of 
 Dunlap do not call for a detailed examination, even if the 
 scattered materials were readily accessible for this purpose. 
 Dunlap shows himself, in the number of his pieces that I have 
 examined, as a conscientious translator. He follows his original 
 closely but with due attention to English idiom. Where the 
 difference between American and foreign customs is too marked, 
 or where passages seemed objectionable, he permitted himself 
 slight changes. For presentation on the stage the pieces had 
 to be shortened ; these omissions were indicated in the printed 
 text. Dunlap's knowledge of German was very good for a time 
 when even a smattering of the language was rare. His style is 
 simple and unaffected, giving him a decided advantage over many 
 of his English rivals, who embalmed Kotzebue's easy conver- 
 sational style in the somewhat elaborate and artificial English 
 prose style of the eighteenth century. We must keep in mind 
 that Dunlap attempted original dramatic writing, and while his 
 efforts, like almost all that was written for the American stage, 
 are lacking in permanent value, they take respectable rank 
 among the early productions of American literature. Genest, 
 the historian of the English stage, gives the preference, in most 
 cases, to the English versions, which had been adapted with 
 more freedom, but he also has words of praise, at times, for 
 Dunlap. One important diflference between Dunlap and his 
 English competitors was this: Dunlap possessed a knowledge 
 of German that was rare among practical playwrights. He 
 treated the intentions of his author with due respect, while 
 the English purveyors of dramatic literature tailored Kotze- 
 bue's pieces unscrupulously and to their hearts' content, 
 trimmed them and changed them to suit their conventional 
 ideas of what a drama should be.^ Since Kotzebue's plays. 
 
 •John Howard Payne's version oi^ Lovers* Vows affords a curious specimen ot 
 adapting. (Cf. No. 133, where Payne's own explanations are quoted. ) During 
 his stay in England (1813-1832) he made numerous adaptations of dramatic
 
 Frederick H. Wilkens. 25 
 
 whatever else their merits be, are loosely constructed it was 
 easy for every bungler to try his hand at improving them. 
 
 Dunlap had a rival who attempted to compete with him in 
 introducing Kotzebue to American readers. This rival was 
 Charles Smith/ a bookseller of New York, whose ambition 
 was directed toward translating all of the works of Kotzebue. 
 Be it that adverse criticism discouraged him,^ or be it that the 
 magnitude of the task broke down his resolution, it seems that 
 Smith did not translate more than three pieces of Kotzebue 
 (Nos. 50, 58, 68 [1800]), and then drifted the way of the ordi- 
 nary American publisher, appropriating the fruits of another's 
 labor by the easy process of reprinting English translations. 
 His reprints (1800, 1801) fill two volumes and part of a third, 
 (cf. No. 51) and represent probably the largest number of trans- 
 lations from the German printed by an American bookseller 
 during the early period. Smith's original translations would 
 hardly deserve mention, but for the fact that he comes in for 
 the indulgence which, by a general courtesy, is extended to 
 pioneers of a new movement. His translations are veritable 
 transliterations of the original, and one does not know how 
 much of this should be attributed to want of skill in handling 
 
 literature, principally from the French. Some of these adaptations may go 
 back to the German, but they do not necessarily fall within the province of our 
 article, as they were made for the English stage. The Congressional Library 
 has a manuscript translation of Schiller's Kabale imd Liebe, dated 1848, ascribed 
 to Payne. If it is genuine, it would be proof of German studies of the American 
 author. 
 
 Dunlap, to mention it here, did not hesitate to give his opinion about the 
 character of the English adaptations. He says. Memoirs of G. F. Cooke, 
 London, 1813 : " It became the interest of certain English writers to put it [the 
 brilliant German drama] down. The English translators succeeded in darken- 
 ing its brightness by a most thick, sometimes impenetrable, fogginess." 
 
 1 Some information about Smith may be found in Appleton's Cyclopedia oj 
 American Biography and in an article by Dr. Erancis, International Magazine, 
 New York, Vol. V (1852), p. 261. " I believe he was a New Yorker" (Francis). 
 
 'Smith's translations from Kotzebue were severely criticised in C. B. Brown's 
 Monthly Magazine and American Review for the Year iSoo, New York, Vol. 
 II, p. 133 ff. {The Count 0/ Burgundy), p. 225 {The Wild Youth). The third 
 drama translated by Smith was La Peyrouse.
 
 26 Early bifiuence of German Literature in America. 
 
 the English language and how much to his desire to be abso- 
 hitely faithful to his original. Smith shows himself often at 
 war with the rules of English grammar. If he was not of 
 German extraction but had acquired German by study later in 
 life, his knowledge of German deserves more credit than his 
 ability to express himself in English. 
 
 It is stated on good authority that the Rev. Will lived about 
 this time (1799) in New York and enriched American literature 
 by translations from the German.^ It has not been possible to 
 verify this statement and to determine the extent of his activity 
 in New York. 
 
 We have given Dunlap a lengthy consideration on account of 
 his individual efforts in introducing the German drama into 
 America. His merits in this direction will become apparent, if 
 we pass once more in review his activity and compare the number 
 of German plays acted under his management with those played 
 in London theatres. A number of these pieces were not produced 
 
 ^ Dr. J. W. Francis (1789-1861), who was an oracle on all questions pertaining 
 to old New York, makes this statement in his reminiscences {Internatio7tal 
 Magazine, New York, Vol. V, 1852, p. 261; Old Nezv York, New York, 1S58, 
 p. 46). Dr. Francis, who was of German extraction, during his youth attended 
 Rev. Kunze's German Lutheran Church, and was therefore acquainted with 
 German circles. Although many of the details furnished by him in regard to 
 early translators from the German are inexact, as he depended apparently on 
 his memory, it is more difficult to believe that he would record a person as re- 
 siding in New York, when there was no foundation for it. Old New York, 
 p. 46, he mentions him as having furnished translations from the German for 
 the John Street Theatre (evidently an error) and adds: "This accomplished 
 man, after but a short stay in New York, returned to Europe, where, in 1799, he 
 published in London, in two volumes octavo, a translation of Knigge's Practi- 
 cal Philosophy of Social Life. '' If these dates be correct, Francis could hardly 
 have a reliable personal recollection about Will. The directories of New York 
 of about that time contain no reference to the Rev. Will, but show other per- 
 sons of the same name, possibly relatives. A Henry Will was treasurer of the 
 Reformed Church and of the Musical Society. The Rev. Peter Will published 
 in England, between 1795 and 1799, a number of translations, designating him- 
 self as minister of the Reformed Congregation in the Savoy. I cannot trace him 
 afterwards in England for a long time, so that it is possible that he emigrated 
 to America. Francis assigns to him the translation of the Constant Lovers, 
 New York, 1799 (No. 42), Boston, 1799 (No. 41), New York, 1801 (No. 73).
 
 Frederick H. Wilkens. 27 
 
 on the London stage, at least not contemporaneously, according 
 to the authorities accessible to me. Such plays are : Schiller's 
 Don Carlos^ Fiesco, Kotzebue's Cot^nt Benyowsky, False 
 Shame^ The Force of Calumny^ The Stranger'^s Birthday^ 
 The Virgin of the Sun^ The Birthday {Epigrainm\ The Good 
 Neighbor (from Iffland), Peter the Great and WJiere is He ? 
 The performance of Dunlap's Wildgoose Chase {Wildfang) 
 preceded Dibdin's Of Age To-morrow^ the performance of Dun- 
 lap's Indiajis in England preceded Mrs. Inchbald's Wise 
 Man of the East^ as did his Abaellino the English adaptations. 
 In many cases, too, it would happen that Dunlap followed 
 with his adaptation a half a year or a year in the wake of the 
 London performance, as in the case of the Stranger^ Lovers' 
 FowSy Fraternal Discord, and Pizarro. Besides adaptations 
 from other hands, like Kotzebue's Self Immolation, The Count 
 of Burgundy, Sighs {Armut und Edelsinn), The Horse and the 
 Widow, foanna of Montfaucon, The Wise Man of the East, and 
 Schiller's Minister {Kabale U7id Liebe), that were performed on 
 the London stage, there were others of which a London per- 
 formance is not recorded, such as. The Corsicans, The Happy 
 Family. These pieces, principally from the versatile pen of 
 Kotzebue, covering the entire range of dramatic writing, would 
 have been indeed a splendid school of the drama if Kotzebue's 
 work possessed more solid worth. This is not the proper place 
 to enter upon an account of the character of these various 
 dramas.^ Nor is it necessary to enumerate here the many re- 
 prints of Kotzebue's pieces. A look at the index and the " list 
 of translations " will suffice to establish the fact that Kotzebue 
 outrivaled in popularity all other German authors. His popu- 
 larity is indeed a remarkable phenomenon in the chronicles of 
 literature. The predominance of the German drama existed at 
 other American theatres as well as at New York, but with this 
 difference, that while Dunlap endeavored to furnish his own 
 
 ' Cf. about Kotzebue and his work the biography of C. Rabany, Kotzebue, Sa 
 Vie, etc., Paris, 1893, and the literature referred to in Goedeke's Grundriss.
 
 28 Early Influence of German Literature in America. 
 
 adaptations, the other theatres were more often content to use 
 the versions of the English adapters/ Dunlap justly complains 
 of the indiscriminate preference whicn American audiences 
 showed for everything that had passed the tribunal of English 
 opinion. With all this prejudice to combat, some of Dunlap's 
 adaptations held the stage for a longer or a shorter time. They 
 were successfully introduced on the Boston stage and were 
 pla)-ed there for several years.^ Lovers' Vows and Frater^tal Dis- 
 cord^ as already mentioned, were frequently given the preference 
 over the English versions. Ireland records a special revival of 
 Dunlap's adaptations during the seasons 1814-1817.^ His 
 Abaellino gained an enormous popularity and was played in all 
 the American theatres. When later Lewis' translation of the 
 prose romance Abaellino was published under the title of the 
 Bravo of Vettice., it was reprinted in America with the first title 
 Abaellmo^ under which name Dunlap had made the story 
 popular. 
 
 A number of Kotzebue's pieces, like Pizarro., The Stranger^ 
 Lovers^ Vows., kept the stage during the whole of our period. 
 Indeed Pizarro and the Stranger did not pass from the boards 
 until comparatively recent times.^ It would be easy to fill pages 
 with an account of the favorite actors and actresses who appeared 
 in the part of Rolla {Pzsarro)., Frederick {Lovers'* Vows), and 
 Mrs. Haller ( T/ie Stranger). As long as the Stranger kept the 
 stage the discussion of the morality of the piece follows it like a 
 
 ' Besides those already mentioned I have used as authorities the following 
 •works: C. Blake, An Historical Accou7it of the Providence Stage, Providence, 
 1S68; W. W. Clapp, History oj the Boston Stage, 1853; H. P. Phelps, Players Of 
 a Century, a Record 0/ the Alba?iy Stage, 2 ed., Albany, 1880; W. B. Wood, 
 Perso7ial Recollections of the Stage, Philadelphia, 1855; and various reviews and 
 magazines that devote attention to theatrical matters. 
 
 ' Dunlap, II, p. 120. 
 
 'The following adaptations of Dunlap were revived: Count Benyowsky, 
 Force of Calumny (1814-15), Lovers' Vows (1815-16), Fraternal Discord 
 (1816-17). 
 
 * Remarks by Ireland and Blake show that these pieces were still in vogue 
 between i860 and 1870. (" It \^The Stratigerl bids fair to retain its popularity 
 for a long time." — Blake.)
 
 Frederick H. Wilkens. 29 
 
 faithful shadow.^ Mrs. Mowatt relates, from personal experi- 
 ence, in order to show that Kotzebue's Stranger could have a 
 moral effect, how a young lady contemplating the crime which 
 had made ]\Irs. Haller miserable, was stricken by conscience, 
 during a performance of the Stranger at Charleston, and, with 
 a shriek, fainted from a sudden attack of hysteria.^ Nothing 
 would probably have delighted the vain author more than to 
 have lived to record in his favor this testimonial from across the 
 Atlantic. His delight in such certificates of morality is of 
 course a half-conscious confession of his weakness as a moralist. 
 We have noticed how during Dunlap's management Kotzebue 
 "was the rage " for a number of years (1799-1802) and then, 
 by a natural sifting process, only a number of pieces kept the 
 stage. For the season of 181 3-14 William Wood records a 
 remarkable revival of the German drama at his Philadelphia 
 theatre. He says : ^ " The German drama, at this time, stood 
 high in public favor. We may call it, indeed, the German 
 Season. Pizarro^ Virgin of the Snn^ The Stranger., and The 
 Robbers., had been long favorably established, as well as Kotze- 
 bue's minor pieces, Hozu to Die for Love., Horse and the 
 Widozv., Of Age To-morrozv., and others. Benyowsky has been 
 already noticed. But this season they became entirely the 
 fashion, and made the German drama a matter much discussed. 
 Schiller's noble drama of The Miiiister., or Cabal and. Love^ 
 was now altered and acted with distinguished success, under the 
 title of the Harper'' s Daughter.'''' 
 
 ' A typical discussion of this kind is to be found in the Companion and Weekly 
 Miscellafiy, Baltimore, 1804-05, p. 33, where " Crito " claims that the repent- 
 ance of Mrs. Haller precludes any bad example, while his opponent brands 
 Kotzebue as being " pretty well known to be one of that vile band of German 
 conspirators against the peace, the virtue, nay, the very existence of civil and 
 religious society." We will not err in assuming that the critic draws here for 
 his weapons on the arsenal of Mrs. Hannah More, or some other equally 
 redoubtable warrior for good, established morality. 
 
 A majority of the critics were, it seems, arrayed against the morality of the 
 piece. 
 
 *Anna Cora Mowatt, Autobiography 0/ an Actress, 1865. 
 
 ' Recollections, p. 183.
 
 30 Early Injlitence of German Literature in Afnerica. 
 
 While we have not hesitated to give Kotzebue the considera- 
 tion that he deserves from the esteem in which his dramas were 
 held by persons of taste and some critical ability, the works of 
 Schiller and their reception in America excite naturally a greater 
 interest. We smile now when we find Schiller so to speak arm 
 in arm with Kotzebne and Zschokke/ But we must consider 
 that the American readers and audiences of the time did not 
 have accessible numerous accounts of German literature, as we 
 have, in which the works of Zschokke's youth and the whole 
 pretentious writings of Kotzebue are disposed of in a line or two 
 at the most, while the account of Schiller's life fills many pages. 
 We must remember that Schiller, for a long time, was known 
 only by the less mature though perhaps more striking works of 
 his youthful years, principally the Robbers^ and to a certain 
 extent by Kabale und Liebe. But still the feeling is discernible 
 that Schiller's Robbers possessed something that was lacking in 
 the same way in any other author of the time. This element 
 we can best sum up in the word sublimity. / 
 
 The editions of Schiller's works reprinted in this country are 
 contained in the appended list of translations, where statements 
 may be found in regard to the difierent translations which they 
 represent. There existed at least three American reprints of 
 the Robbers (1793, 1802, 1808?) and possibly a fourth (1825 or 
 earlier). Kabale und Liebe was reprinted twice (1802, 1813), 
 the latter edition being an adaptation made for the American 
 stage. We find one edition of Fiesco (1802), and it is interesting 
 to note that Coleridge's translation of the Piccolomini^ in spite 
 of the fact that it failed to attract attention in England, was 
 reprinted in America (1805). 'T'his may be taken to show that 
 the publishers expected a general interest in Schiller extending 
 beyond those works which appealed to the existing taste in 
 matters of the drama. 
 
 *At Providence, R. I., Abaellino "was announced in the bills as the best 
 dramatic work of the best dramatic writer of the age, Schiller" (Blake, p. 62). 
 It is impossible to tell whether the management really believed this. It is 
 interesting to notice that the extravagant character of the Abaellino was 
 probably sufficient to make this announcement appear credible to the public.
 
 Frederick H. Wilkens. 31 
 
 Of these plays the Robbers alone enjoyed a general vogue on 
 the American stage. Not that the piece could at all compete in 
 frequency of performance with Kotzebue's popular dramas, the 
 Robbers being, indeed, unsuited for frequent repetitions ; but the 
 play nevertheless put in an appearance from time to time as one 
 of the most substantial morsels for the palate of the theatre- 
 goer. ^ In England, as is well known, the Robbers was not 
 publicly performed, for political and kindred reasons, and even 
 during the first quarter of our century no performance seems to 
 be recorded. Here we have clearly an example of difference in 
 political institutions affecting the literary conditions of the 
 country. 
 
 It would be interesting to examine in detail the adaptations 
 in use for the American stage, if such can still be traced at the 
 present day. John A. Dunlap speaks of these versions in the 
 following words :"^ "Schiller's plays are well known to the 
 literary world, but, except the Robbers^ they are not familiar to 
 the frequenters of the English or American theatres ; and The 
 Robbers so mutilated and mangled as to give no adequate idea 
 of the great German poet." 
 
 William B. Wood, one of the most respected stage managers 
 and actors of this early period, whose name we have already 
 mentioned more than once, makes some interesting remarks 
 about the corruption which the German drama suffered at the 
 hands of English and American translators and managers, mak- 
 ing it often difficult for the public to judge of the merits of the 
 originals. He gives the following account of the version of the 
 Robbers in use in the Philadelphia theatre, which he considers 
 a judicious adaptation of a German piece for the American 
 stage. '^ " In the Robbers the episode of Kozinski and the dis- 
 
 ^I mention a number of performances that have come to my notice: New 
 York, 1795 (probably the earhest performance of the piece in Enghsh), April 7, 
 1800, June 3, 1801; Philadelphia, season 1805-06, i8io-ir, 1813-14 (Cooper, 
 Charles de Moor); New Orleans, January i, 1806; Providence, September 17, 
 1806 (theatre closed "with Schiller's celebrated tragedy The Robbers'^); 
 Albany, spring 1815. 
 
 ^Dunlap, II, p. 104. 
 
 ^Recollections, p. 185. 
 
 r^
 
 32 Early Infiuence of German Literature in America. 
 
 guise scenes of Charles as the count were omitted, with great 
 advantage to the general interest of the piece, and particularly 
 as thev affected the position and value of Amelia. A prolixity 
 in some of the scenes, especially those of Francis, Kozinski, and 
 the assumed count, throws a weight upon the play, which may 
 well be avoided, and save, to the actor of Charles, much power, 
 otherwise wasted on minor situations, and which is loudly called 
 for at the close of the fourth and throughout the fifth act." 
 
 As it is seldom possible to furnish a detailed criticism of 
 German works from the pen of an early American reviewer, it 
 may be of interest to quote some remarks about the Robbers 
 found in the Monthly Anthology and Boston Review., a period- 
 ical which embodied the young aspirations of Boston culture in 
 a manner very creditable for that time. The remarks are 
 characterized by a fairness which is somewhat rare in conserva- 
 tive public opinion of the time. They are found in a series of 
 articles under the title Silva., Vol. IV (1807), p. 371. The 
 accents of the critic are perhaps a little stammering but his 
 admiration is undisguised. " There is no doubt some raving and 
 theatrical declamation in the tragedy of the Robbers., but I do 
 pity the soul, that is not melted with its tenderness and roused 
 by its energies. Perhaps, in the whole fairy-ground of fiction, a 
 character like Moor cannot be found. His revenge is of the 
 most natural kind, always uniform, and wonderfully great. The 
 kind feelings are not buried nor destroyed . . . they only 
 slumber in temporary torpor. Sentiments the most manly, and 
 perceptions which savour of true greatness, are often expressed 
 in language the most forcible and sublime. As for Francis, he 
 has the form, the features, and the folly of a villain. Great art 
 is clearly exhibited in his manner of deceiving his father, and 
 his subsequent conduct makes him the finished hero of vice. 
 Who does not love Amelia? So constant in her affection, so 
 great in her hatred. As for the robbers, how nicely are their 
 characters and dispositions marked ! All are criminal, yet some 
 are perhaps to be pitied, and others are downright offenders, 
 with blackest hearts and hands full of shameful vice. But if we
 
 Frederick H. Wilkens. 33 
 
 consider the state of society at that time, they will not appear 
 so very detestable. Knowledge and religion were mere names, 
 or not better than superficial science or hateful superstition. 
 The use of arms was fully allowed, by which means alone the 
 poor were protected, and provided for, and the female sex 
 defended from insult, or their dishonor revenged. The robbers 
 in this play are eager to sacrifice the infamous Charles, and in 
 fact he is buried in the tomb he has prepared for his father. 
 How do they catch every word of Kozinki's [sic] tale, and how 
 do they burn for revenge on the villainous prince, the possessor 
 of his Amelia ! Indeed our state of civilization is no standard, 
 by which the feudal ages are to be tried. To me it appears, 
 that the crimes of the robbers were the common disorders com- 
 mitted by the strong, and so universal were the ravages of a 
 similar nature, that I rather consider the actions and bloody 
 thoughts of the robbers as necessary consequences of barbarism, 
 than criminal aberrations from moral virtue. The language of 
 the play is generally natural. It is strong in a high degree, and 
 powerfully impresses the dictates of revenge, the emotions of 
 terror, and the sentiments of pity." 
 
 We have already mentioned the early New York perform- 
 ances of Kabale und Liebe^ which preceded the London per- 
 formances by several years. Of this piece a stage version used 
 in an American theatre is still extant. This, an adaptation of 
 Lewis' translation of Kabale und Liebe {The Minister)^ made for 
 the Philadelphia stage under the title of The Harper'' s Daughter^ 
 gives us an idea how a Sturm und Drang drama was shortened 
 for the American stage, and according to what principles it was 
 brought into harmony with the conservative ideas of propriety, 
 morality, and religion. 
 
 'Published 1813 (cf. No. 152), played 1813-14 at Philadelphia and Baltimore 
 during the season already mentioned when the German drama experienced a 
 remarkable revival. I do not know what relation exists between this version 
 and the adaptation played at Covent Garden, May 4, 1803. This version was 
 attributed to Lewis himself. Cf. Genest, Account of the English Stage, Vol. 
 VII, p. 583, also Singer, Sticdien zur Litteraturgeschichte, Michael Bernays 
 gewidmet, 1893, p. 12. 
 
 3
 
 34 Early bifliicnce of German Literature in A7nerica. 
 
 By a bold cut (amounting to more than the average act) all 
 scenes in which Augusta (Lady Milford) appears (Act II, Sc. 
 1-5, Act IV, Sc. 6-1 1) were excised;^ two minor characters, 
 Catherina (Sophie) and Walter (ein Kammerdiener des Fursten), 
 disappeared in the same change. " It was found necessary to 
 omit the whole character of Augusta — a portion of the drama 
 upon which the great talents of Schiller have been most labori- 
 ously employed " are the words in which this action is explained 
 by Wood, for whose stage the adaptation was made and who is 
 possibly the author, or who may have inspired this version. 
 These omissions necessitate a different division of the acts and 
 they undoubtedly disturb the balance of the play, but an Ameri- 
 can audience of the period would hardly care for more than the 
 thrilling main plot. 
 
 Apart from this excision of whole sections of the drama,' a 
 great number of omissions, varying in length from a word to a 
 page or more, helped to cut down the drama to about half its 
 original size. All references to the E^ek^uire avoided, except in 
 a few situations where the intensity of feeling seemed to make 
 such appeal allowable. Mad bursts of passion and the exclama- 
 tions of a distracted mind, the wild despair that drives a 
 tortured creature into urgent appeal to the Deity and links 
 the fate of an individual with the economy of the world, all in 
 fact that may be interpreted as undue familiarity wuth, or 
 revolt against. Providence, or that was repulsive to American 
 : audiences by excess of emotion. 
 
 The realism of Schiller's youthful art was too strong for an 
 audience that was accustomed to a more conventional treatment 
 of the characters of the drama. Miller (here called Munster), 
 blustering, verging on coarseness, — but nevertheless honest and 
 honorable — is much toned down, and Elizabeth (Frau Miller) 
 subjected to a similar treatment. 
 
 While the American audience submitted to the unlimited 
 introduction of stage horrors and terrors, some of the concrete 
 
 ' Act III, Sc. 4 is also cut.
 
 Frederick H. Wilkens. 35 
 
 examples of tyranny and oppression such as were conceivable 
 (even though an exception) in the Germany of the eighteenth 
 century had to be omitted, as unintelligible or repulsive. 
 Decla mations again st distmctious of class were retained as being 
 unchallengeable in republican America, while usually a con- 
 servative policy is brought to bear on anything savoring of 
 radicalism. Of mere sentiment and sentimentality the inhabi- 
 tants of the new world, as well as those of the old, could stand 
 at that period an amount and a quality that would be nauseat- 
 ing to modern taste, so that the drama did not call for changes 
 from this point of view. Add to these omissions the frequent 
 curtailing of lengthy discussions, of rhetorical repetition, and of 
 elaborate climax, and the statement will seem intelligible that 
 the piece was reduced to one half its original size. 
 
 There is nothing added as offset to these many omissions, 
 only a word or a phrase here and there, to establish the neces- 
 sary connection where omissions or changes had been made. 
 We may regard the adaptation as well suited for its pur- 
 pose, and must praise the conservative spirit that avoided all 
 attempts at improving Schiller's drama by original efforts. 
 It bears a striking contrast to the Baltimore reprint of 1802, 
 which represents a miserable perversion of the great master's 
 work. 
 
 Before leaving the subject of the German drama in America, 
 which, as we have seen, has presented some novel aspects as 
 compared with the history of the German drama in England, I 
 should like to call attention to the reprint of Walter Scott's 
 translation of Goetz von Berlichingen (1814, No. 155). Two 
 adaptations from the German by American authors deserve 
 mention only as curiosities. Mordecai Noah adapted Sonn- 
 leithner's text to Beethoven's Fidelio under the title of the 
 Castle of Sorrento (No. 1 26), without departing far from his 
 original, and a crack-brained youth made a dramatic version of 
 Rinaldo Rinaldini (No. 144), by the very simple process of 
 copying out the dialogue from Hinckley's translation of 
 Vulpius' prose romance Rinaldo Rinaldini^ a curious proof how
 
 36 Early bifluence of German Literature in America. 
 
 the rage for extravagant literature affected America as well as 
 Europe.' 
 
 German Fiction. 
 German fiction, although probably not engrossing as large an 
 amount of public attention as the German drama, was neverthe- 
 less represented by one of the most brilliant meteors among the 
 literary constellations of the last century, long before the Ger- 
 man drama became the admiration of the public. We refer to 
 Goethe's Sorrows of Werter^ which was reprinted in America at 
 least six times in four different translations during our period.- 
 Of these old prints of Werter it is true even more than of the 
 average reprints of the period that they are difficult to trace. 
 They have disappeared from the libraries, succumbing to long 
 and frequent use, or were lost by neglect when the fashion in 
 fiction changed. To many libraries this dangerous work was 
 certainly never granted admittance. It is pennissible to regard 
 ^ these prints as a proof that the " Wertherfieber " prevailed also in 
 America, although probably only in a very light form. These 
 American reprints must be regarded as the last ripples of a wave 
 that swept the civilized world. It is of course out of the question 
 that American readers should understand the significance of the 
 work as we now interpret it in the light of Goethe's individual 
 development and the general history of the times. It is to be 
 regarded, even more than in England, as a representative speci- 
 men of the highly sentimental literature then in vogue. The 
 popularity of Werther in America was sufficient to justify the 
 well known Dr. Benjamin Rush in singling it out as a sample of 
 pernicious novel, the reading of which deserves censure. In 
 his Thoughts upon the Female Education ^ he adverts to the case 
 of " young ladies who weep away a whole forenoon over the 
 
 ' This puerile effort cannot be from the pen of Dunlap. He mentions Rinaldo 
 Rinaldini among his works, probably an acting drama constructed by him 
 from the German original. 
 
 2 Philadelphia, 1784 (No. 8), Litchfield. Conn., 1789 (10), New York, 1795 (27), 
 Boston, 1798 (39), Boston, 1S07 (iiS), Boston, 1807 (119). 
 
 » Benjamin Rush, Essays, Literary, Moral, and Philosophical, 1798.
 
 Frederick H. Wilkens. 37 
 
 criminal sorrows of a fictitious Charlotte or Werter," only to 
 refuse a begforar in the afternoon. This is a criticism familiar to 
 the English public and was probably borrowed by Dr. Rush from 
 English sources, like so many opinions during the infancy of 
 our national life. 
 
 Werther^ like Gessner's Death of Abel^ gave rise to imitations 
 in England and elsewhere. Of the large number of these imita- 
 tions and works founded on Werther^ one at least, the Letters of 
 Charlotte during her Connexioti with Werter^ was reprinted sev- 
 eral times.^ It is a vapid, inane work, utilizing suggestions from 
 its German model to construct a Werter without objectionable 
 features. Its only redeeming quality is that its style is not as 
 outrageous as is the case with many imitations of sentimental 
 literature. It was sometimes printed in America in the same 
 volume with, and after, Werter^ as if intended to act as a seda- 
 tive after the soul-stirring lines that preceded it. 
 
 Schiller's brilliant work of fiction, the Ghostseer^ was reprinted 
 in two American editions representing two different translations.^ 
 
 The mention of Schiller's Ghostseer suggests a few remarks 
 about Charles Brockden Brown, the first American writer of 
 fiction whose works possess more than ordinary merit. His 
 JVie/afid (lygS) is a powerful tale of terror, a species of litera- 
 ture in which the Germans easily carried off" the palm, and for 
 which they were supposed to furnish the best models.* But we 
 
 ^ 1797 (No. 35), 1798 (No. 40), 1807 (120). The last two editions were printed 
 in the same volume with the Sorroivsof Werter. A German translation, which 
 appeared in 1825, claims to have been made after the fifth American edition. 
 About the character of this work, cf. J. W. Appell, Werther tmd seine Zeit, 
 Leipzig, 1865, pp. 12-15, T. Siipfle, Zeitschrifi fur vergleichende Litteratur- 
 geschichte, N. F., Vol. VI (1893), p. 312. 
 
 =" Reprinted, New York, 1796 (No. 33), and Philadelphia [i8oo?-i8o3] (No. 71). 
 The Ghostseer (version No. 33) was also printed as a serial in the New Vork 
 Weekly Magazine, 1795, pp. 16 fiF., under the title The Apparitionist. The 
 same magazine published Tschink's Victim of Magical Delusion, a weak imita- 
 tion of Schiller's Ghostseer. 
 
 «I shall not enter here on the consideration of a possible influence of Schil- 
 ler's Ghostseer on Wieland. Professor Learned informs me that he has devoted 
 attention to this subject and I refer to some remarks on the same, which he 
 intends to publish soon.
 
 f 
 
 38 Early hifliieyice of German Literature in America. 
 
 are interested in the novel from another point of view. Brown 
 reveals in the same a sympathetic attitude towards German cul- 
 ture, which is astonishino^ with an American during this early 
 period, and for which it will be difficult to find a parallel among 
 those who, like Brown, had never lived in Germany.* The 
 characters of the piece — the scene is laid in the neighborhood 
 of Philadelphia — are of German extraction and cultivate the 
 poetr}' of their ancestors at their new home. He makes Wieland, 
 the central character of the novel, a connection of the well- 
 known German poet of that name. It is possible that Brown 
 had made the acquaintance of cultured Germans, either at 
 Philadelphia, his home, or at New York, where he resided at 
 this time. 
 
 From 1 799-1 800 Brown published at New York the Monthly 
 Magazine and American Review. This magazine, which was 
 published at the time when the influence of German literature 
 had reached the high-water mark in England, devotes more 
 attention to German literature than any other periodical of the 
 .period that falls within the scope of our investigation. It seems 
 a petty affair, measured by our modern standards, but, in com- 
 parison with former American reviews, shows an advance that 
 is most creditable to its editor. Brown's friend Dunlap, whose 
 labors in introducing the German drama into America have 
 been noticed at some length, and other literary characters of 
 New York were contributors. We find there, among others, 
 reviews of Dunlap's and Smith's translations from Kotzebue, a 
 life of Biirger, anecdotes of Kotzebue and Schiller, an account 
 
 ' It is this generally sympathetic point of view that foreigners lacked for a 
 long time in their attitude toward Germany, even if they felt an interest in cer- 
 tain products of its literature. From this consideration the question where 
 Brown got his information gains interest. His source was apparently Baron 
 Riesbeck's Travels through Germany, translated by the Rev. Mr. Maty, 3 vols. , 
 London, 1787. This work by J. K. R. Riesbeck (the title of Baron is ficti- 
 tious ) was indeed sufl&cient to serve as a revelation to the average American or 
 English reader. Brown's conceptions as well as misconceptions of German 
 literature are satisfactorily explained from the assumption that he was impressed 
 by this work.
 
 Frederick H. Wilkens. 39 
 
 of the state of the German stage, remarks on the literary labor 
 of the Germans, and most interesting of all, an article on the 
 study of German. These samples will show to what extent 
 the attention of the literary men of New York was focused on 
 German literature. 
 
 The works of fiction may generally be assigned to two differ- 
 ent classes. We have on the one hand the extravagant fiction 
 that followed in the wake of the Robbers^ the Ghostseer^ and 
 Goetz von Berlichingen^ on the other hand the sentimental and 
 " family " novel (" Familienroman "). Of an older type of 
 German fiction (if we except Gessner's Death of Abel) there 
 seems to be only one example among American reprints. This 
 is a translation from Wieland, Socrates out of his Sens es^ New- 
 burgh, N. Y., 1797 (No. 36). To reprint one of Wieland's 
 novels of Greek life was a bold undertaking, as one edition 
 usually more than supplied the needs of the much larger British 
 reading public. Of the original English translation of this 
 work, in particular, the statement is made that it was " received 
 with utter indifference by the public."^ 
 
 Of the extravagant works of German fiction, known variously 
 under the name of tales of terror, of horror, or of wonder, a 
 number were reprinted in this country. Such are Wachter's 
 Black Valley (No. 82), in which thrilling adventures are intro- 
 duced, and Spiess' Mountain Cottager (No. 69), for the character 
 of which we must refer to the striking motto : " Ye visions that 
 before me roll, — that freeze my blood, — that shake my soul, — are 
 ye the phantoms of a dream?" Vulpius' Rinaldo Rinaldini 
 (No. 144) was dramatized, as already stated, and Lewis' transla- 
 tion of Zschokke's prose romance Abaellino reprinted twice 
 under the title of the German original, which Dunlap had made 
 generally popular in America by his adaptation of the German 
 drama (No. 138, 139). Add to these Lewis' collection. Roman- 
 tic Tales (No. 135 — the Tales of Terror are mentioned later 
 under poetry — ), and the Tales of Wonder^ of Hmnour and 
 
 ' W. Taylor, Historic Survey 0/ Gertnan Literature, 1830, Vol. II, p. 314.
 
 r 
 
 40 Early Infiuence of Gennayi Literature in A7nerica. 
 
 Sentivicnt of the Misses Plumptre, which possibly contribute 
 some literature of the kind, and we have a fair collection of 
 tales of wonder, etc., in which Schiller's Ghostseer ^\o\\\.^ figure 
 as the most prominent and most brilliant example. It may not 
 be amiss to introduce into this company the venerable patriarch 
 of the German tales of wonder, the history of Dr. Faustus. As 
 in England, the story seems to have been popular and to have 
 been spread in the form of chapbooks (No. 25, 83, 176). 
 
 It requires no particular effort at the present day to deride this 
 grotesque and often almost nonsensical class of literature. What 
 significance this type had for the development of German litera- 
 ture is irrelevant in this connection. But in England and 
 America a rough disturbance was necessary to wake the drowsy 
 muse. A rude plough was needed to break the hardened, 
 barren soil for the coming of a new crop. The free and extrav- 
 agant variation, by imitators, of the themes that had been more 
 or less clearly enunciated by Goethe and Schiller in the works 
 of their youth, was, from some points of view, better adapted to 
 affect England and America, where the ideals of the genuine 
 Sturm iind Dra7ig were not intelligible, from causes that are 
 apparent to every student of the world's literature but need 
 not here be repeated. 
 
 We will call to mind only one of these stories, that of x'Vbael- 
 lino, who, disguised as a bandit, terrifies, without the help of an 
 accomplice, the whole state of Venice, effecting its salvation, 
 while apparently its greatest scourge. He is as quick in chang- 
 ing his disguises, as he is superhuman in his actions. The 
 Abaellino may not be literature of a high grade ; the author 
 himself smiled when, in maturer years, after a career of lofty 
 effort and well-deserved literary success, he looked back upon 
 the child of his youthful fancy. But if we consider the effect 
 which the prevalence and popularity of such literature must 
 have had on a taste formed by the models of the classical, or, 
 often more correctly, pseudo-classical authors of the last century, 
 we will appreciate how they were helpful in introducing, both 
 in America and England, a bolder and more romantic form of
 
 Frederick H. Wilkens. 41 
 
 literature. These authors, mauy of them a sort of talented 
 literary vagabonds, take a rank in German literature even lower 
 than they deserve, because they must stand comparison with 
 the greatest heroes of lofty artistic endeavor. But they are 
 nevertheless a robust race, often prodigal sons of a good house, 
 bearing traces of having associated with good company. Monk 
 Lewis' puerilities do not possess the childlike ingenuous- 
 ness of the German products ; lacking spontaneousness in the 
 handling of his extravagant themes, his pieces seem like inten 
 tional caricatures of his German models. It is not the intention 
 to follow out these suggestions in this connection, as it would 
 lead us beyond the limits which have been set. 
 
 A second type of German fiction, although not as characteris- 
 tic as the tale of terror, obtained considerable vogue in England 
 and America. This was the sentimental and " family " novel 
 (" Familienroman "). A number of Kotzebue's stories, which 
 were carried along with his dramas on the wave of popularity 
 that swept the world, were translated in England and America. 
 Many of these appear to belong entirely, or by some of their 
 characteristics, in this class of literature, others seem to have 
 more the character of historical novels. It has not been found 
 possible to examine them in detail and I simply give a list of 
 American editions, referring to the index for further references : 
 The Beautiful Unknown (translated by Charles Smith of New 
 York), The Constant Lover ^ Ildegerte^ The Pigeon (translated 
 by a Philadelphian), The Sufferijigs of the Family of Ortetiberg^ 
 Zaida (translated by Charles Smith). 
 
 August Lafontaine, the representative writer of the German 
 family novel, found readers in England as well as Germany. 
 Although he is justly regarded as a mere manufacturer of 
 novels, without a spark of artistic individuality, he is sometimes 
 honored by the name of the celebrated Lafontaine. In his suc- 
 cesses and inherent weaknesses he is aptly comj^ared to Kotze- 
 bue. In 1810 a New York publisher reprinted the Village 
 Pastor and His Children (No. 142), and announced his inten- 
 tion to republish all the works of Lafontaine "if the public
 
 42 Early Influence of German Literature in America. 
 
 encourage the sale of them." He would have found the 
 resources of his printing office taxed if the public had kept him 
 to his word and had forced him to print the 150, or more, 
 Gennan originals, or even the two or three dozen translations 
 made in England. We have noticed only one other reprint of 
 Lafontaine, Romulus, Baltimore, 1814 (No. 159).' 
 
 Finally a reprint of an English translation of Pestalozzi's 
 Lieuhard tind Gertriid (No. 80) is to be mentioned. The 
 English original translation states that it was made " with the 
 hope of its being useful to the lower orders of society," which 
 remark reminds one of the worthy Hannah More and her circle. 
 
 This earlier type of German fiction (printed and reprinted in 
 America about 1800) is, after the lapse of a decade or two, replaced 
 by another class of fiction of a more modern type. The first 
 example of this kind, which I am able to find, is Dr. Tobias 
 Watkins' translation of Zschokke's Das Abentaier der Neiijahrs- 
 vac/il(No. 172). The translation has no particular merit and 
 probably reached only a small circle of readers. But it is inter- 
 esting as a proof of Gennan studies in the circle of Baltimore 
 literati, of which Watkins was a prominent member. It seems 
 to be the earliest translation of this popular tale, of which half 
 a dozen or more translations have appeared. It is, in fact, as 
 far as I can see, the earliest translation of that type of stories 
 which gained Zschokke a well-founded national and inter- 
 national reputation as a skillful narrator.^ In 1822 appeared a 
 reprint of La Motte Fouque's Minstrel Love {SUngerliebe), in 
 1824 two editions of the same author's Undine.^ and Chamisso's 
 Peter SchlemiJil. The appearance of these products of the 
 romantic or post-romantic period indicates a new phase in the 
 appreciation of German literature, which, however interesting 
 it may be, cannot be considered here. 
 
 'Two novels whose authors are not mentioned, seem to belong here, to judge 
 by their titles. They are: Eliza, or the Patterii of Women (No. 84), and He 
 Loves Me Better Than His Life (No. 124). 
 
 ''■ We will recall the fact that Dunlap was the first to introduce Abaellino, the 
 principal work of Zschokke's youthful "Sturm und Drang" period, in an 
 English garb.
 
 Frederick H. Wilkens. 43 
 
 German Poetry. 
 
 The appreciation of poetry written in a foreign language 
 encounters obstacles not met with in the case of prose. By an 
 imperfect knowledge of the language the subtle beauties of 
 poetr>' are obscured, as the beauties of art and nature are hidden 
 to an impaired vision. As German was practically little under- 
 stood during our period, this aspect of German studies does not 
 concern us greatly. But the same difficulties that embarrass 
 the student of poetry are encountered, increased a hundredfold, 
 by the translator, whose task it is to re-embody in his own 
 language the conceptions of the original and the indefinable 
 charm of poetic diction. It will not be astonishing, therefore, to 
 find that the gems of German poetry, perhaps the highest con- 
 summation of modern poetic literature, were entirely unknown 
 to the public of the English-speaking world. Two German 
 poets nevertheless gained in their English version a popularity 
 which made each of them facile prmceps in his own species 
 of literature. These two poets were Biirger and Wieland. The 
 German drama, as far as it was known to the American public, 
 was a prose drama and does not call for consideration in this 
 connection. 
 
 The popularity, in England, of Biirger's ballad Lenorc is well 
 known. ^ The English translations of this ballad, "the best 
 ballad of the century," were undoubtedly imported into America, 
 like all the various products of the British press. Its moderate 
 size also made it suitable for reprinting in the periodical press 
 and it was, we may presume, reprinted in that way.^ 
 
 iCf. A. Brandl in Erich Schmidt's Ckarakierisliken, Berlin, 1886, pp. 244-248. 
 'A version of Biirger's Des Pfarrers Tochter von Tajibenhain, the Lass of 
 Fair Wone, was reprinted in the Americati Universal Magazine, Philadelphia, 
 Vol. I, 1797, pp. 211-215 (47 stanzas). 
 
 Parodies of the German ballad style also found their way into the periodical 
 press. The Philadelphia Repository and Weekly Register for 1800-1801, Vol. I, 
 p. 328, reprints a burlesque of the German ballads (it " appeared in The Dessert 
 to the True Americatt two and a half years ago ") beginning : 
 " Cold blows the blast ; — the night's obscure. 
 The mansion's crazy wainscots crack : 
 The sun had sunk : and all the moor, 
 Like every other moor was black."
 
 44 Early bijiuence of German Literature in America. 
 
 The opinion of many English lovers of poetry about Wieland's 
 Obero7i is aptly expressed in the words of Thomas Campbell : 
 "I cannot conceive a more perfect poet than their favorite 
 Wieland." It was Sotheby's excellent translation of the Oberon 
 (1798) that made Wieland's poem accessible to the great mass 
 of English readers. About the time when Sotheby translated 
 the poem, John Quincy Adams, sixth president of the United 
 States, at that time (1797-1801) Minister to Prussia, conceived 
 the same plan. He gives an account of his translation of Oberon 
 in a letter addressed to Charles Pollen, dated October 24, 1831 '} 
 
 " Thirty years have passed away since a residence of four 
 years at Berlin, and excursions into Saxony and Silesia, had 
 given me an enthusiastic relish for German literature. At 
 that time, Wieland was there I think decidedly the most 
 popular of the German poets, and although there was in his 
 genius neither the originality nor the deep pathos of Gothe, or 
 Klopstock, or Schiller, there was something in the playfulness of 
 his imagination, in the tenderness of his sensibility, in the sunny 
 cheerfulness of his philosophy, and in the harmony of his versi- 
 fication, which, to me, were inexpressibly delightful." 
 " Among my exercises in learning the German language," was 
 a complete translation into English verse of his ' Oberon,' 
 which I should have published, but that Mr. Sotheby got the 
 start of me. When I saw his translation, I was content to keep 
 mine in my porte-feiiille. My German teacher sent a copy of 
 the first canto of my translation to Wieland himself, and asked 
 him his opinion of it, which he gave with frankness. He com- 
 pared it with Sotheb>'s translation, then just published, and 
 gave the palm of poetry to him, and of fidelity to me ; a decision 
 which my own judgment fully confirmed." 
 
 The poem then proceeds to tell, how Molly is visited by the ghost of Thomas, 
 the gardener, her deceased lover. He had fallen into the well, was drowned, 
 and is now a water spirit. He carries off" Molly and plumps her in the well. 
 That the parody is directed against Biirger's Lenore is clear. 
 
 • 71^1? Works of Charles Follen, Boston, 1S42, Vol. I, pp. 306, 307. 
 
 2 Adams speaks of his German studies in his diary. Cf. Memoirs of John 
 Quincy Adams, edited by Charles F. Adams, Vol. I, pp. 217, 225.
 
 Frederick H. Wilkens. 45 
 
 While it thus came about that the Oberon of Wieland was 
 published in an English translation, not in the version that the 
 American statesman had made, there was no reason why- 
 Sotheby's translation should not be republished in America. A 
 reprint appeared at Newport, R. I., in 18 10 (No. 145). It was 
 not a simple reprint. An anonymous American editor^ had 
 added a lengthy preface, which contains the highest praise of 
 the poem and poet. We will quote at some length from this 
 preface, which is written in the elaborate style that character- 
 izes the cultured American of the early part of our century. 
 We will smile at the vast prospects of Wieland's future fame, 
 which the editor unfolds to us with the fervor of the true 
 visionary. And what American of the olden times did not 
 become a visionary at the prospects of his country ? 
 
 " In England where German literature is perhaps too highly 
 appreciated, and excessively cultivated, it is unnecessary to 
 declare who Wieland was." . . . " It is hardly, however, a 
 matter of reproach, or regret, that we are authorized in presup- 
 posing such an unacquaintance with German literature, in this 
 young country, as to conceive it indispensable that we should 
 prefix to an American edition, something to attract attention, 
 and interest curiosity in relation to the extraordinary character 
 and transcendent merit of the German poet : enough merely to 
 evince to the public, that we solicit their favor to an undertak- 
 ing that deserves it." The editor then gives a glowing account 
 of the court of Weimar, bestows the highest praise on Wieland's 
 Agathon and Oberon^ but not without censuring his attitude 
 toward the French Revolution. He proceeds : " We have intro- 
 duced an epic poet with proud pretensions in a country where 
 he is, in a great degree, a stranger ; and it is natural that on such 
 
 » According to the Providence Athencctim Library Catalogue, 1853, p. 433, 
 the Hon. William Hunter, the acknowledged leader of the Newport bar, was 
 the anonymous editor. There seems no reason to doubt this assertion. (Cf. 
 about Hunter Appleton's Cyclopedia of American Biography, G. C. Channing, 
 Early Recollections of Newport, R. /., Boston, 1868, pp. 1 19-120, F. Moore, 
 American Eloquence, Vol. II, pp. 335-336. )
 
 46 Early Injiuejice of German Literature in America. 
 
 an occasion curiosity should be busy in inquiry." The excel- 
 lence of Sotheby's translation, he states, is recognized by Wie- 
 land in the Annual Register for 1798. " If a brother bard, on 
 the first appearance of Obero?i^ had predicted its splendid for- 
 tunes and ventured to announce, that even in the life of its 
 author it would be praised and admired, not only in every 
 existing European nation but also in the embryo republic of the 
 new world, it would have beeu regarded as an effusion too 
 adulatory for friendship, and too extravagant for poetry. But 
 all this is realized. The fame of Wieland is as widespread as 
 that of Horace, and its permanence as finally identified with 
 literature itself. Both of these poets, perhaps, have the best 
 security for their future glory in the rapid progress and improve- 
 ment of this, the freest, and such we hope destined to be, the 
 most literate and enlightened country of the world." 
 
 This edition was reviewed in the Monthly Anthology.^ I 
 quote only a few remarks in regard to the work itself : " We 
 should do an injustice to the author and translator, if we should 
 select any passages from the Oberon^ for its execution is so 
 remarkably equal, that the reader finds no prominent beauties 
 or blemishes." " In his Oberon he seems to have designed a 
 poem in which he could concentrate all his mental energies, 
 and unite the prominent beauties of the different kinds of 
 writing in which he excels." " Its general character is rather 
 seductive and fascinating than great or magnificent. It consists 
 of a tissue of incidents, which Wieland has connected and 
 arranged with such admirable skill as to form one of the most 
 interesting stories in any language. He seldom attempts the 
 sublime or terrible, and when he does he totally miscarries, for 
 he immediately falls into an imposing and gigantick, rather than 
 natural train of thought. He is more successful in description 
 than in dialogue. Like the machinery of his poem, he seems 
 to operate by enchantment." . . . " Yet amidst these occa- 
 
 > The Monthly Anthology and Boston Review, Boston, Vol. IX, 1810, 
 pp. 191-194.
 
 Frederick H. Wilkens. 47 
 
 sional defects the spirit of poetry shines forth with surpassing 
 splendour, and the Oberon^ considered as a whole, exhibits an 
 exuberance of imagination, unparalleled in modern poetry." 
 
 The publication of Wieland's Oberon at Newport is possibly 
 responsible for the following unfavorable remarks by an 
 anonymous critic in the General Repository aiid Review} He 
 praises, for its harmony of versification, Sotheby's translation 
 of Oberoii^ " which, though beautiful, has been extravagantly 
 overrated." *' But we are not disposed to give very high 
 applause to the writer [Sotheby] , who has made accessible and 
 grateful to the English reader a poem, discovering a taste 
 egregiously faulty, and whose boasted excellence of moral is 
 more than counterbalanced by the seducing wantonness of its 
 descriptions." 
 
 We add one more opinion about Wieland,^ expressed in a 
 somewhat youthful and extravagant manner by Joseph Story, 
 later eminent as a jurist : 
 
 " Wieland, the darling of the German muses, by turns sweet, 
 affecting, magnificent, sublime, commanding, terrible : the 
 favorite of fancy, to whom she unveiled her most beautiful 
 forms, drest in the voluptuousness of the loves, and the trans- 
 lucent snow of the graces. His works nee Jovis ira, nee ignis, 
 nee poterit ferrum, nee edax abolere retustas." 
 
 These opinions about Wieland's Oberon give us an idea what 
 a charm he exerted over his contemporaries, nor is that charm 
 quite lost even at the present day. But we have long ago 
 learned to look on Wieland only as a promise of greater things 
 to come, the poetic master works of Goethe and Schiller, 
 which have replaced all earlier efforts in the esteem of the 
 critical reader. These works were not absolutely unknown, 
 but the standard by which they were to be measured had not 
 yet been discovered. In 1805 there appeared in Richmond a 
 reprint of Holcroft's translation of Goethe's Hermann und 
 
 » The Geiieral Repository and Review, Cambridge, Mass., Vol. I, 1812, p. 411. 
 The article is attributed to C. Elliot. 
 * Joseph Story, The Power of Solitude, a poem, Salem, 1804, (Note IV.)
 
 48 Early Influence of German Literature in America. 
 
 Dorothea (No. loS). The true appreciation of this one poem 
 would have been equivalent to a full insight into the nature of 
 Goethe's poetry. But we cannot assume anything of the kind. 
 It was perhaps regarded somewhat on a level with Gessner's 
 Idylls. Nevertheless it remains one of the most interesting 
 reprints in our list. Some of Goethe's best known poems, the 
 Erlking and Fisherman., and Biirger's Leiiora and Wild Hunts- 
 nia?i^ were also published in Lewis' Tales of Wonder^ which is 
 sufficient to show in what light they were viewed by Lewis. 
 
 German Philosophy, Theology, and Pedagogy. 
 
 The title adopted for this chapter might lead to misunder- 
 standings unless qualified by certain statements. A comprehen- 
 sive consideration of German theology, philosophy, and pedagogy 
 in America would lie entirely outside the limits of our investi- 
 gation. But it seemed desirable to consider under this heading 
 a number of authors whose works lie on the border line between 
 literature and the disciplines mentioned, or whose works can be 
 considered as having some relation, direct or indirect, with new 
 developments in the literary culture of our country. 
 
 One of the most interesting traces of an early influence of 
 German literature is the popularity evidently enjoyed by the 
 small book known as Lavater's Aphorisms. It is curious to 
 contemplate this collection of effusions, bearing so clearly the 
 impress of the Sturm tend Drang^ create for itself in distant 
 America a large circle of readers. At least four early American 
 editions of this work were printed, three of them in 1790 (Phila- 
 delphia, Boston, New York), one in 1793.^ Often such duplication 
 of prints in various places was due to the disorganized condition 
 of the American book trade, and the imperfect means of com- 
 munication, which restricted prints to a local circulation to an 
 extent that is unintelligible to us at the present day. But we 
 may assume even for this earlier period the same peculiarity 
 
 * Reprinted, New York, 1801. (No. 79.) 
 »No. 14, 15, 16, 21.
 
 Frederick H. Wilkens. 49 
 
 that is so characteristic of American life in our century, namely, 
 that public attention, once aroused in regard to any subject, con- 
 centrates itself, for a time, in that direction. This may not be 
 proof of a deep and critical appreciation, but it shows an intel- 
 ligent interest in whatever happens to engage general atten- 
 tion at the time. Thus much that is bad and indifferent, thus 
 much, also, that is of the best has floated in on the current of 
 present popularity, no matter what may first have given a start 
 to the movement. How the Aphorisms continued in vogue, at 
 least in New England, is shown by the Newburyport print of 
 1793, which would not have been issued if the Boston print had 
 not sold well. That Lavater's Aphorisms were not forgotten is 
 proved by the fact that they are used for two decades, to fill, 
 here and there, an empty corner of the page in the periodicals 
 of the time. They were stray grains of golden wisdom. 
 
 The unabridged editions of Layater's Physiognomy were too 
 large and expensive to tempt an American printer ; they were 
 imported from England when desired by American libraries or 
 readers. But an abridgment of Holcroft's translation was re- 
 printed at Boston (No. 106). Through his Aphorisms and his 
 Physiognomy^ Lavater became widely known in England and 
 America, and not infrequently reference is found in American 
 magazines to his physiognomical theories. This popularity 
 gave weight to a pamphlet of a political nature more than a 
 literary one, his Remonstrances^ addressed to the Executive 
 Directory of the French Republic^ against the hivasion of Switz- 
 erland^ which, originally printed in London, was reprinted at 
 New York in 1799.^ 
 
 Soon after Lavater's Aphorisms the work of another Swiss 
 author gained in the transatlantic republic such a foothold that 
 the work may be said to have been in America, as in England, 
 " one of the few foreign books that became really popular 
 during the last century." Zimmermann's book on Solitude was 
 
 ' lyondon printed. New York: reprinted by John Tiebout (Homer's-head), 
 
 No. 358 Pearl-street, 1799.
 
 50 Early Influence of German Literature in America. 
 
 first reprinted in America in 1793 and only disappeared from 
 the book market in comparatively recent times. We have 
 counted ten editions (cf. index) during the period which we 
 have under consideration.. The version of Zimmermann's Soli- 
 tude that was popular in America in reprints was not a direct 
 translation from the German, but a translation from the French 
 adaptation of Mercier, who had confined himself to the portion 
 of the original treating of the advantages of solitude and made 
 changes even there. The portion treating of the disadvantaj[es_ 
 of solitude, which had been published in England as a supple- 
 ment to the part already jjublished, was seldom, if ever, reprinted 
 during our period. 
 
 In Zimmermann's book we have something like the reign of 
 sensitiveness instead of the usual sensibility. The instinctive 
 shrinking of a sensitive, perhaps somewhat conceited nature 
 from contact with the external word is perceptible on every 
 page, although we do not wish it to be inferred from these re- 
 marks that Zimmermann did not adequately express much of the 
 best thought on the subject of which his work treated. In the 
 popularity of his book in America we have another example 
 how the sometimes shrinking, sometimes self-assertive individ- 
 ualism, which is so peculiar to Germany during the last century, 
 found a certain response in a civilization where the attitude of 
 society towards the individual, and the individual towards 
 society, has developed a far more self dependent and less sensi- 
 tive type of character. The popularity of Lavater's Aphorisms 
 presents a parallel case, perhaps still more interesting. 
 
 Zimmermann had been introduced to the American public 
 many years before by a Philadelphia reprint (1778, No. 7) of his 
 Strictures on National Pride {Vom Nationalstolse)., a readable 
 book on national prejudices and failings. It appears that the 
 two Swiss authors Gessner and Zimmermann were the only rep- 
 resentatives of German literature whose works were reprinted in 
 America during revolutionary and colonial times. A more 
 reliable translation appeared later (reprinted, New York, 1799), 
 at a time when Zimmermann's name had become famous through 
 his Solitude.
 
 Frederick H. Wilkens. 51 
 
 In this connection a reprint of Knigge's Practical Philosophy 
 of Social Life ( Uber den Umgang mil Menschett) (No. 109) might 
 be mentioned, 
 
 A number of translations from the German have received a place 
 in the " List of Translations," although they belong rather to the 
 field of pedagogy. There is some justification in considering 
 them inasmuch as they are children's literature. They were, how- 
 ever, rather included on account of the humanitarian spirit of the 
 German " Aufklarung," with which they glow, and as interest- 
 ing predecessors of the more technical pedagogical literature 
 which came from Germany at a later period. 
 
 The most interesting of these is Salzmann's Elements of 
 Morality {Moralisches Ele7nentarbilchlein\ translated by the 
 well-known Mary Wollstonecraft. It was reprinted three or 
 four times about 1795, and again about 1811 (cf. index). 
 Incidents of child life are used as a vehicle for moral instruction. 
 Campe's stories, Cohimbns^ Cortez^ Pisarro^ and especially the 
 New Robinson Crusoe were reprinted (cf. index). They con- 
 tain history and fiction adapted so as to serve as moral and 
 educational food for youthful minds. We also mention again 
 in this connection Pestalozzi's Leonard and Gertrude (No. 80).^ 
 
 Among the theological works which we are justified in men- 
 tioning here those seem the most interesting which can be 
 regarded as a connecting link between Gennan rationalism and 
 the Unitarian movement of New England. It is principally 
 from this point of view that we have taken into our translations 
 the works of the German divines Zollikofer and Sturm. Sturm's 
 Refections on the Works of God was a work which was extremely 
 
 ' During this period a personal acquaintance with German pedagogues, and 
 an intimate knowledge of German pedagogy, was prol)ably extremel}' rare in 
 America. Of J. C. Cabell, who co-operated with Jefferson in founding the 
 University of Virginia, the statement is made: " While in Switzerland [between 
 1803 and 1806], he visited Yverdun, and on conference with the celebrated 
 Pestalozzi, and examination of his system, he was so much struck with certain 
 of his improvements in primary instruction, that long afterwards he sought to 
 have them naturalized in Virginia " (Jefferson and Cabell, Early Ilislory o/the 
 University of Virginia, 1856, p. xxix).
 
 52 Early hijiiieyice of German Literature in America. 
 
 popular in England, and also, although perhaps in a less degree, 
 in America (cf. index). A New England divine, Thaddeus M. 
 Harris, of some eminence in his day, rearranged the English 
 translation, compressed it, added to it, and published it under 
 the title Beauties of Nature Delineated (1801, cf. 70). The 
 next year it went through a second edition. Of Harris' reli- 
 gious convictions the following statement is made: "In his 
 theological opinions he belonged to the early liberal school. 
 The spirit of the Gospel, its lessons for the heart rather than 
 the speculative reason, its obligations, its comforts, its divine 
 assurances, were to him the believer's great concern."* The 
 nature of the book was such that it was acceptable to both liberal 
 and orthodox thought.^ 
 
 The popularity of the sermons of Zollikofer, a notable repre- 
 sentative of the extremest type of rationalism, is more interest- 
 ing. It is not astonishing that all of these (with the exception 
 of a small pamphlet containing two sermons. No. 175) were 
 published in the bailiwick of Unitarianism, in Massachusetts. T. 
 M. Harris, whose name has just been mentioned, made an 
 abridgement of one of the English translations, called Exercises 
 of Piety ^ which had two editions (1803, No. loi). Zollikofer 
 was the leading representative of German pulpit eloquence 
 known in England and America, although his effusive style 
 was not to everybody's taste, apart from the dissent which his 
 theological views might excite. The Montlily Anthology^ 
 reviewing his Seven Sermons on the Reformation^ says :^ " We 
 have hitherto been accustomed to value Zollikofer chiefly for 
 his simple and practical views of religion, and the gentle and 
 insinuating eloquence with which he recommends them. These 
 
 'N. K. Frothingham, Memoirs of T. M. Harris, Massachusetts Historical 
 Society Collections, 4 S., Vol. II, p. 13. 
 
 *The Rev. Samuel Knox, An Essay on the Best System of Education, Balti- 
 more, 1799, p. 107, proposes that a selection from the book be read every morn- 
 ing to impress the pupils with feelings of " reverence of the Deity, of his 
 government of the world," etc. 
 
 3 The Monthly Anthology and Boston Review, Vol. VI, 1809, p. 181.
 
 Frederick H. Wilkens. , 53 
 
 sermons on the Reformation are written with more vigour and 
 compression of thought than we have thought him capable of." 
 A translation of Jung-Stilling's Scenes in the World of Spirits 
 (No. 163) by Gottlieb Shober/ of Salem, N. C, is interesting as 
 being probably the earliest translation into English of one of 
 Jung-Stilling's works. The translation is a proof of the attraction 
 which m ysticism had for many of the Germans of America. 
 Haller's Letters to his Daughter on the Truths of the Christian 
 Religion was an orthodox defence of the Christian religion that 
 derived weight from the eminence of its author. It was reprinted 
 at New Haven (No. 92). We should not forget in this connec- 
 tion the Rev. J. C. Kunze, who, to make the German hymns 
 accessible to American readers, published a collection of them 
 translated into English.^ As I have not seen a copy of the book 
 I quote the words of Dr. Francis about the same: "With assist- 
 ance Dr. Kunze prepared a collection of hymns, translated into 
 English : they were the most singular specimens of couplets 
 and triplets I ever perused, yet they possessed much of the 
 intensity and spiritualism of German poetry. This was in the 
 fall of 1795." 
 
 Review. — New Developments. 
 The General Repository ajid Review^ Cambridge (Mass.), one 
 of the early periodicals indicative of the growing intellectual 
 culture of Boston, contains an anonymous review of Musaens' 
 Popular Tales} After giving some specimens of these tales, and 
 stating how these tales were collected the reviewer proceeds : 
 "We have so few translations from the German, that a knowl- 
 edge of it is the only medium of getting access to the immense 
 stores of science and literature contained in it. Our politics 
 
 iCf. about Shober the Cyclopedia of American Biography. 
 
 ''J. W. Francis, Old Nexv York, 1858, p. 45. The full title as made up from 
 this source and M. D. Learned, Opening of the Bechstein Library, 1896, p. 46, 
 would seem to be: A Hymn and Prayer-book for the use of such Lutheran 
 Churches as use the English Language. Published by Ilurtin & Commard- 
 inger. New York : John Tiebout, 1795. 12°. 
 
 'In Vol. IV, 1812, pp. 91-105. 
 
 O
 
 54 Early bijlueyice of German Literature in America. 
 
 have led ns to turn our eyes so exclusively on France and 
 England, that we hardly realize the existence of any other 
 nations in Europe. Yet, however absurd and heretical it may 
 seem in an American to insinuate the possibility that any other 
 people should ever pretend to a rivalry with those two great 
 countries, on whose prejudices our parties are made to hinge, it 
 is not to be disguised, that the Germans themselves entertain very 
 different notions on the subject. They not only lay claim to a com- 
 parison with the other nations in Europe, but they actually think 
 themselves entitled to assert the very first rank." The reviewer 
 then recalls the ancient importance of the German Empire, 
 glorifies the Reformation, asserts the pre-eminence of Germany 
 in all the domain of philosophy in its most extended sense 
 ("with the single exception, perhaps of the claims of France to 
 pre-eminence in physics ") and advises his countrymen to study 
 German, which he hopes will exert a favorable influence on the 
 English language. He next proceeds : " The German language 
 is particularly rich in that department of literature, which 
 generally holds out the greatest attractions to the student of 
 foreign languages, viz — poetry and belles lettres. In theatrical 
 writing, for instance, which in France and England seems to 
 be among the lost arts, German literature is overflowing with 
 excellent productions of living, or just deceased authors — 'that 
 rival all, but Shakespeare's name, below.' To prove this asser- 
 tion it is suSicient to mention the names of Schiller, Goethe, 
 Kotzebue, and Lessing. Garbled and miserable translations, 
 and imitations, or rather caricatures of them, have been the 
 stay and staff of the English stage for twenty years. Every- 
 thing may be ridiculed, and party spirit has found it within 
 the scope of its policy to ridicule the German theatre." He 
 finally states that the difficulties of learning German are not as 
 insurmountable as they are generally supposed to be. 
 
 These statements may seem commonplace to us, because not 
 only the scholar's estim.ate of German culture, but also public 
 opinion on this subject has long become fixed. It was a bold 
 and unique statement for the times, and has therefore been
 
 Frederick H. Wilkens. 55 
 
 placed at the head of the chapter in which we are about to 
 take leave of the subject of early influence of German liter- 
 ature in America. A manifesto like this marks indeed a new 
 departure. Few even in England would have dared to weigh 
 German culture on equal balance with French and English 
 culture. 
 
 The anonymous writer of this article was Alexander Hill 
 Everett/ a man of great merits, though not as well known as his 
 brother, Edward Everett. He had probably studied German 
 while he was associated with John Quincy Adams in St. Peters- 
 burg, where German influence was strong and the study of the 
 language and literature could be pursued under the most 
 favorable conditions.^ 
 
 The review is interesting, however, from another point of 
 view. It emphasizes the fact that impresses itself readily on 
 any one who has engaged in a study of the period. French was 
 at that time the only foreign language taught and studied in 
 America, where French grammars, French texts, and bilingual 
 texts in English and French were printed in not inconsiderable 
 numbers. The history of French influence is well known. 
 Dating back to the fellowship in arms during the Revolutionary 
 War, becoming a powerful political factor during the French 
 Revolution, it continued such for a long time, in the way hinted 
 at by Hill. Even apart from these considerations, the estab- 
 lished reputation of France as the home of good taste and the 
 brilliancy of its intellectual life and literature would have given 
 it a position that could not easily be assailed. 
 
 There was an earlier time when the great Frederick was the 
 most popular person in this country, when the French were 
 hated enemies, and native poets celebrated the glorious victory 
 of Rossbach. Making due allowance for the overstrained and 
 
 ^ The article was republished in \i\sCritical and Miscellaneous Essays, Second 
 Series, Boston, 1846, pp. 30-144. 
 
 '■'The United States Magazine and Democratic Review, New York, Vol. 
 X (N. S. ), 1842, p. 461, states that he studied at St. Petersburgh, among other 
 things, the modern languages.
 
 \ 
 
 56 Early hifiuence of German Literahire in America. 
 
 inflated language of the period, we cannot but feel that the 
 poet's heart is in such effusions as these : ^ 
 The Royal Comet. 
 
 Mistaken astronomers, gaze not so high; 
 
 The comet foretold is not yet in the sky. 
 
 It shines here on earth, though departed from Heaven, 
 
 And remarkably flam'd last year — fifty-seven: 
 
 In Woden's bold figure, three thousand years past, 
 
 O'er ancient Germania its lustre it cast: 
 
 Next wearing, Arminius, thy form, it returned: 
 
 And fatal to Rome's blasted regions it burned. 
 
 Now, attended with all the thunders of war. 
 
 Our Prussia's great Frederick is that great Blazing Star, 
 
 Heaven's proxy to nations oppressed, but a sign 
 
 To tyrants he comes of the vengeance divine. 
 
 Another specimen from the same poem : 
 
 O'er ocean from Europe his influence hurled. 
 Shall animate here, O George, thy New World. 
 Our laws, our religion, our rights he befriends. 
 And conquests o'er savage invaders portends. 
 
 These remarks may not seem very relevant to our subject, but 
 they afford us an opportunity of pointing out the importance 
 which Frederick's international reputation had in increasing 
 the esteem in which the German nationality was held. During 
 the whole eighteenth century Frederick the Great remains 
 probably the best known and most celebrated person of foreign 
 birth in the estimation of America, and if any American 
 attempted, as sometimes happened, to eulogize the German 
 nationality or praise their literature, he never neglected to refer 
 
 1 The American Magazine and Monthly Chro7ticle for the British Colonies, 
 Vol. I, 1757-58, p. 551. These lines are by the Rev. James Sterling of Kent 
 County, Md. More such poetry may be found pp. 240, 280. F. Kapp, Fried- 
 rich der Grosse und die Vereifiigten Staaten, Leipzig, 1871, p. 11, gives further 
 proofs of Frederick's popularity in the American colonies.
 
 Frederick H. Wilkens. 57 
 
 his readers to the possibilities latent in a people that had pro- 
 duced such a hero as Frederick the Great. 
 
 One great obstacle to German studies and a true appreciation 
 of German civilization was the remoteness of the country from 
 America. Few American travelers visited Germany. England 
 and France were usually the goal of their ambition. If an 
 American touched German soil it was usually as a traveler 
 along the course of the Rhine, on his way from the rich and 
 important Netherlands to France.^ It is needless to say that it 
 was impossible to gain an impression of German life during 
 such a short trip in one of the least progressive parts of Ger- 
 many, the territory of the bishop electors. When Aaron Burr 
 visited Weimar in 1810, he found that the only Americans 
 known there were Poinsett [J. R. Poinsett] and a Mr. Smith, 
 both from South Carolina.^ A great contrast with the number 
 of Americans who later visited Weimar ! 
 
 John Quincy Adams, having enjoyed the privilege of a resi- 
 dence in Germany, besides being a man of high culture and 
 literary tastes, may perhaps be regarded as the father of German 
 studies in America, such as we have learned to identify with 
 the highly respectable culture of New England. The account 
 he gives of his journey in Silesia shows a most sympathetic 
 attitude towards the German people. He says of them -."^ " In 
 the manners and conversations of these persons, upon the 
 whole, we found a frankness, a cordiality and good nature truly 
 republican, or which at least I love to consider as such. They 
 speak with openness and freedom of their own government, 
 which they praise and blame according as they think it deserves." 
 Of course we do not wish to give the impression that John 
 Quincy Adams was the only American who, while living abroad, 
 considered it worth his while to study German. But there were 
 certainly only few exceptions to our statement that German was 
 
 1 JeflFerson made this trip. (Cf. Writings of Thomas Jefferson, ed. by H. 
 A. Washington, New York, 1859, Vol. IX, pp. 37S-395.) 
 
 2 The Private Journal of Aaron Burr, New York, 1858, p. 389. 
 'J. Q. Adams, ybwrwo* ^o Silesia, London, 1804, p. 22.
 
 58 Early Influence of German Literature in America. 
 
 not studied by Americans during the end of the last and begin- 
 ning of our centur3\^ 
 
 The difficulties that beset the student who was ambitious of 
 acquiring the German language at Boston about the year 1813, 
 are described by Ticknor in a most amusing fashion. He says, 
 speaking of his own experience •?■ " The first intimation I ever 
 had on the subject [excellence of German Universities] was 
 from Mme. de Stael's work on Germany, just then published.' 
 My next came from a pamphlet, by Villers, to defend the Uni- 
 versity of Gottingen from the ill intentions of Jerome Bona- 
 parte, the King of Westphalia, in which he gave a sketch of 
 the University and its courses of study. My astonishment at 
 these revelations was increased by an account of its library, 
 given, by an Englishman who had been at Gottingen, to my 
 friend, the Rev. Samuel C. Thacher. I was sure that I should 
 like to study at such a university, but it was in vain that I en- 
 deavored to get further knowledge upon the subject. I would 
 have gladly prepared for it by learning the language I should 
 
 1 Joel Barlow, the poet, seems to have known German (Cf. C. B. Todd, Life 
 and Letters of Joel Barlozv, 1886, p. 274.), and Gouverneur Morris tells us in his 
 diary how he took up the study of the language. 
 
 "^ Life and Letters of George Ticknor, Boston, 1876, Vol. I, p. 11. 
 
 'An American reprint of the English translation (1813) appeared: Germany, 
 by the Baroness Stael Holstein, 3 vols, in 2, New York, Eastburn, Kirk & Co., 
 1814. 
 
 In speaking of this important source of information for the history of 
 German literature, it would be unfair to pass in silence the older work 
 of an American author, which devotes a large share of attention to 
 German literature. I mean Samuel Miller's Brief Retrospect of the 
 Eighteenth Century, New York, T. and J. Swords, 1803. I quote a sample: 
 " So many interesting works in literature and science have been published in 
 Germany . . . that the acquisition of the language seems now to be re- 
 garded by the literati of Europe as of equal importance with that of the French 
 and English" (p. 113). It is not possible to quote the many sympathetic 
 notices which he accords to German writers. I quote as a curiosity a remark 
 about Faust: " The Faust of the celebrated Goethe of Germany occupies a high 
 place in the list of modern satirical writings." 
 
 Dr. Samuel Miller belongs to the literary circle of Dunlap and C. B. Brown. 
 About the beginning of our century New York, more than any other place 
 seems to have shown an interest in German literature.
 
 Frederick H. Wilkens. 59 
 
 have to use there, but there was no one in Boston who could 
 teach me. At Jamaica Plains there was a Dr. Brosius, a native 
 of Strasburg, who gave instructions in mathematics. He was 
 willing to do what he could for me in German, but he warned 
 me that his pronunciation was very bad, as was that of all 
 Alsace, which had become a part of France. Nor was it 
 possible to get books. I borrowed a Meidinger's grammar, 
 French and German, from my friend Mr. Everett, and sent 
 to New Hampshire, where I knew there was a German Dic- 
 tionary, and procured it. I also obtained a copy of Goethe's 
 ' Werther ' in German (through Mr. William S. Shaw's con- 
 nivance) from amongst Mr. J. Q. Adams' books, deposited by 
 him, on going to Europe, in the Athenaeum, under Mr. Shaw's 
 care, but without giving him permission to lend then. I got so 
 far as to write a translation of 'Werther,' but no farther." The 
 account which Ticknor gives of the diflEiculties under which 
 German studies were pursued in Boston, about the year 1813, 
 may be perfectly true. At the same time, we have good infor- 
 mation that there existed a demand for German teaching even 
 before this period. 
 
 Sydney Willard says, speaking of a period preceding by a 
 few years the time when Ticknor learned German •} " A German 
 Jew by name of Horwitz came to Cambridge and remained a 
 year or more. He found some encouragement as a teacher of 
 German. I studied German with his aid. He was somewhat 
 arrogant in his pretensions, but could justly lay claim to con- 
 siderable learning in the language of his religion and of the 
 country from which he emigrated." 
 
 Professor Learned has given an account of the introduction 
 of German during the last century, as a medium of instruction, 
 into the curriculum of the University of Pennsylvania.^ As 
 these courses were intended principally for the Germans of 
 Pennsylvania we merely refer to them here, as they lie outside 
 
 1 Sydney Willard, Memories of Youth and Manhood, 1855, Vol. II, p. 145. 
 ' Addresses at the Opening of the Bechstein Library, March 21, 1896, pp. 37-50.
 
 6o Early Influence of German Literature in America. 
 
 the scope of our article. Apart from this there seems to have 
 been no regularly appointed instructor of German in any 
 American college until Follen was appointed teacher of the 
 German language at Harvard in 1826. At Amherst College an 
 attempt was made in 1826 to introduce courses in the modern 
 languages, parallel to the courses in the classical languages/ 
 German was taken into consideration as one of the languages of 
 this course. The experiment proved a failure and in 1829 the 
 parallel courses in modern languages were abolished. It also 
 seems probable that Blaettermann, who was appointed professor 
 of modern languages at the University of Virginia in 1825, gave 
 instruction in German. 
 
 Considering the great similarity which exists between the 
 Unitarian movement in America and German rationalism it is 
 astonishing to notice that the latter seems to have had but slight 
 influence on the former during the end of the latter and beginning 
 of our century. It seems strange to us that Channing did not 
 apparently know " that a great number of Lutherans thought 
 with him," of which fact Follen apprised him;' nor can the 
 claims of German philosophy for his attention have been very 
 urgent, if it needed an article in the Edinburgh Reviezv on 
 German philosophy to arouse his desire to study German 
 (1829).'' ^^^^ Rev. Convers Francis is mentioned among the 
 earliest students of German, and German theology, in this coun- 
 try.* He became the teacher of Theodore Parker. While we are 
 compelled to make these reservations, it is nevertheless true that 
 German theology was best known in New England, especially 
 Boston, about which fact one can easily inform oneself by com- 
 paring the early Boston periodicals of a serious character with 
 those from other parts of the country. We have already referred 
 to the popularity which Zollikofer's sermons enjoyed. With the 
 
 HV. S. Tyler, History of Amherst College^ 1873, pp. 170-172. 
 ' The Wortis of Charles Follen, Boston, 1842, Vol. I, p. 167. 
 ' Ibid., p. 243. 
 
 * William ^&^€i\, Memoirs of the Rev. Convers Francis. {Massachusetts 
 Historical Society Proceedings, 1S64-65, p. 242.)
 
 Frederick H. Wilkens. 6i 
 
 divines of other sects the feeling that German was a most useful 
 and desirable acquirement seems to have made itself felt still 
 less. The Rev. S. H. Turner, a member of the Episcopal 
 Church, who is mentioned among the earliest translators of 
 theological works from the German, did not begin to acquire 
 that language till about 1825/ 
 
 The amount of attention that German philosophy received in 
 America during the first quarter of our century is perhaps most 
 aptly stated in the words of James Marsh, president of, and 
 later professor in, the University of Vermont and apparently 
 one of the earliest students in America of German philosophy. 
 He studied German in 1821, and in the course of his studies 
 " began to consult Kant's Critique of Pure Reason then a perfect 
 terra incognita to American scholars."" 
 
 In a letter addressed to S. T.Coleridge during the year 1829' 
 he states that the works of Locke were formerly much used in 
 colleges, but that now the Scotch philosophers had taken his 
 place. " The German philosophers, Kant and his followers, are 
 very little known in this country ; and our young men who 
 have visited Germany, have paid little attention to that depart- 
 ment of study while there." He then acknowledges that he 
 owes to Coleridge the understanding of what little Kant he has 
 read. "The same views are generally entertained in this 
 country as in Great Britain, respecting German literature ; and 
 Stewart's History of Philosophy especially has had an extensive 
 influence to deter students from the study of their philosophy. 
 Whether any change in this respect is to take place remains to 
 be seen." 
 
 The period between 1802 and 1825 is a transition period when 
 viewed with respect to German literature. Works that have 
 already become established in public favor like those of Gessner, 
 Kotzebue, Zimmermann, Goethe (IVerter), and others are 
 
 ' T/te Aiitobiof^raphy of the Rev. S. H. Turner, New York, 1864, p. 124. 
 « The Remains of the Rev. James Marsh, Boston, 1843, P- 44- 
 'Ibid., p. 137.
 
 62 Early Influence of German Literature in America. 
 
 reprinted, but there are few accessions by new authors. The 
 attitude of the general public also remains the same toward 
 German literature.* The advent (about 1818) of a new class of 
 romantic fiction has already been mentioned. If our presenta- 
 tion of the new movement toward a better understanding of 
 German literature may seem meagre we must point again to the 
 fact that this subject lies beyond the task set for this article, 
 and we could only enter upon this subject, and confine ourselves 
 within our self-imposed limits, by following the youthful studies 
 and interests of men like Ticknor, Everett and Bancroft. 
 Certainly a most sympathetic theme, but one that had best be 
 left for treatment in another connection. 
 
 ^ An article of this type is to be found in The Portico; a Repository of Science 
 and Literature, Baltimore, 1817, Vol. II, pp. 17-25, in which the reviewer 
 comes to the usual conclusion that Gessner and Kotzebue are the most satisfac- 
 tory German writers.
 
 Frederick H. Wilkefis. 63 
 
 APPENDIX. 
 A List of the Translations of German Literature 
 
 THAT WERE PRINTED IN THE UNITED STATES 
 BEFORE 1826. 
 
 Abbreviations: adv. = advertisement; a. pref., etc. = author's preface; cont 
 = contents; ed. = edition; e. pref., etc. = editor's preface; introd. = introduc- 
 tion; pi. = plate; pref, = preface; t. pref., etc. = translator's preface, etc. 
 
 [Note. — An attempt has been made to obtain a fairly com- 
 plete list of translations from German literature, of works sug- 
 gested by German literature, and of important collections 
 containing translations from German literature, as far as such 
 were printed in the United States before 1826. Absolute com- 
 pleteness is impossible and indeed not requisite for the purposes 
 of our investigation. From the fact that both collector and 
 bibliographer take little interest in the reprints of the end of 
 the last, and beginning of our century, the student is compelled 
 to go over the ground himself, not the least laborious part of 
 this study. Fully two-thirds of the books mentioned have been 
 personally examined, of the remaining third many titles were 
 furnished by the courtesy of librarians, or taken from equally 
 reliable sources {e. g. the Catalogue of the Brinley Collection). 
 In some cases, where titles could not be verified, sources are 
 stated. C. R. Hildeburn, A Century of Printing, Philadelphia, 
 1885-86, and Isaiah Thomas' list of ante-revolutionary prints 
 in his " History of Printing in America " (iVmerican Anti- 
 quarian Society Transactions, Vols, V-VI), are thus quoted. 
 
 Want of space prohibits us from acknowledging here the 
 many favors received through the uniform courtesy of librarians. 
 Special thanks are due Mr, A, R. Spofford and Mr. A. P. C, 
 Griffin, of the Congressional Library, and ]\Ir. W, Eames, of the 
 Lenox Library, for their kind and ever ready advice, and to Mr, 
 E. M. Barton, of the American Antiquarian Society, Worcester, 
 Mass,, Mr, J, Schwartz, of the New York Apprentices' Library, 
 and my friend, Professor G, S. Collins, of the Brooklyn Poly- 
 technic Institute, for interesting information.
 
 64 Early Influence of German Literature iyi America. 
 
 In the course of collecting these titles the desirability of 
 furnishing the fullest information in regard to the character of 
 prefaces, the numbering of pages, etc., impressed itself more 
 and more. Considering the many sources from which this list 
 has been compiled a uniform practice was not possible in these 
 matters. 
 
 It is hardly necessary to emphasize the fact that a detailed 
 examination of these prints was seldom possible, the three 
 requisites of American reprint, English original translation, and 
 German original being only rarely found at the same library, 
 quite apart from the fact that limitations of time are an impor- 
 tant factor in the case of material scattered along the whole 
 length of our country. It would be a grave omission not to 
 mention the help derived from the catalogue of the British 
 Museum in many of the questions arising in this connection.] 
 
 1762. 
 
 1. [Gessner, S.] The Death of Abel. In five books. By Solo- 
 mon Gessuer. Philadelphia: William Bradford. 1762. 
 
 (Hildeburn.) 
 Probably reprint of : The Death of Abel, in five books, attempted from the 
 German of Mr. Gessner by Mary Collyer. Ivondon. 1761, [Der Tod Abels. 
 1758.] 
 
 2. [Gessner, S.] The Death of Abel, in five books. Boston. 
 Reprinted. 1762. 12°. (Thomas.) 
 
 Probably Mary CoUyer's translation. I,ondon. 1761. Cf. i. 
 
 1765- 
 
 3. [Gessner, S.] The Death of Abel in five books attempted 
 from the German of Mr. Gessner The sixth edition London 
 printed: New York reprinted by H. Gaine at the Bible and Crown, 
 in Hanover Square 1765. 
 
 Mary Collyer's translation. London. 1761. Cf. i. 
 
 1767. 
 
 4. [Gessner, S.] The Death of Abel, in five books, attempted 
 
 from the German of Gessner. 7th edition. New York. 1767. 
 
 12'*. (Thomas.) 
 
 Evidently Mary Collyer's translation. London. 1761. Ct. i. Reprint of the 
 7th English edition (1765) ?
 
 Frederick H. Wilkens. 65 
 
 1770. 
 
 5. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. London, printed; 
 Philadelphia, reprinted and sold by Joseph Crukshank, and Isaac 
 Collins, in Third-street, opposite the Work-house, 1770. 12°. 
 pp. iii-iv "To the Queen", v-viii a. pref., ix-x t. pref., 11-106. 
 
 Mary Collyer's translation. London. 1761. Cf. i. 
 
 1770? 
 
 6. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. London, printed; 
 Philadelphia, reprinted and sold by John Dunlap, at the Newest 
 Printing-office, the south side of the Jersey-market, and three doors 
 below Second-street. 12°. pp. iii-iv "To the Queen", v-viii a. 
 pref., ix-x t. pref., 11-106. 
 
 Mary Collyer's translation. London. 1761. Cf. i. The copy of the Pa. 
 Historical Society bears on the binding the date 1770. That this is approxi- 
 mately correct is proved by the fact that the designation ' ' the south side of the 
 Jersey-market" occurs only from 1768-1770 in books printed by Dunlap. (Cf. 
 Hildebum. ) 
 
 1778. 
 
 7. [Zimmerraann, J. G.] Strictures on National Pride. Trans- 
 lated from the German of Mr. Zimmermann. Physician in Ordinary 
 to His Britannic Majesty at Hanover, . . . Philadelphia, printed 
 and sold by R. Bell, at the Circulating Library, next door to St. 
 Paul's Church, in Third street. 1778. 8°. pp. iii-iv t. pref., 
 v-viii [for vi] cont., 9-274, [pp. 5] index. 
 
 Reprint of: An Essay on National Pride, translated, &.c. London. 
 1771. [Von dem Nationalstolze. 1758.] 
 
 1784. 
 
 8. [Goethe, J. W. von] Sorrows and Sympathetic Attachments 
 of Werther: a German story, in a series of letters. By Mr. Goethe, 
 Doctor of the Civil Law. In two volumes. Philadelphia: Robert 
 Bell. 1784. (Hildeburn) 
 
 Possibly a reprint of: The Sorrows of Werter; a German story founded on 
 fact. 2 vols. London. 1779. [Die Leiden desjungen Werthers. 1774.] 
 
 1788. 
 
 9. [Klopstock, F. G.] The Messiah, attempted from the Ger- 
 man of Mr. Klopstock, by Joseph Collyer. In fifteen books. Eliza- 
 
 5
 
 66 Early Influence of German Literature in America. 
 
 beth Town: printed and sold by Shepard Kollock, 1788. 16°. 
 pp. ii-v t. pref., vii-xvi " On Divine Poetry", 383. (15 books.) 
 
 Reprint of: The Messiah, &c. 2 vols. London. 1763. Vol. 3 (book 
 1 1- 15) was added later [1772?]. [Der Messias. I75I-I773-] 
 
 1789. 
 
 10. [Goethe, J. W. von] The Sorrows of Werter. A German 
 story. Taedet coeli convexa tueri. To each his suflFerings. Gray. 
 (Ode to Adversity.). Vol. I. Litchfield, (Connecticut) Printed 
 by Thomas Collier. 1789. 12°. Vol. I. pp. ii t. pref., 94. 
 Vol. II. pp. 1-92 + [copy examined defective; letter 38-77 +]. 
 
 Apparently Reprint of: The Sorrows of Werter, &c. London. 1779. Cf. 8. 
 The beginning lines as in 39. 
 
 11. [Lessing, G. E.] Lucy Sampson, or the Unhappy Heyress, 
 translated by a citizen of Philadelphia. Philadelphia. Charles Cist. 
 1789. 
 
 Translation (by David Rittenhouse, Philadelphia) of: Miss Sara Sampson, 
 ein biirgerliches Trauerspiel. 1755. The title of the work is taken from Goedeke, 
 Gruudriss zur Geschichte der deutschen Dichtung^, Vol. iv, p. 142 (§221, 47), 
 and W. Barton, Memoirs of David Rittenhouse, Philadelphia, 1813, p. 495. 
 Goedeke gives the date 1790. 
 
 1790. 
 
 12. [Campe, J. H.] The New Robinson Crusoe: an instructive 
 and entertaining history for the use of children of both sexes. 
 Translated from the French. Printed at Boston, by Thomas and 
 Andrews, at Faust's Statue. Sold at their bookstore. . . 
 1790. 8°. pp. viii e. pref., 270. 
 
 Apparently reprint of: The New Robinson Crusoe, &c. 4 vols. London. 
 1788. [Robinson der jiingere. 1779. 1780.] 
 
 13. [Gessner, S., suggested by G.'s Death of Abel] The 
 Death of Cain &c. Cf. 17. 
 
 14. [Lavater, J. K.] Aphorisms on Man. Translated from the 
 original manuscript of the Rev. John Casper Lavater, citizen of 
 Zuric. Author of the Essays in Phy gnomy. . . . 
 Philadelphia: printed by William Spotswood. 1790. 16". pp. 
 v-vi " To Henry Fuseli", vii-viii e. adv., pp. 100. (633 aphorisms.) 
 
 Reprint of: Aphorisms on Man, &c, [Translated by J. H. Fuseli.] Lon- 
 don. 178S.
 
 Frederick H. Wilkens. 67 
 
 15. [Lavater, J. K.] Aphorisms on Man. Translated from the 
 original manuscript of the Rev, John Caspar Lavater, citizen of 
 Ziiric. . . . Third edition. London : printed. New York: 
 reprinted by T. and J. Swords, for Berry and Rogers, Hanover 
 Square. 1790. 16° [p. 3] "To Henry Fuseli", [p. 4] e. adv., 
 pp. 5-1 14. (633 aphorisms). 
 
 J. H. Fuseli's translation. London. 1788. Cf. 14. 
 
 16. [Lavater, J. K.] Aphorisms on Man. Translated from the 
 original manuscript of the Rev. John Caspai Lavater, citizen of 
 Zuric. . . . Fourth edition. Printed at Boston, by I. 
 Thomas and E. T. Andrews. At Faust's Statue, No. 45, Newbury 
 Street. Sold by them at their bookstore, by D. West, in Marl- 
 borough Street, by E. Larkin, jun. in Cornhill, and by I. Thomas, in 
 Worcester. 1790. 16°. [p. 3] "To Henry Fuseli", [p. 4] e. adv., 
 pp. 5-1 12. (633 aphorisms.) 
 
 J. H. Fuseli's translation. London. 1788. Cf. 14. 
 
 1791. 
 
 17. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. By Mary Colly er. To 
 which is added. The Death of Cain, In five books. Philadelphia: 
 printed by William Spotswood. 1791. 16°. pp. iii-vi a. pref., 
 pp. vii-viii t. pref., 172. 
 
 The Death of Cain, in five books; after the manner of the Death 
 of Abel. By a Lady. . . . Philadelphia: printed and sold by 
 
 William Spotswood, 1790. 16°. pp. iii-iv pref., pp. 103. 
 
 Mary Collyer's translation of: The Death of Abel. London. 1761 (Cf 1); 
 and reprint of: The Death of Cain, &c. London. [1790?] 
 
 18. [Gessner, S., suggested by the G.'s Death of Abel.] The 
 Death of Cain, in five books; after the manner of the Death of Abel, 
 By a Lady. . . . Philadelphia : printed and sold by William 
 Spotswood, 1791. 16°. [p. ii] a. adv., pp. iii-iv a. pref., pp. 68. 
 
 Reprint of: the Death of Cain, &c. London. [1790?]. Cf. 17. This 
 print occurs bound with: the Death of Abel. Philadelphia. 1791 (Cf 17) 
 and may possibly be an abridged copy of print 13. 
 
 About 1 79 1. 
 
 19. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. Newport (Rhode Island). 
 Printed by Peter Edes. 16°, pp, x a, pref., 154.
 
 68 Early Influence of German Literature in America. 
 
 Mary Collyer's translation. 1761. Cf. i. Peter Edes printed at Newport 
 from about 1787-1796, in which year he left. I have fixed approximate date of 
 print on the basis of this information. 
 
 1793- 
 
 20. [Gessner, S., suggested by G.'s Death of Abel.] The 
 Death of Cain; in five books; by a Lady, Newburyport, 1793. 16°. 
 
 Reprint of: The Death of Cain, &c. London. [1790?] Cf 17. 
 
 21. [Lavater, J. K.] Aphorisms on Man. Translated from the 
 original manuscript of the Rev. John Caspar Lavater, citizen of 
 Zuric. 5th edition. Printed at Newburyport, by George Jerry 
 Osborne, Guttenberg'shead. 1793. 16°, pp. iv, no. 
 
 Evidently J. H. Fuseli's translation. London. 1788. Cf. 14. 
 
 22. [Schiller, F. von.] The Robbers. A tragedy. Translated 
 from the German of Frederick Schiller. New-York : printed by 
 Samuel Campbell. No 37, Hanover Square. 1793. 8°. pp. 
 vii introd., 11-120. 
 
 Reprint of : The Robbers, translated from the German of F. Schiller [by 
 A. F. Tytler, Lord Woodhouselee]. London. 1792. 
 
 23. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence upon the Mind and the Heart. Written originally in 
 German by M. Zimmermann. Aulic Counsellor and Physician to 
 His Britannic Majesty at Hanover. Translated from the French of 
 J. B. Mercier. . . . Philadelphia: printed for J. Crukshank, W. 
 Young, T. Dobson, M. Carey, H. & P. Rice, B. Johnson, and P. 
 Hall. 1793. 12°. [p. i] Cont., pp. 328. 
 
 Reprint of : Solitude considered with respect to its Influence on the Mind 
 and Heart. Written originally in German by Mr. Zimmermann. Translated 
 from the French of J. B. Mercier. London. 1791. [tjber die Einsamkeit. 
 1784-85.] 
 
 1794? 
 
 24. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. By Mary Collyer. New- 
 York. Printed and sold by S. Campbell, No. 37, Hanover Square. 
 1764. 16°. 
 
 Mary Collyer's translation. London. 1761. Cf. i. The date 1764 is found 
 in the print (cf. also facsimile in C. R. Hildeburn, Sketches of Printers and 
 Printing in Colonial New York . 1895. p. 70). Hildeburn was unable to ascer- 
 tain anything concerning the printer, or that he printed anything else. 1764 
 seems to be a printer's error, perhaps for 1794. In 1793 Samuel Campbell 
 printed at the same address Schiller's Robbers. Cf. 22.
 
 Frederick H. Wilkens. 69 
 
 1795- 
 
 25. The Surprising Life and Death of Dr. John Faustus, D. D. 
 commonly called the History of the the [sic] Devil and Dr. Faustus. 
 To which is now added the Necromancer, or, Harlequin Dr. Faustus; 
 as performed at the Theatres. Truly translated from the original 
 copies. Printed at Worcester. 1795. 24°. pp. 5-144 [misprint 
 for 143]. 
 
 Reprint of an English print. The Brit. Mus. has English editions of a simi- 
 lar title. [Historia von Dr. Johann Fausten. Frankfurt a. M. 15S7.] 
 
 26. [Dr. Faustus, suggested by the story of Dr. Faustus.] 
 The Necromancer or Harlequin Dr. Faustus. Cf. 25. 
 
 27. [Goethe, J. W. von] The Sorrows of Werter, an affecting 
 story. Translated from the original German. Forever Fortune wilt 
 thou prove. An unrelenting Foe to Love; And when we meet, a 
 mutual Heart, Come in between and bid us part? Bid us sigh on, 
 from Day to Day, And wish, and wish the Soul away. Till youth 
 and passion both are flown. And all the Life of Life is gone. New 
 York : printed by Wayland & Davis, Water-street, for L. Wayland. 
 1795. 18°. pp. 142. 
 
 Probably reprint of one of the English translations. Letter i . You ask me 
 how I fell in love ? What a question ! Why I've seen such a woman ! So much 
 sweetness, such affable behaviour; &c. . . . Emilia Galotti was lying open 
 upon his bureau. I will say nothing of Albert's great distress, nor of the situa- 
 tion of Charlotte. Finis. 
 
 28. [Klopstock, F. G.] The Messiah, attempted from the Ger- 
 man of Mr. Klopstock, by Joseph Collyer. In fifteen books. New- 
 York. G. Forman, No. 156, Front Street, for Evert Duyckinck & 
 Co. booksellers and stationers. No no. Pearl Street. 1795. 
 12°. pp. iii-iv t. pref., vii-xvi " On Divine Poetry," 17-403. 
 
 J. Collyer's translation. London. 1763, [1772?]. Cf. 9. 
 
 29. [Salzmann, C. G,] Elements of Morality, for the Use of 
 Children; with an Introductory Address to Parents. Translated 
 from the German of the Rev. C. G. Salzmann. The first American 
 edition. Printed at Providence (R. Island) by Carter and Wilkin- 
 son, and sold at their book and stationary store, opposite the 
 Market. 1795. 12°. pp. iii-v adv., vii-xix "Introductory 
 Address to Parents," pp. 21-306. i pi. 
 
 Reprint of : Elements of Morality, &c. [Translated by INIary Wollstone- 
 craft.] London. 1790. [Moralisches Elementarbuch. 1782-S3.]
 
 70 Early Influence of German Literature in America. 
 
 1795 or before. 
 
 30. [Gessner, S.] The Death of Abel. New York. Evart 
 Duyckinck & Co. 
 
 Possibly a reprint of Mary Collyer's translation. London. 1761. This ed. 
 is mentioned in an adv. in Duyckinck's ed. of the Messiah. Cf. 28. 
 
 1796. 
 
 31. [Salzmann, C. G.] Elements of Morality for the Use of Chil- 
 dren ; with an Introductory Address to Parents. Translated from 
 the German of the Rev. C. G. Salzmann. Illustrated with twenty 
 copper plates. In two volumes. Vol. II. Philadelphia: printed 
 
 for J. Hoflf & H. Kaemmerer, jun. 1796. 12°. Vol. I. ; Vol. 
 
 IT. pp. 5-259. 20 plates. 
 
 Reprint of Mary Wollstonecraft's translation. London. 1790. Cf 29. 
 
 32. [Salzmann, C. G.] Elements of Morality for the Use of Chil- 
 dren; with an Introductory Address to Parents. Translated from 
 the German of the Rev. C. G. Salzmann. The third American edi- 
 tion. Wilmington: printed by Joseph Johnson. Market Street 
 opposite the Bank. 1796. 12°. pp. iii-iv adv., v-xiv " Introduc- 
 tory Address to Parents," 15-232. 
 
 Reprint of Mary Wollstonecraft's translation. London. 1790. Cf 29. 
 
 33. [Schiller, F. von.] The Ghost-Seer; or, Apparitionist: an 
 interesting fragment, found among the papers of Count 0*****. 
 From the German of Schiller. New- York: printed by T. & J. 
 Swords, No. 99 Pearl- street. 1796. 12°. pp. 5-120. 
 
 Reprint of : The Ghost-Seer; or Apparitionist, &c. [Translated by D. 
 Boileau.] London. 1795. [Der Geisterseher. 1789.] 
 
 34. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence upon the Mind and the Heart. Written originally in 
 German by M. Zimmermann, Aulic Counsellor and Physician to 
 His Britannic Majesty at Hanover. Translated from the French of 
 J. B. Mercier. . . . Albany: printed by Barber & South- 
 wick, Faust's Statue, State-street 1796. 8°. pp. viii, 280. 
 
 Apparently reprint of: Solitude considered &c. London. 1791. Cf 23. 
 
 1797. 
 
 35. [Goethe, J. W. von, suggested by G.'s Werther.] The 
 Letters of Charlotte, during her Connexion with Werter. . . . 
 Vol. I. New-York: printed by William H. Davis, for E. Duyckinck
 
 Fredet ick H. Wilkens. 7 1 
 
 & Co. T. Allen, T. & J. Swords, T. Greeuleaf, and J. Tiebout. 
 1797. 12°. Vol.1, pp. v-xii e. pref., 13-117. frontispiece. Vol. 
 II. pp. 121-240. 
 Reprint of: The Letters of Charlotte, &c. 2 vols. London. 1786. 
 
 36. [Wieland, C. M.] Socrates out of his Senses: or Dialogues 
 of Diogenes of Sinope. . . . Translated from the German of 
 Wieland, by Mr. Wintersted. Vol. I. Newburgh: printed by 
 D. Denniston, for self and J. Fellows. 1797. Vol. I. pp. xvi, 119. 
 
 Reprint of: Socrates out of his Senses, &c. 2 vols. London. 1771. 
 (Was more than one vol. ever reprinted ?) [Su/cparj/f fiaivo/xevoc , oder die 
 Dialogen des Diogenes von Sinope. 1770.] 
 
 37. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence upon the Mind and the Heart. Written originally in 
 German by M. Zimmermann, Aulic Counsellor and Physician to His 
 Britannic Majesty at Hanover. Translated from the French of J. 
 B. Mercier. . . . Wilmington: printed by Johnson & Preston, 
 No. 73 Market-street. 1797. 16°. [p. i] Cont., pp. i-v French 
 t. pref., 298. 2 pi. 
 
 Reprint of: Solitude considered &c. London. 1791. Cf. 23. 
 
 1797? 
 
 38. [Sturm, C. C] Moral and Natural Philosophy familiarized, 
 in Reflections suitable for every Day in the Year. From the German 
 of C. C. Sturm. 
 
 " Preparing for the press " according to advertisement in the American Uni- 
 versal Magazine, Vol. I, No. i (Jan. 2d, 1797). in which number also began a serial 
 publication (of the same?) entitled: Natural and Moral Philosophy familiarized 
 in a Series of Reflections from the German of C. C. Sturm. Probably reprint 
 or adaptation of one of the English translations. [Bctrachtungen iiber die 
 Werke Gottes im Reiche der Natur. 1785-] 
 
 1798. 
 
 39. [Goethe, J. W. von.] Werter and Charlotte. The Sorrows 
 of Werter. A German story. To which is annexed, the Letters of 
 Charlotte to a female Friend, during her Connection with Werter. 
 The whole of both works complete in one volume. Boston : for 
 Thomas and Andrews. Sold at their bookstore. No. 45, Newbury- 
 street; by I. Thomas, Worcester; by Thomas Andrews, and Peuni- 
 man, Albany; and by Thomas Andrews, and Butler, Baltimore. 
 October, 1798. Printing-ofiice, No. 20, Union-street. 12°. pp. 284.
 
 72 Early Infiiience of German Literature in Atnerica. 
 
 Apparently reprint of : The Sorrows of Werter. London. 1779, Cf. 10; 
 and, apparently, of: The Letters of Charlotte &c. London. 17S6. Cf 35. 
 
 Letter I. May 4. I am glad that I went away. Could I leave you, my com- 
 panion, my friend, that I might be more at ease? The heart of man is 
 inexplicable. . . . If, O heaven, it is not presumption, let my last prayer 
 be heard for Werter: may thy mere}' equal Charlotte's pity ! Finis. 
 
 40. [Goethe, J. W. von, suggested by G.'s Werther.] The 
 Letters of Charlotte. Cf. 39. 
 
 1799. 
 
 41. [Kotzebue, A. F. F. von.] The Constant Lover; or, Will- 
 iam and Jeannette: a tale. From the German of Augustus von 
 Kotzebue, author of the Stranger, Lovers' Vows, Self Immolation, 
 Virgin of the Sun, &c. To which is prefixed, an account of the 
 literary life of the author. Two volumes in one. Boston: printed 
 for Joseph Bumstead. Sold by him at No. 20, Union Street; by 
 Thomas and Andrews, Newbury-Street; by K. Larkin, and Wm. P. 
 and L. Blake, Cornhill. 1799. 12°. [p. iii] a. dedication, pp. 
 v-xiv " My Literary Life," 15-295, [pp. 2] cont. 
 
 Apparently a reprint of : The Constant Lover; &c. 2 vols. London. 1799. 
 ["Gepriifte Liebe " in "Die jiingsten Kinder meiner Laune, 1793-97." 
 Vol. 4, 6.] 
 
 42. [Kotzebue, A. F. F. von] The Constant Lover; or, WilHam 
 & Jeanette: a tale. From the German of A. von Kotzebue, 
 author of the Stranger, Lovers' Vows, Count Benyowsky &c &c. 
 In two vols. Vol.11. New York: printed for Naphthali Judah; No. 
 47, Water Street, by M. L. & W. A. Davis. 1799. 12°. Vol. 
 I. . Vol. II. pp. 180. 
 
 Apparently a reprint of : The Constant Lover, &c. London. 1799. Cf 41.^ 
 
 43. [Kotzebue, A. F. F. von.] Self Immolation, or, the Sacrifice 
 of Love. A play — in three acts. By Augustus von Kotzebue. 
 Faithfully translated from the German. By Henry Neuman, Esq. 
 Boston: printed for W. P. and L- Blake, at the Boston Book-store, 
 Cornhill. 1799. 12°. pp. 57. 
 
 Reprint of: Self Immolation, &c. London. 1799. [Der Opfertod. 1798.] 
 
 ^Note: In the edition of Kotzebue's Pizarro published by Naphthali Judah, 
 he advertises the following works of Kotzebue as for sale by him: Constant 
 Lovers (No. 42), Lovers' Vows, Count Benyowsky, the Stranger (No. 44?). 
 They all seem to be his own publications.
 
 Frederick H. Wilkens. 73 
 
 44. [Kotzebue, A. F. F von.] The Stranger: translated from 
 Kotzebue (by A, S — k). New York, 1799. 
 
 Reprint of: The Stranger: a corned}'. Freely translated from Kotzebue's 
 German comedy of Misanthropy and Repentance [by A. S****k, i. e. A. 
 Schink]. London. 1798. [Menschenhass und Reue. 17S9.] 
 
 45. [Kotzebue, A. F. F. von.] Pizarro; a tragedy; from the 
 German of Kotzebue, &c. Adapted to the English stage. By 
 Sheridan. Philadelphia. 1799. 12°. (Phila. Libr. Co. Cata- 
 logue. 1S35) 
 
 Reprint of : Pizarro. A tragedy in five acts, taken from the German drama 
 of Kotzebue, and adapted to the English stage by R. B. Sheridan. London. 
 1799. [Die Spanier in Peru, oder Rollas Tod. 1796.] 
 
 46. [Zimmermann, J. G.] Essay on National Pride. To which 
 are prefixed: Memoirs of the Author's I,ife and Writings. Trans- 
 lated from the original German of the late celebrated Dr. J. G. Zim- 
 mermann, Aulic Counsellor and Phj^sician to His Britannic Majesty 
 at Hanover. By Samuel H. Wilcocke. New- York: printed by M. 
 ly. & W. A. Davis, for A. Caritat, bookseller and librarian. 1799. 
 8°. pp. vii-xl "L^ife and Writings of Z.", 41-300, [pp. 24] index. 
 
 Reprint of: Essay on National Pride, &c. London. 1797. [Von dem 
 Nationalstolze. 1758.] 
 
 1800. 
 
 47. The German Theatre. [Translated and edited by William 
 Dunlap.] 
 
 No. I. The Wildgoose Chace. Cf. 67. 
 
 No. II. The Virgin of the Sun. Being the First of Pizarro in 
 
 Peru; or, the Death of Rolla. Cf. 64. 
 
 No. III. Pizarro in Peru; or, the Death of Rolla. Cf 59. 
 
 Dunlap published under the general title " The German Theatre " the three 
 pieces whose titles are given in full under the separate publications. 
 
 48. [Kotzebue, A. F. F. von.] Adelaide of Wulfingen. A 
 tragedy in four acts. (Exemplifying the barbarity which prevailed 
 during the thirteenth century.) From the German of Kotzebue. 
 New-York ; printed for Charles Smith and S. Stephens. 1800. 
 8°. pp. 3-67. 
 
 Reprint of: Adelaide of Wulfingen, &c. Translated by Benjamin Thomp- 
 son. London. 1798. [Adelheid von Wulfingen. 1788.]
 
 74 Early hifiuence of German Lite?'ature hi America. 
 
 49. [Kotzebue, A. F. F. von.] Count Benj^owsky; or, the Con- 
 spiracy of Kamtschatka, A tragi-comedy, in five acts, by Baron 
 Kozebue [sic], author of 'The Stranger', performed at the Theatre 
 Royal, Drury Lane. Translated from the German, by the Rev. W. 
 Render, Teacher of the German language in the University of Cam- 
 bridge. First American from the second London edition. Boston: 
 printed by Manning & Loring. 1800. [p. 4] adv., pp. 5-98. 
 
 Reprint of: Count Benj'owsky, &c. London. 179S. 2d ed. 1798. [Graf 
 Benyowsky. 1795.] 
 
 50. [Kotzebue, A. F. F von.] The Count of Burgundy: a 
 comedy of Kotzebue. In four acts. Translated from the German, 
 by Charles Smith. New York: printed for Charles Smith and S. 
 Stephens. 1800. [M. M'Farlane, printer, 29 Gold-Street.] 
 
 A translation (by Charles Smith, New York) of: Der Graf von Burgund. 
 1798. 
 
 51. [Kotzebue, A. F. F. von.] The Dramatic Works of Baron 
 Kotzebue. Translated from the German, by Charles Smith. Vol. I. 
 Containing. Count of Burgundy, Wild Youth, Indigence, and 
 Nobleness of Mind, La Peyrouse, The Virgin of the Sun, Adelaide 
 of Wulfingen. New- York: printed for Charles Smith, No. 52 
 Maiden Lane, and Stephen Stephens, No. 165 Pearl Street. 
 1800. 8°. 
 
 Vol. II. Containing. Self Immolation, Happy Family, Force of 
 Calumny, Widow and the Riding Horse, Pizarro, Kast-Indian. 
 8°. 
 
 Vol. III. Containing. Fraternal Discord, Writing Desk, Abbe 
 de I'Epee, False Shame, East Indian, Speed the Plough. 8°. 
 
 This is a collection of the translations from Kotzebue published also singly 
 by Charles Smith (Cf. passim sub iSooand 1801). Only " Count of Burgundy," 
 " Wild Youth," and "La Peyrouse " seem to be translations by Smith. Each 
 vol. of the collection is provided with a general title. As the title-page of 
 vol. I was wanting in the copy examined, the style of the same was taken from 
 vol. 2. " East Indian, " and " Speed the Plough " in vol. 3. are not by Kotzebue. 
 
 52. [Kotzebue, A. F. F. von.] The East Indian: a comedy, in 
 three acts. Translated from the German of Kotzebue. New- York : 
 printed for Charles Smith and S. Stephens. 1800. 8°. pp.88. 
 
 Possibly a reprint of : The East Indian, &c. Translated - . . by A. Thom- 
 son. London. 1799. (Appeared first as "The Indians in England" in the 
 German Miscellany, Perth, 1796:) [Die Indianer in England. 1790.]
 
 Frederick H. Wilkens. 75 
 
 53. [Kotzebue, A. F. F. von.] False Shame: or the American 
 Orphan in Germany: a comedy. From the German of Augustus 
 von Kotzebue. Charleston, W. P. Young. 1800. 12°. pp. 76. 
 
 Possibly a reprint of: False Shame, a comedy &c. London. 1799. 
 [Falsche Scham. 179S.] 
 
 54. [Kotzebue, A. F. F. von.] The Force of Calumny: a play, 
 in five acts. Translated from the German of Kotzebue. New- York : 
 printed for C. Smith and S. Stephens, by John Furman. iSoo. 
 
 8°. pp. 3-124. 
 
 Reprint of : The Force of Calumny, &c. Translated by Anne Plumptre. 
 London. 1799. [Die Verlaumder. 1796.] 
 
 55. [Kotzebue, A. F, F. von.] The Happy Family; a drama, 
 in five acts. Translated from the German of Kotzebue. New- York: 
 printed for C. Smith and S. Stephens. 1800. 8°. pp. 3-84. 
 
 Reprint of: The Happy Family. Translated by Benjamin Thompson. 
 London. 1799. [Die Silberne Hochzeit. 1799.] 
 
 56. [Kotzebue, A. F. F. von.] Ildegerte, Queen of Norway. 
 In two volumes. From the German of Augustus von Kotzebue, 
 author of the Stranger. By Benjamin Thompson, jun. translator of 
 the Stranger, as performed at the Theatre Royal, Drury-L,ane. 
 Vol. I. Philadelphia: printed for Robert Campbell, No. 30, Ches- 
 nut-street. 1800. 16°. Vol. I. pp. 5-103 (99-103 notes). Vol. II. 
 pp. 2-91 (p. 91 notes). 
 
 Reprint of: Ildegerte, Queen of Norway, &c. London. 179S. [Ilde- 
 gerte, Koniginn von Norwegen. 1788.] 
 
 57. [Kotzebue, A. F. F. von.] Indigence, and Nobleness of 
 Mind. A comedy in five acts, from the German of Kotzebue. New 
 York : printed for Charles Smith and S. Stephens. 1800. 8°. pp. 64. 
 
 Apparently a reprint of: Sighs; or, the Daughter, a comedy, in five acts. 
 Taken from the German drama of Kotzebue, with alterations, by Prince Hoare. 
 London. 1799. [Armut und Edelsinn. I795-] 
 
 58. [Kotzebue, A. F. F. von] La Peyrouse: a comedy, in two 
 acts. Translated from the German of Kotzebue, by Charles Smith. 
 New- York : printed for Charles Smith and S. Stephens. 1800. 
 
 8°. pp. iii-iv. t. pref., 40. 
 
 A translation (by Charles Smith, New York) of: La Peyrouse, Schauspiel in 
 2 Akten. Leipzig. 1798.
 
 76 Early Influence of German Literature i7i America. 
 
 59. [Kotzebue, A. F. F. von.] Pizarroin Peru; or, the Death of 
 Rolla. A play, in five acts. From the German of Augustus von 
 Kotzebue. With notes marking the variations from the original. 
 New: York. Printed by G. F, Hopkins, for William Dunlap. And 
 sold at the office of the printer. No. 136 Pearl-street; T. and J. 
 Swords, No. 99 Pearl-street; Gaine and Ten-Eyck, No. 148 Pearl- 
 street; John Black, No. 5 Cedar-street; Alex. Somerville, No. 114 
 Maiden-lane; and most other booksellers in the U. States. 1800. 
 8°. pp. iii-iv a. pref., 9-92 (81-92 notes), frontispiece [Mrs. Mel- 
 mouth]. [No. 3 of a series entitled ' German Theatre.' Cf 47.] 
 
 A trauslation (by William Dunlap, New York) of: Die Spanier in Peru, 
 oder Rollas Tod. Leipzig. 1796. 
 
 60. [Kotzebue, A. F. F. von.] Pizarro ; or the Spaniards in 
 Peru. A tragedy in five acts. Translated from the German of 
 Kotzebue. New-York: printed for Charles Smith, and Stephen 
 Stephens. 1800. 8°. pp. 62. 
 
 Sheridans adaptation. London. 1799. Cf. 45. Act 5 of the reprint, how- 
 ever, contains a fuller version following the German original. 
 
 61. [Kotzebue, A. F. F. von.] Self Immolation: or, the Sacri- 
 fice of Ivove. A play in three acts. Translated from the German 
 of Kotzebue. New- York; printed for Charles Smith and S. Stephens. 
 i8oo. 8°. pp. 4-54. 
 
 Possibly a reprint of: Self Immolation, &c. Faithfully translated . . . 
 by Henry Neuman. London. 1799- Cf. 43. 
 
 62. [Kotzebue, A. F. F von.] Sighs; or, the Daughter; a 
 comedy, in five acts; as it is performed at the Theatre Royal, Hay- 
 market. Taken from the German drama of Kotzebue; with altera- 
 tions. By Prince Hoare. . . . Charlestowu: Printed by Samuel 
 Etheridge, for E. Larkin, No. 47, Cornhill, Boston. 1800. 12°. 
 pp. iii-iv prologue, 7-71. 
 
 Reprint of : Sighs; &c. London. 1799. Cf. 57. 
 
 63. [Kotzebue, A. F. F. von.] The Sufferings of the Family of 
 Ortenberg. A novel. Translated from the German of Augustus 
 von Kotzebue, by P. Will, Minister of the Reformed Congregation 
 in the Savoy. Two volumes in one. Philadelphia : printed by John 
 Bioren, for Henry and Patrick Rice, No 16, South 2d St. and James 
 Rice, & Co. Baltimore. 1800. 16°. Vol. I. pp. 154. Vol. II. 
 pp. 160. 
 
 Reprint of: The Sufferings &c. London. 1799. [Die Leiden der 
 Ortenbergischen Familie. 1787, 1788.]
 
 Frederick H. Wilkens. 'j'j 
 
 64. [Kotzebue, A. F. F. von.] The Virgin of the Sun : a 
 play, in five acts. From the German of Augustus von Kotzebue. 
 With notes marking the variations from the original. New-York : 
 printed by G. F. Hopkins, for William Dunlap. And sold at the 
 office of the printer. No. 84 Maiden-lane; T. and J. Swords, No. 99 
 Pearl-street; Gaine and Ten-Eyck, No. 148 Pearl-street; John Black, 
 No. 5 Cedar-street; Alex Somerville, No. 114 Maiden-lane; and most 
 other booksellers in the U. States. 1800. 8°. pp. iii-iv a. dedica- 
 tion, 7-80. (75-80 notes). I frontispiece. [Mrs. Hodgkinson.] [No. 
 2 of a collection entitled " German Theatre." Cf. 47.] 
 
 A translation (by William Dunlap, New York) of: Die Sonnenjungfrau. 
 Leipzig. 1 791. 
 
 65. [Kotzebue, A. F. F. von.] The Virgin of the Sun, a play 
 in five acts. Translated from the German of Kotzebue, New- York; 
 printed for Charles Smith and S. Stephens. 1800. 8°. pp. III-V 
 a. dedication, 7-96. 
 
 Possibly a reprint of: The Virgin of the Sun. Translated ... by James 
 Lawrence. London. 1799. 
 
 66. [Kotzebue, A. F. F von.] The Widow, and the Riding 
 Horse. A dramatic trifle, in one act. Translated from the German 
 of Kotzebue. New- York: printed for Charles Smith and S. Stephens. 
 1800. 8°. [p. I] adv., pp. 26. 
 
 Apparently a reprint of : The Widow and the Riding Horse. &c. Trans- 
 lated ... by Anne Plumptre. London. 1799. [Die Wittwe und das Reit- 
 pferd. 1796.] 
 
 67. [Kotzebue, A. F. F. von.] The Wild-goose Chace: a play, 
 in Tour acts. With songs. From the German of Augustus von 
 Kotzebue. With notes marking the variations from the original. 
 New York: printed by J. F. Hopkins, for William Dunlap. And 
 sold at the office of the printer. No. 84 Maiden-lane; T. & J. Swords, 
 No. 99 Pearl-street; Gaine and Ten-Eyck, No. 148 Pearl-street ; 
 John Black, No. 5 Cedar-street; Alex. Somerville, No. 114 Maiden- 
 lane; and most other booksellers in the U. States. 1800. [No. i of 
 a collection "The German Theatre." Cf. 47.] 8° [p. ii] t. adv., pp. 
 iii-x " Ivife of Kotzebue by himself," pp. 9-104. 2 frontispieces 
 [Kotzebue, Hodgkinson.] 
 
 A translation (by William Dunlap, New York) of : Der Wildfang. Leipzig. 
 1798.
 
 78 Early Influence of German Literature in America. 
 
 68. [Kotzebue, A. F. F. von.] The Wild Youth: a comedy for 
 digestion. In three acts. Translated from the German of Kotzebue, 
 by Charles Smith. New- York: printed for Charles Smith and S. 
 Stephens. 1800. 8°. pp. 74. 
 
 A translation (by Charles Smith, New York) of : Der Wildfang, Lustspiel in 
 
 3 Akten. Leipzig. 1798. 
 
 69. [Spiess, C. H.] The Mountain Cottager; or, Wonder upon 
 Wonder. A tale. Translated from the German of C. H. Spiess. 
 "Ye visions that before me roll, — that freeze my blood, — that shake 
 my soul, — are ye the phantoms of a dream?" — H. M. Williams. 
 Philadelphia: printed by W. W. Woodward, No. 17 Chesnut Street, 
 for Samuel Hyndman. 1800. 16°. pp. 217 (pp. 219-225, sub- 
 scribers' names). 
 
 Reprint of : The Mountain Cottager, &c. [Translated by Annabelle Plump- 
 tree?] London (Minerva Press). 1798. [Probably: Der Mausefallen und 
 Hechelkramer. Prag. 1795?] 
 
 70. [Sturm, C. C] Beauties of Nature delineated: or, Philo- 
 sophical and Pious Contemplations, on the Works of Nature, and 
 the Seasons of the Year. Selected from Sturm's Reflections, by 
 
 . . . T. M. Harris. Charlestown. 1800. 8°. 
 This is an adaptation (by Thaddeus Mason Harris, Dorchester, Mass.) of : 
 Reflections on the Work of God and of His Providence, throughout all 
 Nature, for every Day in the Year. Translated first from the German of C. C. 
 Sturm into French; and now from the French into English. By a Lady [Mrs. S. 
 M. Holroyd?]. 3 vols. Edinburgh. 1788. (Rearranged, compressed, and 
 added to, by Thaddeus M. Harris. ) [Betrachtungen iiber die Werke Gottes im 
 Reiche der Natur. 17S5.] 
 
 1800?- 1 803. 
 
 71. [Schiller, F. von.] The Armenian, or the Ghost Seer. 
 Philadelphia. 2 vols. i2mo. 
 
 Probably a reprint of : The Armenian; or, the Ghost Seer. A history founded 
 on fact. Translated from the German of F. Schiller by the Rev. W. Render. 
 
 4 vols. London. 1800. 
 
 1801. 
 
 72. [Kotzebue, A. F. F von.] Abbe de I'Epee, or, the Orphan; 
 an historical drama, in four acts, translated from the German of 
 Kotzebue. New- York: printed for Charles Smith, No. 56 Maiden 
 Lane. 1801. 8°. pp. 3-42. 
 
 Reprint of: Deaf and Dumb, or, the Orphan, &c. Translated . . . by B. 
 Thompson. London. 1801. [Der Taubstumme oder der Abb6 de I'Epee. 
 Aus dem Franzosischen von Bouilly iibersetzt. iSoo.]
 
 Frederick H. Wilkens. 79 
 
 73. [Kotzebue, A. F. F. von.] The Constant Lover: or, William 
 & Jeanette : a tale. From the German of A. von Kotzebue, 
 author of the Stranger, Lovers' Vows, Count Benyowsky &c. &c. 
 In two vols. Vol. I. New-York, printed for and sold by T. B. 
 Jansen and Co. No 248 Pearl Street and C. Jansen, and Co. No 196 
 Water-Street. 1801. 12°. Vol. I. p. iii dedication, pp. 177, 
 cont. [p. i]. Vol. II. . 
 
 Reprint of: The Constant Lover, &c. 1799. Cf. 41. 
 
 74. [Kotzebue, A. F. F. von.] False Shame; a comedy, in four 
 acts, translated from the German of Kotzebue. Newark — Printed by 
 John Wallis, for Charles Smith, No. 56 Maiden-Lane, New-York. 
 1801. 8°. pp. 3-63. 
 
 Reprint of: False Shame, a comedy &c. London. 1799. Cf. 53. 
 
 75. [Kotzebue, A. F. F, von.] Fraternal Discord; a comedy, in 
 five acts. Translated from the German of Kotzebue. New- York: 
 printed for Charles Smith, No. 52 Maiden-Lane. 1801. 8°, 
 
 PP- 3-74- 
 
 Apparently a reprint of : The Reconciliation : a comedy in live acts. Trans- 
 lated . . . [by C. LudgerJ. London. 1799. [Die Versohnung. 1798.] 
 
 76. [Kotzebue, A. F. F von.] Sketch of the Life and Literary 
 Career of Augustus von Kotzebue; with the Journal of his Tour to 
 Paris, at the Close of the Year 1790. Written by himself. Trans- 
 lated from the German by Anne Plumptre. New- York, Printed 
 and published by M. Ward & Co. opposite the City-hall. 1801. 
 i2mo. pp. 276. 
 
 Reprint of: Sketch of the Life &c. London. 1800. [Meiu literarischer 
 Lebenslauf, in: Die jiingsten Kinder meiner Laune, I793-I797> Bd. 5; Meine 
 Flucht nach Paris im Winter 1790. Leipzig. 1791.] 
 
 77. [Kotzebue, A. F. F. von.] The Stranger, a drama. By 
 A. von Kotzebue. Philadelphia. 1801. (Phila. Library Co. Cata- 
 logue. 1836.) 
 
 Probably reprint of an English translation of Kotzebues Menschenhass u. 
 Reue. 
 
 78. [Kotzebue, A. F. F. von.] The Writing Desk; or Youth 
 \\\ Danger. A play, in four acts, from the German of Kotzebue. 
 New- York: printed for Charles Smith, No. 56 Maiden Lane. 
 1801. 8". pp. 3-72 [misprinted 27]. 
 
 Probably a reprint of: The Writing Desk, &c. London. 1799. [Das 
 Schreibpult. 1800.]
 
 8o Early Influence of German Literature in America. 
 
 79. [Lewis, M. G.] Tales of Wouder; written and collected by 
 M. G. Lewis, Esq. . . . In two vols. New York: printed by 
 L. Nichols & Co, for Samuel Campbell, bookseller, No 124 Pearl- 
 street. 12°. 1 801. Vol. I, pp. 236, Vol. II, pp. 246. 
 
 Reprint of: Tales of Wonder, &c. 2 vols. London. 1800. This collection 
 contains Erlking, Fisherman (Goethe), Frederick and Alice (Walter Scott, 
 from the German), The Wild Huntsman (Biirger, tr. by Scott), Lenora 
 (Biirger). 
 
 80. [Pestalozzi, J. H.?] Leonard and Gertrude; from the Ger- 
 man, Philadelphia, 1801. 
 
 Apparently a reprint of: Leonard and Gertrude; a popular story; written 
 originally in German, translated into French, and now attempted in English, 
 with the hope of its being useful to the lower orders of society. London. iSoi. 
 (Bath, 1800?) [Probably Pestalozzi's " Lienhard und Gertrud." 1781-87.] 
 
 81. [Sturm, C. C] Beauties of Nature delineated; or, Philo- 
 sophical and Pious Contemplations on the Works of Nature, and the 
 Seasons of the Year. Selected from Sturm's Reflections, by the Rev. 
 Thaddeus M, Harris. . . , Second edition. Published agreeably 
 to act of Congress, Charlestown: printed and sold by Samuel 
 Etheridge. 1801. 16°. pp. iii-v. pref. [by T. M. H.], p, vi 
 adv. "to this second edition" [by T, M, H.], pp. vii-x cont., 
 11-237. culs-de-lampe. 
 
 An adaptation of : Reflections on the Work of God &c. Cf. 70. 
 
 82. [Wachter, G. P. L. L; pseud. Veit Weber.] The Black 
 Valley; a tale, from the German of Viet [sic] Weber, author of the 
 Sorcerer. Alexandria : printed by S. Snowden & Co, for J, V. 
 Thomas. 1801. 16°. pp. 3-172. 
 
 Probably a reprint of : The Black Valley; a tale, from the German of Veit 
 Weber. London. 1796. [From: Sagen der Vorzeit. 1787-99.] 
 
 1801? 
 
 83. [Kotzebue, A. F. F. von.] Life, written by himself. Phila- 
 delphia. [1801 ?] 
 
 Probably reprint of : Sketch of the Life and Literary Career &c. London. 
 1800. Cf. 76. 
 
 1802 
 
 84. EHza; or, the Pattern of Women. A moral romance. Trans- 
 lated from the German of Maria Regina Roche, authoress of the 
 "Children of the Abbey, Nocturnal Visit, Maid of the Hamlet,"
 
 Frederick H. Wilkens. 8i 
 
 &c . . . Lancaster, printed by Henry Grimier, for Chr. Tac. Hut- 
 ter. 1802. 12°. pp. 3-178. 
 
 There seems to be no work of this name by M. R. Roche. 
 
 85. [Gessner, S.] The Death of Abel. In five books, from the 
 German of Gessner, [engraving] with New Idyls. Philadelphia- 
 Prmted by Thos. I,. Plowman. 1802. [engraved title.] 8° pp 
 vii a. pref, ix-xi t. pref., 275. frontispiece [portrait of Gessner]" 
 culs-de-lampe. (The Death of Abel, pp. 1-150.) 
 
 [Separate title, p. 151.] New Idyls, by S. Gessner. With a Let- 
 ter to M. Fuslin, on Landscape Painting; and the Two Friends of 
 Bourbon. By M. Diderot. [p. 153] t. adv. [pp. 155-156] cont, 
 PP 157-275. 
 
 Mar>' Collyer's translation of the Death of Abel. London. 1761 Cf. i- and 
 reprint of: New Idyls. Translated by William Hooper. 1776. Cf. 86. ' 
 
 86. [Gessner, S.] New Idylls: or Pastoral Poems. By S Gess- 
 ner. Author of the Death of Abel. To which is added, a Letter 
 on Landscape Painting, and the Two Friends of Bourbon. Phila- 
 delphia: printed for William Duane, and published at the Aurora 
 Book-stores, No 106, Market Street, Philadelphia; and Square 
 460 Pennsylvania Avenue, Washington City. [John Bioren, prin- 
 ter.] 1802. 12°. pp. 177. 
 
 Reprint of: New Idyls, by S. Gessner. With a Letter &c. Translated by 
 W. Hooper. M. D. London. 1776. [Neue Idyllen. 1772.] 
 
 87. [Gessner, S.] New Idyls. Cf. 85. 
 
 88. Kotzebue, A. F. F. von.] Lovers' Vows: or, the Natural 
 Son; a comedy, in five acts. Translated from the German of Augus- 
 tus von Kotzebue, by Benjamin Thompson, Esq. Baltimore: 
 printed for Thomas, Andrews & Butler. By John W. Butler, cor- 
 ner of Gay & Water Streets. 1802. 8°. pp. 3-66. 
 
 Reprint of : Lovers' Vows, &c. In: Benjamin Thompson, The German 
 Theatre. Vol. 2. 1801. [Das Kind der Liebe. 1791]. 
 
 89. [Kotzebue, A. F. F. von] The most Remarkable Year in 
 the Life of Augustus von Kotzebue; containing an Account of his 
 Kxile into Siberia and of the other extraordinary Events which hap- 
 pened to him in Russia. Written by himself Translated from the 
 German by the Rev. Benjamin Beresford, English Lecturer to the 
 Queen of Prussia. New York: printed for H. Caritat, bookseller and
 
 82 Early Influence of German Literature in America. 
 
 librarian, No. i Tontine Building, Broad-way. By G. F. Hopkins. 
 1802. 16°. pp. vii, 309. 
 
 Reprint of : The most Remarkable Year &c. 3 vols. London. 1802. 
 [Das merkwiirdigste Jahr meines Lebens. iSoi.] 
 
 90. [Kotzebue, A. F. F. von.] The Pigeon, a tale. Translated 
 from the German by a Philadelphian. Philadelphia. 1802. 8" 
 
 Apparently a translation of: Die Taube. In: "Die jiingsten Kinder 
 meiner Laune. 1793-97. Vol. 3. 
 
 91. [Kotzebue, A. F. F. von.] The Stranger, a drama, by 
 Augustus von Kotzebue. 12°. pp. 3-70. [Select Plays, &c Bal- 
 timore. 1802-04. Vol. I. (1802.) Cf. 95.] 
 
 Reprint of : The Stranger: a drama in five acts. Translated from the German 
 by Benjamin Thompson. In Benjamin Thompson: German Theatre. Vol. i. 
 1801. [Menschenhass und Reue. 1789-]'' 
 
 92. [Schiller, F. von.] Cabal and L,ove, a tragedy, by Frede- 
 rick Schiller. 12°. pp. 3-103. [Select Plays, &c. Baltimore. 
 1802-04. Vol.2. (1802.) Cf. 915.] 
 
 Reprint of : Cabal and Love. A tragedy. Translated from the German of 
 Frederick Schiller. [By J. H. Timaeus?] London. 1795. [Kabale und Liebe. 
 1784.] 
 
 93. [Schiller, F. von.] Fiesco, a tragedy, by Frederick Schiller. 
 12°. pp. 3-120. [Select Plays, &c. Baltimore. 1802-04. Vol. 2. 
 (1802) Cf. 95-] 
 
 Reprint of : Fiesco; or the Genoese Conspiracy: A tragedy. Translated from 
 the German of Frederick Schiller. By J. H. N[oehden] and J. S[toddart]. 
 London. 1796. [Die Verschworung des Fiesco zu Genua. 1783- J 
 
 94. [Schiller, F. von.] The Robbers. A tragedy, by Frederick 
 Schiller. 16°. pp. 5-108. [Select Plays, &c. Baltimore. 1802- 
 04. Vol. 2 (1802). Cf. 95.] 
 
 Reprint of : The Robbers. A tragedy, in five acts. Translated from the 
 German of Frederick Schiller. By Benjamin Thompson. London. iSoo. In: 
 Benjamin Thompson. German Theatre. London. 1801. Vol. 5. [Die 
 Rauber. 1781.] 
 
 95. Select Plays, from Celebrated Authors; performed at the 
 principal Theatres in the United States of America. Baltimore 
 
 a) Note. In a list at the end of "John Tobin. The Curfew. Baltimore. 
 Warner & Hanna [date?] " the publishers advertise for sale: Cabal and Love 
 (Cf. 92), Count of Burgundy, Fiesco (Cf 93), False Shame, Fraternal Discord. 
 These are possibly all their own publications.
 
 Frederick H. Wilkens. 83 
 
 printed and sold, by Warner & Hanna. 1802-1804. 6 vols. 16°. 
 Vol. I. (1802,) contains: Kotzebue, A. F. F. von. The Stranger. 
 (Cf. 91.) Vol. II (1802) contains: Schiller, F. von. The Robbers. 
 (Cf. 94.) Fiesco. (Cf. 93.) Cabal and Love. (Cf. 92.) 
 The plays in this collection seem also to have been sold singly. 
 
 96. [Zschokke, J. H. D.] Abaellino, the Great Bandit. Trans- 
 lated from the German, and adapted to the New-York Theatre. By- 
 William Dunlap, Esq. Copyright secured. New- York : published 
 by D. lyongworth, at the Shakspeare Gallery, near the Theatre. I,. 
 Nichols, Printer. 1802. 16°. pp. 3-82. 
 
 A translation and adaptation (by William Dunlap, New York) of: Aballino, 
 der grosse Bandit. Ein Trauerspiel. 1795. 
 
 1803. 
 
 97. [Haller, A. von.] Letters'from Baron Haller to his Daughter, 
 on the Truths of the Christian Religion. Translated from the 
 German. First American from fourth London edition. Printed for 
 and sold by Increase Cooke & Co. New-Haven. Sold also by the 
 principal booksellers. Sidney's Press, 1803. 16°. pp. iii-xv t. 
 pref., xvii-xxi cont., 23-279. frontispiece. 
 
 Apparently reprint of : The Letters of Baron Haller &c. London. 17S0. 
 [Briefe (eines Vaters an seine Tochter) iiber die wichtigsten Wahrheiten der 
 Offenbarung. Bern. 1772.] 
 
 98. [Kotzebue, A. F. F. von.] The Beautiful Unknown, a 
 dramatic history. Translated from the German of Augustus von 
 Kotzebue. By Charles Smith. New-York: published by Burnton 
 and Darling, 116, Broad-way. Deare and Andrews, printers. 1803. 
 16°. pp. 3-50. 
 
 A translation (by Charles Smith, New York) of: Die schone Unbekannte. 
 Kleine gesammelte Schriften. Vol. i. 1787. Some if not all copies are bound 
 with Smith's translation of the same author's Zaide. Cf. 100. 
 
 99. [Kotzebue, A. F. F. von.] Count Benyowsky; or, the Con- 
 spiracy of Kamtschatka : A tragi-comedy, in five acts. Translated 
 from the German of i^.ugustus von Kotzebue, by the Rev. W. Render, 
 Teacher of the German language in the University of Cambridge. 
 Baltimore: printed for Thomas, Andrews & Butler by John W. 
 Butler, corner Gay & Water Streets. 1803. 8°. pp. 3-76. 
 
 Reprint of : Count Benyowsky, &c. London. 1798. [Graf Benyowsky. 
 1795- ]
 
 84 Early Influence of Germayi Literature in America. 
 
 loo. [Kotzebue, A. F. F. von.] Zaida; or, the Dethronement of 
 Muhamed IV. A novel, founded on historic facts. Translated 
 from the German of Augustus von Kotzebue. By Charles Smith. 
 Copyright secured. New York: published by Burnton and Darl- 
 ing, ii6, Broad-way. Dean and Andrews, printers. 1803. 16°. 
 [p. 3.] t. pref.,pp. 5-213. 
 
 A translation (by Charles Smith, New York) of: Zaide, oder die Entthro- 
 nung Muhameds IV., historische Novelle. Leipzig. 17S6. Some, possibly 
 all, copies have bound after "Zaida" "The Beautiful Unknown," of same 
 author and translator. Cf 98. 
 
 loi. [Zollikofer, G. J.] Exercises of Piety . . .Abridged. . . 
 byT. M. Harris, etc. Worcester, Mass. 1803. 12° 
 
 Probably an abridgment of : Exercises of Piety; for the Use of Enlightened 
 and Virtuous Christians. Translated from the French edition by J. Manning. 
 London. 1796. [Andachtsiibungen und Gebete zum Privatgebrauch fiir nach- 
 denkende und gut gesinnte Christen. 1785.] 
 
 1803 or before * 
 
 102. [Campe, J. H.] The New Robinson Crusoe. Philadelphia. 
 12°. 
 
 Probably reprint of: The New Robinson Crusoe; &c London. 1788. Cf 12. 
 
 103. (Gessner, S.] The Death of Abel and Caine. Newbury- 
 
 port. 18°. 
 
 Possibly Marj' Collyer's translation of the Death of Abel, London, 1761. 
 Cf. I. The Death of Cain possibly identical with print 20. 
 
 104. [Salzmann, C. G.] Elements of Morality, from the Ger- 
 man. New York. 12°. 
 
 Probably a reprint of : Elements of Morality, &c. London. 1790. Cf 29. 
 
 105. [Zimmermann, J. G.] On Solitude, with respect to its 
 Influence upon the Mind and Heart. New York. 8°. 
 
 Apparently reprint of : Solitude, &c. London. 1791. Cf 23. 
 
 1803 or before? 
 
 106. [Lavater, J. K.] Essays on Physiognomy; for the Promo- 
 tion of the Knowledge and the Love of Mankind; written in the 
 German language by J. C. Lavater, abridged from Mr. Holcroft's 
 
 a) Note. The titles of prints 102-105 were taken from the " Catalogue of all 
 the Books printed in the United States. Published by the Booksellers in Boston. 
 Jan. 1804." (Also republished, in "A. Growoll, Book-Trade Bibliography. 
 New York. 1898.")
 
 Frederick H. Wilkens. 85 
 
 translation. [Engraving. " Lavater contemplating a bust."]. Bos- 
 ton, printed for William Spotswood, & David West. 16°. pp. 
 272. 7 plates [each with 6 heads.] 
 
 Possibly identical with: Lavater's Physiognomy, abridged, plates. Boston. 
 12°. (American Catalogue of 1804, cf. 102, note.) Reprint of an abridgment 
 [1793?] of: Essays on Physiognomy. Translated from the German by 
 Thomas Holcroft. 3 vols. London. 1789-93. [Physiognomische Fragmente. 
 1775-1778.] 
 
 1804. 
 
 107. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence on the Mind and the Heart. Written originally in 
 German, by M. Zimmermann, Aulic Counsellor and Physician to 
 His Britannic Majesty at Hanover. Translated from the French of 
 J. B. Mercier. To which is prefixed the Life of Zimmerman. Bos- 
 ton: printed for Joseph Bumstead, (printer and bookseller). Sold 
 by him at No. 20, Union-street and by booksellers in various parts 
 of the United States. 1804. 16°. pp. xxviii, 307. 
 
 Apparently reprint of : Solitude considered &c. London. 1791. Cf. 23. 
 
 1805. 
 
 108. [Goethe, J. W. von] Herman and Dorothea. A poem, 
 from the German of Goethe, by Thomas Holcroft. Richmond: 
 printed at the Enquirer Press. 1805. 16°. pp. xiv t. pref., 133 
 (i 13-133, notes). I pi. 
 
 Reprint of: Herman and Dorothea. &c. London. 1801. [Hermann 
 und Dorothea. 179S.] 
 
 109. [Knigge, A. F. F. L. von.] Practical Philosophy of Social 
 lyife; or, the Art of conversing with Men: after the German of Baron 
 Knigge. By P. Will, Minister of the Reformed German Congrega- 
 tion in the Savoy. First American edition. Lansingburgh: pub- 
 lished by Penniman & Bliss, and sold by them at the Lansingburgh 
 Bookstore, O. Penniman & Co. Printers Troy, 1805. 8°. pp. III- 
 vii t. pref. [May 18, 1799.], vii-xvi introd., xvii-xxxii cont., 
 368, 
 
 Reprint of: Practical Philosophy &c. London. 1799. [Uber den Uuigang 
 mit Menschen. 1788.] 
 
 no. [Schiller, F. von.] Wallenstein. A drama in two parts. 
 Translated from the German of Frederick Schiller by S. T. Cole- 
 ridge. New York: published by David Longworth, Dramatic Re- 
 pository, No. II. Park. 1805. 16°. [p. 7] t. pref., pp. 9-173- 
 (The Piccolomini.)
 
 86 Early Influeyice of Germaji Literature in A7nerica. 
 
 Reprint of : The Piccolomini; or the First Part of Wallenstein. A drama 
 in five acts. Translated &c. London. iSoo. [Wallenstein, ein dramatisches 
 Gedicht. 1800. Die Piccolomini.] "The Death of Wallenstein" was ap- 
 parently not reprinted. 
 
 1806. 
 
 111. [Gessner, S.J The Death of Abel. Translated by Mrs. 
 Collyer. Philadelphia. 1806. 
 
 Marj' Collyer's translation. London. 1761. Cf. i. 
 
 112. [Gessner, S.] The Death |of Abel, in five books, trans- 
 lated from the German of Mr. Gesner by Mrs. Collyer. New York, 
 J. & T. Ronalds. [1806.] [No. 3 of a series " Sacred Classics " in 
 imitation of Cooke's Classics.] 
 
 Mary Collyer's translation. London. 1761. Cf. i. 
 
 113. [Zschokke, J. H. D.] Abellino. The Venetian Outlaw. 
 A drama. Translated and adapted to the English stage by R. W. 
 Elliston. New York. 1806. 
 
 Reprint of : Abellino, &c. London. 1805. [From the French trans- 
 lation of: Abaellino, der grosse Bandit. Ein Trauerspiel. 1795.] 
 
 1806? 
 w:^. [Kotzebue, adapted from K.'s Wildfang.] Of Age to- 
 morrow. By Thomas Dibdin. New York. David Longworth. 
 [1806? J 
 
 Reprint of : Of Age tomorrow, &c. London. 1806. [Der Wildfang. 
 1798.] 
 
 1806— 1816. 
 
 114. [Dunlap, William] The Dramatic Works of William Dun- 
 lap. 3 vols. Philadelphia and New York. 1806-1816. 16°. 
 
 Do vols 2, 3 contain translations from the German? Vol. i does not. 
 Thomas J. McKee in his edition of Dunlap's " Father of American Shandyism " 
 (Publications of the Dunlap Society, Vol. 2, p. xi) says : " Projected publica- 
 tion in 10 volumes, only four appear to have been published." 
 
 1807. 
 
 115. The Devil and Dr. Faustus, containing the History of 
 the wicked I^ife and horrid Death of Dr. John Faustus, etc. Mont- 
 pelier, Vt. 1807. 12° pp. 12. 
 
 Presumably a reprint or adaptation of one of the English chap-books on the 
 subject. 
 
 116. [Gessner, S.] The Death of Abel. In five books, attemp- 
 ted from the German of Mr. Gessner. First Baltimore edition, [cut.]
 
 Frederick H, Wilke7is. 87 
 
 Baltimore: printed and sold by Warner & Hanna, at the Bible and 
 Heart Printing Office. 1807. 16''. pp. v-vii "To the Queen," 
 viii-xii a. pref., xiii-xiv t. pref., 15-188. 
 
 S. Gessner's New Idylls [title on p. 189]. pp. 191-252. 
 
 Reprint of Mary Collyer's translation, London, 1761, cf, i; and reprint of: 
 New Idyls, &c. London. 1776. Cf. 86. 
 
 117. [Gessner, S.] New Idylls. Cf. 116. 
 
 118. [Goethe, J. W. von.] The Sorrows of Werter. From the 
 German of Baron Goethe. A new translation, revised and compared 
 with all the former editions. By Dr. Pratt, [pi.] New- York: pub- 
 lished by Richard Scott, No. 243 Pearl-street. M'Farlane and 
 lyong, printers. 1807. 16°. pp. iii-iv t. pref., 100. i pi. 
 
 Reprint of: The Sorrows of Werter, &c. London ? [n. d.] 
 
 119. [Goethe, J. W. von.] The Sorrows of Werter. Translated 
 from the German of Baron Goethe. By William Render, D. D. 
 You weep, — you love the youth, — revere his name, | And wish from 
 censure to defend his fame: | But hark! " Be man " his spirit seems 
 to say, I "Nor let my weakness tempt thy feet astray!" | To which 
 is annexed, the I,etters of Charlotte to a female Friend, during her 
 Connection with Werter. Boston: published by Andrews and Cum- 
 mings, No. i, Cornhill. Greenough & Stebbins, printers. 1807. 
 16°. [pp. 3-4] adv., 5-180 (173-180 appendix). 
 
 The Letters of Charlotte, during her Connexion with Werter. pp. 
 clxxxiv-clxxxvi, 187-319. 
 
 Reprint of: The Sorrows of Werter, &c. London. 1801. [Die Leiden 
 des jungen Werthers. 1774.]; and reprint of: The Letters of Charlotte &c. 
 London. 1786. Cf. 35. 
 
 120. [Goethe, J. W. von, suggested by G.'s Werther.] The 
 Letters of Charlotte &c. Cf. 119. 
 
 121. [Zollikofer, G. J.] Exercises of Piety: or, Meditations on 
 the principal Doctrines and Duties of Religion. Abridged by Thad- 
 deus M. Harris. Second edition. Worcester. I. Thomas, jun. 
 1807. 12° pp. 191. 
 
 Probably an abridgement of : Exercises of Piety. Translated by J. Man- 
 ning. London. 1796. Cf lor. 
 
 122. [Zollikofer, G. J.] Sermons on the Dignity of Man, and 
 the Value of the Objects principally relating to Human Happiness. 
 From the German of the late Rev. George Joachim Zollikofer, Min-
 
 88 Early Influence of German Literature in A^nerica. 
 
 ister of the Reformed Congregation at L,eipsick. By the Reverend 
 William Tooke, F. R. S. In two volumes. Volume I. First 
 American edition. Worcester: printed by Thomas & Sturtevant, 
 for Isaiah Thomas, jun. Sold by him in Worcester, by Thomas & 
 Whipple, Newburyport, and by Thomas & Tappan, Portsmouth. 
 1807. Vol. I. pp. iii-iv cont., vii-ix a. pref., xi-xxii "Some 
 
 Account of the Author," 424. Vol II. 
 
 Reprint of: Sermons on the Dignity of Man, &c. London. 1802. [Pre- 
 digten iiber die Wiirde des Menschen und den Werth der vornehmsten Dinge 
 die zur menschlichen Gliickseligkeit gehoren oder dazu gerechnet werden. 
 Leipzig. 1784.] 
 
 1808. 
 
 123. [Gessner, S.] The Death of Abel. In five books. Trans- 
 lated from the German of Mr. Gessner. By Mrs. Collyer. To 
 which is prefixed, the Life of the Author. Philadelphia: published 
 by B. and T. Kite, No. 20 N. Third-street. 1808. 12°. pp. 
 v-lviii "Life of Author," lix-lxii a. pref., Ixv-lxvi t. pref., 67-204. 
 frontispiece [portrait of Gessner]. 
 
 Mary Collyer's translation of the Death of Abel. London. 1761. Cf. i. 
 "An Account of the Life and Writings of Solomon Gessner, taken from the 
 German of M. Hottinguer, by James Agar," pp. v-lviit, is contained also in 
 Cooke's edition of the Death of Abel, London, [1796], from which the Ameri- 
 can edition may be a reprint. 
 
 124. He loves me more than his Life; or Ludwig, Clara and Ran- 
 dolph. A tale from the German. [The Minor Novelist. No. 2. 
 Published and sold by Wright, Goodenow & Stockwell. Boston, 
 and Troy, N. Y. 1808.] 
 
 125. [Kotzebue, A. F. F von, adapted from K.'s Wildfang.] 
 Of Age to morrow. By Thomas Dibdin. New York. David Long- 
 worth. 1808. 
 
 Reprint of: Of Age to morrow. &c. London. 1806. Cf. 113''. 
 
 126. [Sonnleithner, J., adapted from S.'s Leonore.] The Fort- 
 ress of Sorrento : a petit historical drama, in two acts. . . . New- 
 York: published by D. Longworth, at the Dramatic Repository, 
 Shakspeare — Gallery. 1808. 16°. [p. 2] copy-right, [p. 3] a. 
 statement, pp. 5-28. 
 
 "The leading features of the following drama are taken from the French 
 opera of Leonora" (author's statement). An adaptation (with very slight 
 changes) of Sonnleithner's opera text Leonore [i. e. Fidelio, music by Beeth- 
 oven]. Sonnleithner's text is founded on Jean-Nicolas Bouilly's comic opera 
 "Leonore ou I'Amour Conjugal."
 
 Frederick H. Wilkens. 89 
 
 127. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence upon the Mind and the Heart. Written originally in 
 German by M. Zimmermann, Aulic Councillor and Physician to His 
 Britannic Majesty at Hanover. Translated from the French of J. 
 B. Mercier. New London. Printed by Cady & Eells, for Thomas 
 & Whipple. Newburyport. [1808.] 
 
 Apparently reprint of : Solitude &c. London. 1791. Cf. 23. 
 
 128. [Zollikofer, G. J,] Caution against the Sins of Unchastity. 
 Earnestly recommended to the attention of the young men of this 
 town and other places; by one who feels a deep interest in their 
 present and eternal welfare. Boston: printed by Greenough and 
 Stebbins, Suffolk Buildings, Congress Street. 1808. 12°. [p. 2] 
 adv. [of American editor], pp. 48. 
 
 "Two discourses of one of the most pious and amiable divines that ever lived, 
 the German Zollikofer " (adv.) Possibly from Sermons on the Great Festivals 
 and Fasts of the Church &c. From the German of Rev. G. J. Zollikofer. By 
 the Rev. William Tooke. 2 vols. London. 1807. [" Warnung vor den Siiuden 
 der Unkeuschheit " in " Einige Betrachtungen iiber das tJbel in der Welt, und 
 andere Predigten." 1777.] (Are these the "Sermons to Young Men " pub- 
 lished at Rev. Joseph Buckminster's expense? Cf. Eliza Buckminster Lee, 
 Memoirs of Dr. Joseph Buckminster. 2d ed. Boston. 1851. p. 489. ) 
 
 1808?*) 
 
 129. [Kotzebue, A. F. F. von] The Rights of Hospitality. By 
 Kotzebue. New York. David Long worth. [1808?] 
 
 Probably a reprint of: The Wanderer; or, the Rights of Hospitality. Altered 
 by C. Kemble. London. 1808 [Eduard in Schottland. 1804.] 
 
 130. [Kotzebue, A. F. F. von] The Stranger. By Kotzebue. 
 Translated by Benjamin Thompson. New York. David Long- 
 worth. [1808?] 
 
 Reprint of: The Stranger &c. London. iSoi. Cf. 91. 
 
 131. [Schiller, F. von] The Robbers. By Frederick Schiller. 
 New York. David Longworth. [1808?] 
 
 Probably a reprint of one of the English translations of Schiller's Robbers. 
 Cf. 22, 94. 
 
 ») No. 129-131 are mentioned as " published by David Longworth " in his lists 
 of his publications. The date can be determined from their position in these 
 lists. They may be regarded as distinct from the other prints mentioned in our 
 enumeration.
 
 90 Early Influence of German Literature in America. 
 
 1809. 
 
 132. [Kotzebue, A. F. F. von.] Fraternal Discord: a drama in 
 five acts. Altered from the German of A. von Kotzebue. By W. 
 Dunlap. New York. D. Longworth. 1809. 16°. pp. 69. 
 
 A translation (by William Dunlap, New York) of: Die Versohnung. 
 Scliauspiel in 5 Akten. Leipzig. 179S. 
 
 133. [Kotzebue, A. F. F. von.] Lovers' Vows; a play, in five 
 acts. Altered from the translations of Mrs. Inchbald and Benjamin 
 Thompson. By J. H. Payne. Baltimore: printed by Geo. Dobbin 
 and Murphy, No. 10, Baltimore Street. 1809. 16° • pp. iii-vii. 
 adv. (by J. H. Payne), 9-90. 
 
 An adaptation from Mrs. Inchbald's version of Lovers' Vov?s (London, 
 179S.) and B. Thompson's translation (cf. 88). [Das Kind der Liebe. 1798.] 
 " The present copy of Lovers' Vows is . . . made up of Thompson's Frederick 
 and Agatha; Mrs. Inchbald's Verdun, Anhalt, and Amelia; while in forming 
 Count Cassel and the Baron, sometimes the former and sometimes the latter 
 version has been adopted. In many instances, however the compiler has taken 
 the liberty to differ from both." (Preface by J. H. Payne). 
 
 134. [Kotzebue, A. F. F von.] Pizarro; a tragedy in five acts. 
 Taken from the German drama of Kotzebue; and adapted to the 
 English stage. By Richard Brinsley Sheridan. Boston, 1809, 
 
 Reprint of: Pizarro; &c. London. 1799. ^f- 45- 
 
 135. [Lewis, M. G.] Romantic Tales, by M, G. Lewis, author 
 of the Monk, Adelgitha &c. In two volumes. . . . Volume 
 the first, containing Mistrust; or, Blanche and Osbright. The Ad- 
 miral Guarino. King Rodrigo's Fall, Bertrand and Mary-Belle. 
 The Lord of Falkenstein. Sir Guy, the Seeker, The Anaconda. 
 The Dying Bride. The four Facardins, part I, New-York: printed 
 for M. & W, Ward, 149 Pearl-street. 1809. 
 
 Volume the second, containing the Four Facardians, part II. 
 Oberon's Henchman, or the Legend of the Three Sisters. My Uncle's 
 Garret-window. Bill Jones, Amorassan, or the Spirit of the Frozen 
 Ocean, 12°. Vol. I. pp. 5-1 1 pref., 347. Vol. II pp. . 
 
 Reprint of: Romantic Tales. 4 vols. London. 1808. Mistrust, The Ana- 
 conda, My Uncle's Garret-window, Amorassan, Bertrand and Mary-Belle, The 
 Lord of Falkenstein are taken from the German or partly suggested by German 
 works (M. G. Lewis in preface). 
 
 136. [Zollikofer, G. J,] Sermons on Education, From the Ger- 
 man of the Rev. George Joachim Zollikofer, Boston : printed by
 
 Frederick H. Wilkens. 91 
 
 Thomas B. Wait & Co. Court-street. 1809. 8°. pp. 123. [The 
 Christian Monitor. Boston. 1806-10. Vol. ix.] 
 
 Reprint of: Sermons on Education, from: Sermons on Education, on 
 Reflection, on the Greatness of God in the Works of Nature, and in the Gov- 
 ernment of the World, on Charity, and various other Topics; from the German 
 of the Rev. George Joachim Zollikofer. By the Rev. Wilham Tooke. 2 Vols. 
 London. 1806. [These sermons also occur with: Prefixed, a Sermon on 
 Parental Example, by G. Warker.] 
 
 137. [Zollikofer, J. G.] Seven Sermons on the Reformation, by 
 George J. Zollikofer. Translated from the German by Rev. W. 
 Tooke. With some Account of the Author. From the second Lon- 
 don edition. Published by W. Wells, No. 6, Court Street, Boston. 
 Printed by Hilliard & Metcalf, Cambridge. Jan. 1809. 8°. pp. 
 vii-xvi "Some Account of the Author," 93. 
 
 [Theological Tracts. No. i. Containing Zollikofer' s Seven Ser- 
 mons on the Reformation.] 
 
 Apparently reprint of seven sermons from : Sermons on the Great Fes- 
 tivals and Fasts of the Church, on other solemn Occasions, and on various 
 Topics. From the German of the Rev. George Joachim Zollikofer. By the 
 Rev. William Tooke. 2 vols. London. 1807. This collection contains eight 
 Sermons on Reformation Anniversaries. 
 
 138. [Zschokke, J. H. D.] Abaellino, the Bravo of Venice; a 
 romance: translated from the German by M. G. Lewis. . . . The 
 first American, from the fifth London edition. Baltimore: printed 
 and sold by Warner & Hanna, and John Vance & Co. 1809. 12°. 
 [p. iii] dedication, v-vi adv., vii-viii Cont., 299. 
 
 Reprint of: The Bravo of Venice; a romance, translated from the German 
 by M. G. Lewis. London. 1805. (Fifth edition, 1807.) [Abaellino, der grosse 
 Bandit. 1794.] 
 
 139. [Zschokke, J. H. D.] Abaellino, the Bravo of Venice; a 
 romance, translated from the German. By M. G. Lewis. Boston; 
 O. C. Greenleaf. [1809.] 18°. pp. 299. 
 
 Reprint of: The Bravo of Venice, &c. London. 1805. Cf. 138. The 
 English original (2 ed.), like 138 and 139, has 299 pages. 
 
 1810. 
 
 140. [Klopstock, F. G., and Margaret K.] Memoirs of Fred- 
 erick and Margaret Klopstock. Translated from the German. 
 Philadelphia: published by Philip H. Nicklin & Co., Baltimore; 
 Farrand, Mallory and Co. Boston; Jacob Green, Albany; Edward
 
 92 Early Influence of Ger?na7i Literature iyi America. 
 
 Earle, and B. B. Hopkins and Co. Philadelphia. Fry and Kam- 
 merer, printers. 1810. 12°. [p. iii] adv., pp. v-xii pref., 13-252. 
 Reprint of : Memoirs of Frederick and Margaret Klopstock. Translated 
 from the German [by Miss Elizabeth Smith]. Bath. 1S08. Contains letters 
 and writings of Klopstock and his wife, besides a memoir. 
 
 141. [Klopstock, F. G.] The Messiah, a poem; attempted in 
 Knglish blank verse; from the German of the celebrated Mr. Klop- 
 stock. By Solomon Hailing, A. M. Rector of Prince George's 
 Parish, Winy aw. . . . Georgetown; printed by Francis M. Bax- 
 ter. 1810. 8°. pp. 37. 
 
 A versification of the first book of Klopstock's Messiah made, apparently, 
 from Collyer's prose translation. Cf. 9. 
 
 142, [Lafontaine, A. H. J.] The Village Pastor and his Chil- 
 dren. A novel. Four volumes in two. From the German of Au- 
 gustus La Fontaine. . . . Vol. I. (From the London edition of 
 1803.) New-York: published by D. Longworth, at the Dramatic 
 Repository, Shakespeare-gallery. 1810. 12°. Vol. I. pp. 246, 
 [i p.] cont. Vol. II. pp. 238, [i p.] cont. 
 
 Reprint of: The Village Pastor &c. London. 1S03. [Possibly: Aus 
 dem Leben eines armen Landpredigers. 1800.] 
 
 143. [Lessing, G. E.] Emilia Galotti: a tragedy, in five acts. 
 Translated from the German of G. E. Lessing, by Miss Fanny Hol- 
 croft. Published by Bradford and Inskeep, Philadelphia; Inskeep 
 and Bradford, New- York ; Wm. Mcllhenry, Boston; Edward J. 
 Coale, Baltimore; and Morfood, Willington and Co. Charleston, 
 South-Carolina. J. Matwell, printer. 1810. 8°. [2 columns per 
 page.] pp. 3-18. 
 
 Emilia Galotti, &c. In: The Theatrical Recorder. Vol.1. London. 1805. 
 [Emilia Galotti. 1772.] 
 
 144. [Vulpius, C. A., dramatized from V.'s Rinaldo Rinaldini] 
 Rinaldo Rinaldini; or, the Great Banditti. A tragedy, in five acts. 
 By an American, and citizen of New York. . . . First edition. 
 New- York, printed for the author. 18 10. 12°. pp. iii-v address, 
 pp. 7-82. 
 
 A ser\-ile adaptation from: The History of Rinaldo Rinaldini, Captain of 
 Banditti. Translated from the German of Vulvius. By J. Hinckley, Esq. 
 Loudon. 1800. [Rinaldo Rinaldini. 1797.] 
 
 145. [Wieland, C. M.] Oberon; a poem. From the German of 
 Wieland. By William Sotheby, Esq. In two volumes. First
 
 Frederick H. Wilkens. 93. 
 
 American from the third Ivondoa edition. With a preface, contain- 
 ing biographical notices of the author and translator, and a review 
 of the work. Vol. I. Published by ly. Rousmaniere, Newport, R. 
 I; and J. Belcher, Boston. 1810. 12°. Vol. I. [copyright], p. i 
 dedication of ist English ed., pp. iii-xlviii pref. of American edi- 
 tor, list of W.'s works, pp. 203. (canto 1-6). Vol. II. pp. 231. 
 (canto 7-12.) 
 
 Reprint of: Oberon, &c. London. 1798. [Oberon. 1780.] The Hon. 
 William Hunter of Newport (1774-1849) was the American editor, and author 
 of the preface, according to the Providence Atheneum Catalogue, 1855, p. 433. 
 
 146. [Zschokke, J. H. D., dramatized from Z.'s Abaellino.] 
 Rugantino; or, the Bravo of Venice: a grand romantic melo-drama, 
 in two acts. By M. G. Lewis. First performed at Covent Garden 
 Theatre, October i8th, 1809. . . . New- York: published by D. 
 Longworth, at the Dramatic Repository, Shakspeare- Gallery, March 
 — 1810. 12°. pp. 3-36. 
 
 Reprint of: Rugantino, &c. London. 1805. [A dramatization of: 
 Abaellino, der grosse Bandit. 1794.] 
 
 1811. 
 
 147. [Campe, J. H. ] An Abridgment of the New Robinson 
 Crusoe. Translated from the French. New York. 181 1. (Phila- 
 delphia Library Catalogue. 1835.) 
 
 Evidently an abridgment of: The New Robinson Crusoe, &c. London. 
 1788. Cf. 12. 
 
 148. [Klopstock, F. G.] The Messiah: attempted from the Ger- 
 man of Mr. Klopstock. By Joseph Collyer. In fifteen books. 
 Two vols. Boston, published by John West and Co. No 75 Corn- 
 hill. 181 1. 16°. Vol. I. pp. vi, 299. Vol. II. pp. 272. 
 
 Reprint of Joseph Collyer's translation, London, 1763, [1772?] Cf. 9. 
 
 149. [Kotzebue, A. F. F. von.] The Beautiful Unknown, &c. 
 Cf. 150. 
 
 150. [Kotzebue, A, F. F. von.] Zaida; or, the Dethronement of 
 Muhammed IV. A novel, founded on historic facts. Translated from 
 the German of Augustus von Kotzebue. To which is added, the 
 Beautiful Unknown, a dramatic history, by the same author. By 
 Charles Smith. Copy-right secured. The last London edition. 
 New- York: pubHshed by Burnton and Darling, 116 Broadway.
 
 94 Early Influence of German Literature in America. 
 
 1811. 16°. Zaida, &c. pp. 5-213. The Beautiful Unknown, 
 &c. [Separate title, identical with 98.] pp. 50. 
 
 Possibl}- prints 98 and 100 provided with a new general title. 
 
 151. [Salzmann, C. G.] Elements of Morality for the Use of 
 Children. Translated from the German [by M. Wollstonecraft.] 
 With an Introductory Address to Parents. First Baltimore edition, 
 revised and corrected. Baltimore. 1811. 12°. 
 
 Mary WoUstonecraft's translation. London. 1790. ; Cf. 29. 
 
 1813. 
 
 152. [Schiller, F. von.] The Harper's Daughter: or, Love and 
 Ambition. A tragedy, in five acts. Translated from the German of 
 Schiller, author of the Robbers, Don Carlos, &c. By M. G. Lewis, 
 Esq. M. P. Author of the Monk. And now published with con- 
 siderable alterations, as performed at the Philadelphia and Baltimore 
 theatres. Philadelphia: published by M. Carey, No. 121, Chesnut 
 Street. Printed by R. & W. Carr. 1813. 16°. pp. 5-76- 
 
 Adapted from : The Minister. A tragedy. In five acts. Translated from 
 the German of Schiller. By M. G. Lewis, Esq. M. P. London. 1797. 
 [Kabale und Liebe. 1784.] 
 
 153. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence on the Mind and the Heart. Written originally in 
 German, by M. Zimmerman, Aulic Counsellor and Physician to His 
 Britannic Majesty at Hanover. Translated from the French of J. B. 
 Mercier. To which is prefixed the Life of Zimmerman. Brooklyn. 
 Printed by Alden Spooner. 1813. 16°. pp. viii, 296. 
 
 Apparently reprint of : Solitude considered &c. London. 1791. Cf. 23. 
 
 154. [Zimmermann, J. G.] Solitude: written originally by J. 
 G. Zimmermann. To which is added the Life of the Author. New- 
 York: published by David Huntington. C. S. Van Winkle, printer. 
 1813. [Preceded by a shorter engraved title dated 1814.] 24°. 
 pp. v-viii t. pref., 9-15 Life of Zimmermann, 17-402. 
 
 Reprint of: Solitude; or, the Effects of occasional Retirement on the 
 Mind, the Heart, General Society, in Exile, in Old Age, and on the Bed of 
 Death. London. 1797. [A different English version from those mentioned 
 before.] 
 
 1814. 
 
 155. [Goethe, J. W. von.] Goetz of Berlichingen, with the 
 Iron Hand. Translated from the German of Goethe. By Walter
 
 Frederick H. Wilkens. 95 
 
 Scott, Esq. New- York: published b}'' A. H. Inskeep. Van Winkle 
 and Wiley, printers. 1814. 24°. pp. 5-13 t. pref., 17-206. 
 
 Reprint of: Goetz of Berlicliingen &c. London. 1799. [Goetz von 
 Berlichingen mit der eisernen Hand. 1773.] 
 
 156. [Iffland, A. W.] The Good Neighbor; an interlude; in one 
 act. Altered from a scene of IfiQand's by William Dunlap. New 
 York. D. IvOngworth. 1814. 12°. pp. 12. 
 
 A translation from Iffland by William Dunlap of New York. [Possibly: Die 
 Nachbarschafl. 1807.] 
 
 157. [Kotzebue, A. F. F. von.] The Corsicans: a drama, in 
 four acts. Translated from the German of Augustus Kotzebue. 
 [From the second lyondon edition, of 1799] New- York: published 
 by David lyongworth, at the Dramatic Repository, Shakspeare- 
 Gallery. April — 1814. 16°. pp. 79. 
 
 Reprint of : The Corsicans, &c. Second edition. London. 1799. [Die 
 Corsen. 1799.] 
 
 158. [Kotzebue, A. F. F. von.] I,overs' Vows; A play, in five 
 acts. From the German of Kotzebue. By William Dunlap. As 
 performed at the New- York Theatre. New-York: published by 
 David lyongworth, at the Dramatic Repository, Shakespeare-Gallery. 
 Feb. — 1814. 16°. pp. 5-74. 
 
 A translation (by William Dunlap, New York) of: Das Kind der Liebe. 
 Leipzig. 1791. 
 
 159. [Lafontaine, A. H. J.] Romulus; a tale of ancient times. 
 From the German of A. I,a Fontaine. Baltimore. 1814. 
 
 Probably a reprint of : Romulus &c. Translated by the Rev. P. Will. 
 
 London. 1799. [Romulus. 1798.] 
 
 160. Peter the Great; or, the Russian Mother: a play, in five acts. 
 Altered from the German, by Wm. Dunlap. As performed at the 
 New-York Theatre. New York: published by David Longworth, 
 at the Dramatic Repository. Shakspeare Gallery. March — 18 14. 
 12''. pp. 56. 
 
 A translation and alteration from the German by William Dunlap of New 
 York. 
 
 1815. 
 
 161. [Gessner, S.] The Death of Abel. In five books. At- 
 tempted from the German of Mr. Gessner. By Mary Collyer. To 
 which is added, the Death of Cain. In five books. Brattleborough, 
 (Vt.) Published by John Holbrook. 1815. 24°. pp. i79-
 
 96 Early Influence of German Literature in America. 
 
 The Death of Cain. In five books; after the manner of the Death 
 of Abel. By a Lady. . . . Brattleborough, Vt. Published 
 
 by John Holbrook. 1815. 24°. pp.82. 
 
 Mary Collyer's translation of the Death of Abel, London, 1761, (Cf 1); and 
 reprint of: The Death of Cain, London, [1790?] Cf. 13. 
 
 162. [Gessner, S., suggested by G.'s Death of Abel] The Death 
 of Cain. Cf. 161. 
 
 163. [Jung-Stilling, J. H.] Scenes in the World of Spirits, of 
 Henry Stilling, Professor of the University at Marburg, (Germany.) 
 Translated from the third original edition. " In my Father's House 
 there are many mansions." New-Market: printed by Ambrose 
 Henkel & Co. [1815.] 16°. [p. ii] copyright, pp. iii-iv t. 
 pref., pp. v-xii a. prefaces, 282. (i sheet of errata pasted in). 
 
 A translation (by Gottlieb Shober, Salem, N. C. ) of: Scenen aus dem 
 
 Geisterreiche. 1797-1S01. (Copyright, N. C. District, Jan. 13th, A. D. 1S15, 
 by Gottlieb Shober. The t. pref. is signed G. S. ) 
 
 1818. 
 
 164. [Kotzebue, A. F. F. von.] Pizarro, a tragedy, in 5 acts; 
 taken from the German drama of Kotzebue; and adapted to the 
 English stage. By R. B. Sheridan. Boston. West & Richardson. 
 1818. 16°. pp. 69. 
 
 Reprint of: Pizarro, &c. London. 1799. Cf. 60. 
 
 165. [Plumptre, Anne and Annabella.] Tales of Wonder, of 
 Humour, and of Sentiment; original and translated. By Anne and 
 Annabella Plumptre. In two volumes. Vol. I. Containing Zelis; 
 the Weather-cock; the Magic Dollar; the Spectre of Presburg. New- 
 York: published by James Eastburn & Co., at the Literary Rooms, 
 corner of Broadway and Pine Streets. A. Paul, printer. 1818. 
 
 Vol. II. Containing The Fair of Beaucaire; Tsching-Quang; the 
 Family of Valencia; Fanny; Omar and Zemida; Philosophy and 
 Love. 
 
 12°. Vol. I. pp. 3-255. Vol. II. pp. 234. 
 
 Reprint of: Tales of Wonder, &c. 3 vols. London. 1S18. It seems 
 
 to contain some tales from the German. 
 
 166. [Schlegel, C. W. F.] Lectures on the History of Litera- 
 ture, Ancient and Modern. From the German of Frederick Schlegel. 
 In two volumes. Vol. I. Philadelphia: published by Thomas Dob- 
 son and Son, at the Stone House, No. 41, South Second Street.
 
 Frederick H. Wilkeiis. 97 
 
 William Fry, printer. 1818. 8°. Vol. I pp. v-vi cont., [p. vii] 
 t. statement, pp. 346. Vol. II. pp. v-vii cont., 130. 
 
 Reprint of : Lectures on the History of Literature, &c. Edinburgh. 1S18. 
 [Friedrich Schlegel's Geschichte der alten und neuen Litteratur. 2 Teile. 
 1815.] 
 
 1819. 
 
 167. [Kotzebue, A. F. F. von.] Pizarro: a tragedy, in five 
 acts; taken from the German drama of Kotzebue; and adapted to 
 the English stage. By Richard Brinsley Sheridan. New-York: 
 published by Thomas Long worth, at the Dramatic Repository, 
 Shakspeare-Galler}\ November, 1819. 16°. pp. 5-68. 
 
 Reprint of: Pizarro, etc. London. 1799. Cf. 60. 
 
 168. [Zimmermann, J. G.] On Solitude. New York. 1819. 
 24°. 
 
 1820. 
 
 169. [Kotzebue, A. F. F. von.] The Confession. In verse. 
 A comedy, in one act. Translated from Kotzebue. Philadelphia. 
 
 1820. 12° 
 
 A translation of: Die Beichte. In: Almanach fiir 1S06. Leipzig. 
 
 1805. 
 
 170. [Zschokke, J. H. D.] Abaellino, the Great Bandit. A 
 grand dramatic romance, in five acts. Translated from the German, 
 and adapted to the New-York Theatre, by William Dunlap, Esq. 
 Fourth edition — copyright secured. New- York: published by 
 Thomas Eongworth, at the Dramatic Repository, Shakspeare-Gal- 
 lery, Jan. — 1820. 12°. pp. 66. 
 
 William Dunlap's translation of Zschokke's Abaellino. Cf. 96. 
 
 1821. 
 
 171. [Sturm, C. C] Reflections on the Works of God; by C. C. 
 Sturm. Translated from the German by Rev. Dr. Balfour. 2 vols. 
 Philadelphia : printed and published by Hickman & Hazzard, 
 No. 121 Chestnut Street; and Hazzard & Hickman, Petersburg, Va. 
 
 1821. Vol. I. pp. iii, 328. Vol. II. pp. 364. 
 
 Reprint of: Reflections on the Works of God. London. [iSoo?] [Rc- 
 trachtungen iiber die Werke Gottes in Reiche der Natur. 1785.] 
 
 172. [Zschokke, J. H. D.] Sylvester Eve, or the Adventures 
 of a Watchman. 
 
 In: Tales of the Tripod ; or a Delphian Evening. By Perti- 
 nax Particular. Baltimore ; published by Fielding Eucas, jr. J. 
 7
 
 98 Early Influence of German Literature in America. 
 
 Robinson, printer. 1821. 16°. pp. v-xii t. pref., 162. [Sylvester 
 Eve, pp. 13-136-] 
 
 A translation (by Tobias Watkins [pseud. Pertinax Particular.], Balti- 
 more) of: Das Abenteuer der Neujahrsnaclit. [First publ. in: Erheiter- 
 ungen. Eine Monatssclirift fiir gebildete Leser. 1818, i, 5 fF.] "The first 
 tale entitled "Adventures of a Watchman " is taken from an anonymous Ger- 
 man correspondent of the Leesefruchte. It pleased me, and I did it into Eng- 
 lish expressly to amuse the Delphian Club", (t. pref). 
 
 1822. 
 
 173. [La Motte Fouque, Baron F. H. C. de.] Minstrel I^ove, 
 from the German, by George Soane. New York. 1822. 
 
 Reprint of: Minstrel Love, &c. London. 1821. [Sangerliebe. 1816.] 
 
 1823 
 
 174. [Kotzebue, A. F. F. von.] Pizarro. A tragedy in five 
 acts. Taken from the German drama of Kotzebue, and adapted to 
 the English stage by R.B.Sheridan. Philadelphia: Turner & Son. 
 1823. 24°. pp. 56 (3). 
 
 Sheridans adaptation. London. 1799. Cf 60. 
 
 175. [ZoUikofer, G. J.] Examination of some Principles and 
 Rules of Conduct in Religious Matters, partly false, and partly misun- 
 derstood; in two sermons. [On Matt. xv. 13.] By the Rev. G. J. 
 ZoUikofer. Printed for the "Tract and Book Society of the Evan- 
 gelical lyiitheran Church of St. John." Joseph Rakestraw, printer. 
 Philadelphia. 1823. 12°. pp. 56 -f . [copy imperfect]. 
 
 1823-24? 
 
 176. Ivife of Dr. Faustus . . . his horrible Death, &c. 12°. 
 frontispiece. [In a collection of New- York chap-books, published \yy 
 W. Borradaile, 150 Fulton St, (1823-24) and Solo. King, 150 
 William Street. (1821-1830).] (Brinley Catalogue.) 
 
 Possibly reprint or adaptation of an English chap-book. 
 
 1824. 
 
 177. [Chamisso, A. von.] Peter Schleraihl : from the German of 
 Lamotte Fouque. With plates by George Cruikshank. . . . 
 Boston : Wells and lyilly — Court-street. 1824. 16°. pp. vii-viii 
 introd., [p. ix] notice, [p. xi] a. dedication, pp. 139. 5 pi. 
 
 Reprint of: Peter Schlemihl, &c. [Translated by Sir J. Bowring.] Lon- 
 don. 1824. LaMotte Fouque was only editor, not author, of the work. [Peter 
 Schlemihls wundersame Geschichte. Herausgegeben von Fr. Baron de la Motte 
 Fouque. Niirnberg. 1814.]
 
 Frederick H. Wilkens, ' 99 
 
 178. [Goethe, J. W. von.] Memoirs of Goethe: written b3^ 
 himself. New- York : published by Collins & Haunay, 230 Pearl- 
 street, and Collins & Co. 117 Maiden-Lane. J & J. Harper, 
 printers. 1824. 8°. pp. iii-iv t. pref., v-viiicont., 9-360 (pp. 292- 
 298 post script, 299-360 biographical notices). 
 
 Reprint of: Memoirs of Goethe, &c. London. 1824. [Aus meinem 
 Leben : Dichtung uud Wahrheit. 1S11-14.] 
 
 179. [La Motte Fouque, Baron F. H. C. de.] Undine, a tale 
 from the German. Boston. 1824. 
 
 Possibly reprint of : Undine, a romance. Translated from the German 
 by G. Soane. London. 1S18. [Undine. 1811.] 
 
 180. [LaMotte Fouque", Baron F. H. C. de.] Undine. A tale. 
 From the German of Frederick, Baron de Motte Fouque. Philadel- 
 phia : published by E. Littell. 1824. 
 
 Possibly reprint of: Undine &c. Translated l)y G. Soane. Cf. 179. 
 
 1825 or before. 
 
 181. [Schiller, F. von.] The Robbers. Baltimore. Joseph 
 Robinson. 
 
 Mentioned at back of: Poems by Edward C. Pinkney. Baltimore. Joseph 
 Robinson. 1825. Apparently published by Robinson. 
 
 Translations from the German Bearing no Date, but 
 Apparently Printed Before 1826. 
 
 182. [Campe,J. H.] Columbus, or the Discovery of America; 
 as related by a father to his children and designed for the instruction 
 of 5'outh. Translated from the German, bj' Elizabeth Helme. 
 Bo.ston, Miniroe & Francis. New York, Charles S. Francis. 
 24°, pp. 270. 
 
 Reprint of: Columbus, &c. 2 vols. London. 1799. [Part of: Die 
 
 Entdecknng von Amerika. 1781-82.] The firm Munroe & Francis dates from 
 a1)out 1 810. 
 
 183. [Campe, J. H.] Cortez; or, the Conquest of Mexico. 
 Translated from the German of J. H. Campe 1iy IClizal^eth Ilelmc. 
 Boston: Munroe and Francis, and Charles S. Francis, New York. 
 12°. pp. 255. 
 
 Reprint of : Cortez &c. 2 vols. London. 1799. [Part of: Die Kiit- 
 deckung von Amerika. 1781-82.]
 
 lOO Early Influence of Germa7i Literature in America. 
 
 184. [Campe, J. H.] Pizarro; or, the Conquest of Peru. Trans- 
 lated from the German by Elizabeth Helme. Boston: Munroe and 
 Francis. New York: Charles S. Francis, 24°. pp. 228. pi. 
 
 Reprint of: Pizarro, &c. London. 1799. [Part of: Die Entdeckung 
 von Amerika. 17S1-82.] 
 
 185. [Kotzebue, A. F. F. von.] Pizarro. Adapted by R. B. 
 Sheridan. New York. Naphthali Judah. 16°. [p. 3] dedica- 
 tion, [p. 4] t. adv., [p. 5] prologue, pp. 7-74. [Title page wanting 
 in copy examined.] 
 
 Sheridan's adaptation. London. 1799. Cf 60. The probable date of the 
 reprint is 1799. 
 
 186. [Kotzebue, A. F. F. von.] The Stranger, or, Misanthropy 
 and Repentance. A drama. Translated from the German by G. 
 Papendick. Boston. Printed by John Russell at his Office in 
 Quaker Lane. 12°. 
 
 Reprint of : The Stranger, &c. London. 1798. [Menschenhass und 
 
 Rene. 1789.] 
 
 187. [Zimmermann, J. G.] Solitude considered with respect to 
 its Influence on the Mind and the Heart. Written originally in 
 German, by M. Zimmerman, Aulic Counsellor and Physician to His 
 Britannic Majesty at Hanover. Translated from the French of J. B. 
 Mercier. First New-York edition. Printed by Mott & Lyon: for 
 Evert Duyckinck & Co., C. Davis, J. Harrisson, J. Fellows , J. Lyon, 
 N. Judah, and P. Mesier. 12°. pp. v, 328. 
 
 Apparently a reprint of : Solitude considered c&c. London. 1791. Cf. 23. 
 Probably printed about 1793-1800. This edition, which is a 12° by signatures 
 and A. L. A. standard, is evidently distinct from 105, an octavo. 
 
 INDEX; 
 
 The numbers refer to those in the " List of Translations." 
 
 Campe, J. H. 
 
 Columbus, 182 (n. d.). 
 
 Cortez, 183 (n. d. ). 
 
 The New Robinson Crusoe, 12 (1790), 102 (1803 or before), 147 
 
 (181 1) [abridged]. 
 Pizarro, 184 (n. d.).
 
 Frederick H. WilkcJis. loi 
 
 Cliamisso, A. von. 
 
 Peter Schlemihl, 177 (1824). 
 The Devil and Dr. Faustus, 115 (1807). 
 Dunlap, W. 
 
 Dramatic Works, 114 (1806-16). 
 Eliza, or the Pattern of Women, 84 (1802). 
 
 Faustus, The Life of Dr. Faustus, 25 (1795), 176 (1S23-1824?). 
 Cf. also, the Devil and Dr. Faustus. 
 The Necromancer or Harlequin Dr. Faustus [suggested by Dr. 
 Faustus], 26 (1795). 
 The German Theatre, translated b}' W. Dunlap, 47 (1800). 
 Gessner, S. 
 
 The Death of Abel, i (1762), 2 (1762), 3 (1765), 4 (1767), 5 
 
 (1770), 6 (1770?), 17 (1791), 19 (about 1791), 24 (1794?), 
 
 30(1795 or before), 85 (1802), 103 (1803 or before), in 
 
 (1806), 112 (1806), 116 (1807), 123 (1808), 161 (1815). 
 
 The Death of Cain, by a Lady, [suggested by G.'s Death of 
 
 Abel,] 13 (1790), 18 (1791), 20 (1793), 162 (1815). 
 New Idylls, 86 (1802), 87 (1802), 117 (1807). 
 Goethe, J. W. von, 
 
 Goetz von Berlichingen, 155 (1814). 
 
 Herman and Dorothea, 104 (1805). 
 
 Memoirs of Goethe, 178 (1824). 
 
 The Sorrows of Werter, 8 (1784), 10 (1789), 27 (1795), 39 (1798), 
 
 118 (1807), 119 (1807). 
 The Letters of Charlotte, [suggested by the Sorrows of Werter,] 
 35 (i797)> 40 (1798), 120 (1807). 
 Haller, A. von. 
 
 Letters from Baron Haller to his Daughter, 97 (1803). 
 Iffland, A. W. 
 
 The Good Neighbor, 156 (1814). 
 Jung-Stilling, J. H. 
 
 Scenes in the World of Spirits, 163 (1815). 
 Klopstock, F. G. 
 
 The Messiah, 9 (1788), 28 (1795), 148 (181 1). 
 
 The Messiah, attempted in verse, by S. Hailing, [taken from K.'s 
 
 Messiah,] 141 (1810). 
 Memoirs of F. G. and M. Klopstock, 140 (1810).
 
 I02 Early Influence of German Litcrahire in America. 
 
 Knigge, A. F. F. L. 
 
 Practical Philosophy of Social Life, 109 (1805). 
 
 Kotzebiie, A. F. F. von. 
 
 Abbe de I'Epee, or the Orphan, 72 (1801). 
 
 Adelaide of Wulfingen, 48 (1800). 
 
 Of Age to morrow, 125 (i8o8). 
 
 The Beautiful Unknown, 98 (1803), 149 (1811 ?). 
 
 The Confession, 169 (1820). 
 
 The Constant Lover, or, WilHam and Jeanette, 41 (1799). 42 
 
 (1799), 73 (1801). 
 The Corsicans, 157 (18 14). 
 
 Count Benj^owsky, 42 (note), 49 (1800), 99 (1803). 
 The Count of Burgundy, 50 (1800), 91 (note). 
 The Dramatic Works of Baron Kotzebue, 51 (1800). 
 The East Indian, 52 (1800). 
 False vShame, or the American Orphan in Germany, 53 (1800), 74 
 
 (1801), 91 (note). 
 The Force of Calumny, 54 (1800). 
 Fraternal Discord, 75 (1801), 91 (note), 132 (1809). 
 The Happy Family, 55 (1800). 
 Ildegerte, Queen of Norway, 56 (1800). 
 Indigence and Nobleness of Mind, 57 (1800). 
 La Pey rouse, 58 (1800). 
 The Life of Kotzebue, 83, (1801 ?) 
 
 Lovers' Vows, 42 (note), 88 (1802), 133 (1S09), 15S (1S14). 
 The Most Remarkable Year of his Life, 89 (1802). 
 The Pigeon, 90 (1802). 
 Pizarro, 45 (1799), 59 (i8oo), 60 (1800), T34 (1809), 164 (1818), 
 
 167 (1819), 174 (1823), 185 (1799?)- 
 The Rights ot Hospitality, 129 (1808?). 
 Self-immolation, 43 (1799), 61 (1800). 
 Sighs, or the Daughter, 62 (1800). 
 Sketches of the Life of Kotzebue, 76 (1801). 
 The Stranger, 44 (1799), 77 (1801), 91 (1802), 130 (1808?), 186 
 
 (n. d). 
 The Sufferings of the Family of Ortenberg, 63 (1800). 
 The Virgin of the Sun, 64 (1800), 65 (1800). 
 The Widow and the Riding Horse, 66 (1800). 
 The Wild-goose Chace, 67 (1800).
 
 Frederick H. Wilkeiis. 
 
 lOX 
 
 The Wild Youth, 68 (1800). 
 The Writmg Desk, 78 (1801), 
 
 Zaida, or the Dethronement of Muhamed IV, 100 (iSoO iso 
 (i8ii). ' ^ 
 
 "Lady," A. 
 
 The Death of Cain. Cf. Gessner. 
 Lafontaine, A. H. J. 
 Romulus, 159 (18 14). 
 
 The Village Pastor and his Children, 142 (18 10). 
 La Motte Fouque, Baron F. H. C. de. 
 Minstrel Love, 173 (1822). 
 Undine, 179 (1824), 180 (1824). 
 Lavater, J. K. 
 
 Aphorisms on Man, 14 (1790), 15 (1790), 16 (1790), 21 (1793). 
 Essays on Physiognomy, 106 (1803 or before?). 
 Lessing, G. E. 
 Emilia Galotti, 143 (1810). 
 Lucy Sampson, 11 (1789). 
 The Letters of Charlotte. Cf. Goethe. 
 Lewis, ]\I. G. 
 
 Romantic Tales, 135 (1809). 
 Tales of Wonder, 79 (1801). 
 He loves me better than his Life; or Hulwi-, Clara and Randoli)li. 
 
 124 (1808). 
 The Necromancer, or Harlequin Dr. Faustus. Cf Faustus. 
 Pestalozzi, J. H. 
 
 Leonard and Gertrude, 80 (1801). 
 Peter the Great, or the Russian Mother, 160 (1814). 
 Plumptre, A., and A. 
 
 Tales of Wonder, 165 (18 18). 
 Salzmanii, C. G. 
 
 Elements of Morality, 29 (1795), 31 (1796), 32 (1796), 104 
 (1803 or before), 151 (1811). 
 Schiller, F. von. 
 
 The Armenian, 71 (1800?- 1803). 
 Cabal and Love, 92 (1802).
 
 I04 Early Influence of German Literature in America. 
 
 Fiesco, 93 (1802). 
 
 The Ghostseer, 33 (1796). 
 
 The Harpers Daughter, 152 (18 13). 
 
 The Robbers, 22 (1793), 94 (1802), 131 (180S?), 181 (1825 or 
 
 before). 
 Wallenstein (Piccolomini), no (1805). 
 
 Schlegel, C. W. F. 
 
 Lectures on the History of lyiterature, 166 (18 18). 
 Select Plays, 95 (1802). 
 Sonnleitlmer, J. 
 
 The Fortress of Sorrento, [adapted from S.'s Leonore,] 126 
 (1808). 
 
 Spiess, C. H. 
 
 The Mountain Cottager, 69 (1800). 
 
 Sturm, C. C. 
 
 Beauties of Nature, 70 (1800), 81 (1801). 
 Moral and Natural Philosophy, 38 (1797?). 
 Reflections, 171 (1821). 
 
 Vulpius, C. A. 
 
 Rinaldo Rinaldini, [dramatized from V.'s Rinaldo Rinaldini,] 144 
 (1810). 
 Wachter, G. P. L. L. 
 
 The Black Valley, 82 (1801). 
 
 Weber, Veit. Pseudonym for Wachter, 
 
 Wieland, C. M. 
 Oberon, 145 (1810). 
 Socrates out of his Senses, 36 (1797). 
 Zimmermann, J, G. 
 
 Essay on National Pride, 146 (1799). 
 
 Solitude, 23 (1793), 34 (179^). 37 (i797). i05 (1803 or before), 
 107 (1804), 127 (1808), 153 (1813), 154 (1814), 168 (1819), 
 187 (n. d.). 
 Strictures on National Pride, 7 (1778). 
 
 Zollikofer, G. J. 
 
 Caution against Unchastity, 128 (1808). 
 Examination of some Principles, 175 (1823).
 
 Frederick H. Wilkens. 105 
 
 Exercises of Piety, loi (1803), 121 (1807). 
 Sermons on the Dignity of Man, 122 (1807). 
 Sermons on Education, 136 (1809). 
 Seven Sermons on the Reformation, 137 (1809). 
 Zschokke, J. H. D. 
 
 Abaellino (drama), 96 (1802), 113 (1806), 170 (1820). 
 AbaelHno (novel), 138 (1809), 139 (1809). 
 Rugantino, [dramatized from Z.'s Abaellino,] 146(1810). 
 Sylvester Eve, 172 (1821). 
 
 Frederick H. Wilkens.
 
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