5) F.F* Baum#mRten Da* ' ferkjhonra# • Ferdinand. Meverst . Renaiaaance^ £i finden^dnd Btilkmet TE^d Edition MüacEiën 19201 o
15 w#i$ Sind sin Ends. Xtysrn EsXdsn hsbsn ksln# SdlmsF (l). But the
'meesagei conveyed by theee; ohareoteve even in their death ia not one of hopeieaeneia and the fntiiity of human endeavonr* Meyer'» etorie end eatiefaotoriXy beoaume they reaoh the only peeaibXe soXuiloh. Astorre and Antiope hâve offended against aXX the oonventions of civi
ised aooiety, and they are both so Xaoking in seXf-oontroX that furth life. in the normal world would be) impossible for' them.# Thomas 4 Boo weloome# death beoause life has broken him# we aee left to deoide fo ourselves whether he, realised that his death would win him the finest revenge over King/Eenry. ' Pe'Soara oould not have, saved Italy, beoaus it was too oorrupt, .thus it waft'better- that both shoulR have been spa the attempt# .
Meyer, himself does .not, regard him etoriea mm- ending in,'despair, fo
he^ provides; them with a oalm and peaoeful oonolusion # In the Rahmen novellen the illusion of reality is broken by the oompletion of the frame, and we return from the world of fiotibn to the story-tellers around the fire # In. those)'without m frame hestages a final tableau the figures freese.into stillness, again reminding w that they #re^ aotors in a play# 0torm and hi# ohariMOters fail, both by means of memoirs and pioturem, to overoome--.transienoe'* But Meyer'# qharaoter awe not 'failures. In stressing, the peso# of death which rounds off life of heotlo sotion, Meyer the Protestant •moraliste» would doubtle remind his readers that death is the gateway to eternal, life.
12
6 * Lamm###
Th# m m % obvious iufluouo# of the visual arts ou Mayor»a Xauguag# il to ba a#au iu bis motaphore. The following axamplas art ail drawn frc Jürs Jenataob (Warko l), in wbiob b# mako# axtaniiv# ua# of this typa*
Auf d#m düsteran Hintorgrundo des Juliar aaXtw saiiia Seal# #in farbi luatigob Bildf in daaaan Xitta wiadarum Earr Foapajus mit aainam TBObtorlain Lukratla stand, (p.16)
Sr antwarf dam Eeraog mit wanigén aeharfan %üg#n ain Bild dar gaogri iaohaô Lâga iaîner Heimat.. (p
Ibre Vor daai Sohraokbild sOheuàndé; Binbildungakraft arging siob in i
abaïtiaùarlidhatan SprUngan* (p.67)
arging s lob in baitahn R#i##arinn#rungan, araâblta von London une dawr Hofa Jakob# -1 « , .und antwarf/ von dam wundarlioh padantisoban, ' abar,' wîa ar bînzuaûfügon aiçb bàailta, kainaawagm .auf dan Kopf g#-
fallanan Kdbig ain argdtaliokaa Bild# (p.ll?)
.. »Qnd wana jadar unaarar large eine .Status wkre4 *» i biar stookte de Radnor und eratarrte aeXbst aum Stainbiîde. (pi212)
In tbia last example Meyer ironise» bis own pradilaotion for; auob meta, pbors. They are oertainly oommon enough# but it is aignifioant that
Meyer, with bi«: habit of viaumliaing eaoh soene in bis works, should m
muoh frequent use of them. „Duroh enargieohe TergegenwArtigung aimas Vorgangas, duroh langea, wiederholtes Hinblioken darauf galang es; ihm, eine Smene plastimoh vdllig bildmABig au aehan und di# entaoheidendan Linian, Eilga und farban gleiohema abauleaan." (1) He dôés not, howevt make mùoh mention of ooloura . Ee> deeoribes aoanas as »f arbenlustig», full, of »Farbanglana » or »leuohtenda farben», but ha does not at ate) wh ooloura are to be seen. Only rarely is m oolour-adjactive used. He more interested in light and life* the Titian Venu» in Urimani»» Tana dining'^room is of »blendendar Schdnheit», and the painting of the Turk girl in Der SohuB von der Kanael ie^ emeomted*ln jener nsturwarman, be- etriokanden Veiee» which oharscteriaes the Flemish artists. The moat startling effects are achieved by the moonlight shining on the picture in Milan of Pesoarav and his wife playing chess,
*Er 1st unter uns und lauschti" sohria der Ear cog mit ga Hander Sti êaê: alla auaammenfuhran. Ihre Blioke folgten seinem geAngstigtan. (l) Frey Lebeh und Werke p.
Deir Mond, dar* als; bXandandi# SlXbarsahalba Ubar dan Eorisant gatratan war m d main# aahrdgan StrahXan lù da# kXain#- /Gama# - mu' warfan %a#an mpiaXta wnndarXloh: anf dar 8ah#ahpartia# Tlktorlaa*'harvonqnaXianda Auga bXlakta arattmt, aX#.. aprdqha _aa* ,Haat ,dn gahdrt,, Paaààrâî
Waloha'tarsmoMthait! End jatmt fragt# a»; •angatToXXi *aa wir at :dn tun, Famaara? Dlamar war bXaiob wi# dar Tod, ait ainam Ldctièlù in dan MundwinkaXn* (I)
Mayar lika») to use tha abaft of light to illuminât#; aoaua# and parao am. wall am piotura»* The daad Gumtavu# Adolphum im lit up by the mun am if he had a halo;
kin G trahi dar Morganmoime - dam gaetrigen'Naheltaga, wAr- a,in. hlauer
wolkànlpëar glfplgt/.- giitt/'düréh da# niadri#"^ war-
klArta:;Ra#''Baldahahtlita'und ' mparta .nooh aih Gohimmarohan für dan Lookankepf-4a# Fagan Lauhalfing. (2)
The altar of the little Rhman 'GWthdlio ohuroh in Jdrg- Jenatmoh»#. parimh imi lit up partly hy tha candle» and partly by a laet ray of the matting mun# Tha ourioum illumination playm trick» on the muperetitioum cOngr gation ##d caumem them to think that the ghomt of an old priemt ie knee ling by the altar* While Guicciardini and Moron#, in Die Yermuchunm d Femcara, are diecumming their plan for tempting Pamoara, ‘ m flamh of lig ning, which meemm to Guicciardini to be an omen, light» up the fine pro portions of tha new? Vatican building. In Anselm3or*im too at flamh of lightning redden# the mtatue in the grove where Don Giulio warn blinded. We aea from thi# that Mayer perceive# and describe# parsons and mean a# though they were works; of art. In him deaoription# he miGce# Use of terms from thé language of art like •Kopf and •Grupp#». Hans the Bow
in Per HeiXige often refer»: to the head or face of Backet1 •dieses un-
kürperliché Antlit»;, •ein blutige#, tote# Haupt•, •#!# sterbendes, lAo elnda»: Haupt*, and he compara») it unfavourably with *der (Anblick) die* langen ruhigen Geeichter, welche kura StadtheiXigen hier in dan HAnden
tragen* (3), and ha point# to the pioture in Herr Burkhard*» room of th
saints Felix mid Hegula. The description of tha diplomat# of the lol| League who assemble in Gform#* m palace in Milan touche# only on their faces.
1) Werke IV, pp.171-172