A new translation of the collected letters of Gottfried Keller' to personal acquaintances followed by an Afterword by the translator, a timeline of his life and works and an index of his works.
This is a new translation of both Gottfried Keller's (1819-1890) personal diary and his dream book, followed by an Afterword by the translator, a timeline of his life and works and an index of his works. In 1838, when he was barely 20 years old, Heller stated that he felt that the independence of anyone who did not keep a diary was threatened, because "... this independence can only be preserved by constant reflection on oneself, and this is best done by keeping a diary". The poet himself did not adhere to this maxim for the rest of his life- in 1843, he kept a short diary that gives a deeper insight into the poet's life and work. In the Dream Book, which he kept from 1846, he recorded his dreams but also reflected on political events such as the revolutionary year of 1848. These two works are deeply intertwined, so they are presented in one volume.
A new complete translation of Gottfried Keller's Zurich Novellas, followed by an Afterword by the translator, a timeline of his life and works and an index of his works. This edition contains all of the Zurich novellas, Parts I and II, in one volume. "The Zürich Novellas," written as "Züricher Novellen," constitute a novella cycle by Gottfried Keller. The first volume comprises three novellas interwoven by a framing narrative that itself constitutes a novella. In the second volume, this interconnection is not present. The novellas included are "Hadlaub," "Der Narr auf Manegg," and "Der Landvogt von Greifensee" in the first volume, while the second volume features "Das Fähnlein der sieben Aufrechten" (The Banner of the Seven Upright Men) and "Ursula." These novellas were initially serialized between November 1876 and April 1877 in the "Deutsche Rundschau" magazine and were later published as the first volume in 1877. The second volume combined Keller's previously published "Das Fähnlein der sieben Aufrechten" with the newly written concluding novella "Ursula," 17 years after its initial release. In contrast to his earlier work "Die Leute von Seldwyla," Keller shifted his focus to historical settings, incorporating elements such as the Manesse Codex and the Manegg Castle ruins. The first three novellas are linked by a framing narrative in which an old uncle aims to impart the values of the past to his inquisitive nephew. This cycle, notable for its didactic undertones, illustrates Keller's evolution in thematic and stylistic approaches.
A new translation into American English of Gottfried Keller's handwritten article "Mixed Thoughts about Switzerland". Keller wrote this article in Munich for a handwritten pub newspaper in 1841, before he turned to poetry. He was studying in Munich at the time, and had joined a Swiss student fraternity and met with them once a week at the "Wagnerbräu" pub for a pub crawl, during which he read a weekly paper that he was both the main contributor to and editor of. The only pieces of this that survived were those that he kept in one of his study books. This is the only full article that survived. Here he dialogues about the nation as an expression of political self-determination and will-formation - not as a power structure defined in terms of a nation.
Una nueva edición de de las cartas recopiladas de Gottfried Keller a conocidos personales, seguidas de un epílogo del traductor, una cronología de su vida y obra y un índice de sus trabajos. Las cartas abarcan desde 1840 hasta 1890, pasando por Múnich, Zúrich, Heidelberg, Berlín y Zúrich, donde murió. Keller escribió a Friedrich Nietzsche, y Nietzsche expresó calurosamente su amor por la poesía de Keller, diciéndole en una carta de junio de 1883 escrita desde Roma: En respuesta a su amable carta "Su amable carta", una carta muy amable de agradecimiento de Keller por enviarme la "Fröhliche Wissenschaft", y al mismo tiempo como confirmación del pensamiento que usted expresa en ella - que el gran dolor hace a las personas más elocuentes de lo que son de otro modo - me gustaría recomendarle el folleto adjunto titulado "Así habló Zaratustra". Y en una carta a Hippolyte Taine fechada el 4 de julio de 1887: ... ese poeta suizo al que considero el único poeta alemán vivo, Gottfried Keller. Hemos perdido las cartas de Keller a Nietzsche, pero las cartas existentes de Keller abarcan una amplia gama de temas, desde sus aspiraciones artísticas y dificultades financieras hasta confesiones íntimas de amor y reflexiones sobre la amistad, pintando un cuadro completo de un individuo polifacético navegando por las complejidades de la vida del siglo XIX. Figuras significativas como Christian Kapp, padre de Johanna Kapp, y Adolf Exner, profesor, aparecen en las cartas, destacando el círculo intelectual de Keller. Sus cartas humorísticas y cariñosas a Marie von Frisch, de soltera Exner, muestran su lado más alegre. Las cartas de Keller a Ferdinand Freiligrath, compañero poeta, y a Wilhelm Baumgartner, un amigo, revelan sus pensamientos sobre la escena literaria y sus luchas con la productividad en Berlín. La correspondencia con personas como Lina Duncker, Ludmilla Assing y Marie Erner refleja sus compromisos sociales y sus viajes, y muestra sus esfuerzos por equilibrar las relaciones personales y los compromisos profesionales. Los intereses románticos aparecen en forma de Luise Rieter, a quien Keller confiesa su amor, y la señora Orelli-Breitinger, una amiga maternal implicada en la respuesta a su carta de amor. Amigos como Johann Salomon Hegi y Rudolf Leemann ocupan un lugar destacado, ofreciéndole compañía y apoyo, mientras que Eduard Dößekel y Jakob Baechtold le sirven de confidentes en su desarrollo filosófico y poético. Keller escribe con frecuencia a su madre, expresando su confianza en su apoyo emocional y financiero, al tiempo que detalla su vida cotidiana, sus viajes y sus esfuerzos artísticos. El estrecho vínculo que le une a su hermana Regula queda patente en sus cariñosas menciones y en su gratitud por su firme apoyo. Amigos como Steffen, que le acompañó en sus viajes, y Müller, que le proporcionó alojamiento en Frauenfeld, ilustran la red de apoyo que rodeó a Keller durante sus viajes internacionales. En Múnich, Keller se relaciona con Hegi, su mejor amigo de Zúrich, y con Fischer, un colega artista, y hablan de los problemas económicos y las condiciones de vida que compartían. Las cartas también mencionan al Sr. Vogel y a la Sra. Schinz de Zúrich, cuyas opiniones sobre su talento artístico influyen significativamente en la autoestima de Keller y en sus decisiones profesionales. Esta traducción de del original alemán va acompañada de material adicional para dar vida a la vida y el impacto de Keller. Keller fue considerado por Nietzsche como uno de los más grandes poetas vivos de su tiempo, pero sus obras rara vez se encuentran en otros idiomas, y su impacto es desconocido para el lector moderno. Esta edición pretende ofrecer una versión limpia y fácil de leer de sus manuscritos originales en alemán, e introducir al lector en su sistema de pensamiento más amplio, incluyendo el ambiente filosófico de su época. Esta edición contiene: • Un epílogo del traductor sobre el legado filosófico de Nietzsche • Una cronología de su vida y obra • Un índice de sus obras y su contenido
A new translation of the collected letters of Gottfried Keller' to personal acquaintances followed by an Afterword by the translator, a timeline of his life and works and an index of his works.
A new translation of Gottfried Keller's 1849 "Jeremias Gotthelf", followed by an Afterword by the translator, a timeline of his life and works and an index of his works. In this work, Keller reviews the short stories by his fellow author Jeremias Gotthelf that appeared at length between 1849 and 1855 in Brockhaus' sheets for literary entertainment . After Keller's death, Baechtold brought the four treatises together, including their postscript commenting on Gotthelf's death, in the order in which they appeared and gave the whole thing the title “Jeremias Gotthelf”. This work is important because it is a main source for Keller's views on poetry and the political and social responsibility of the poet.
A new translation of Gottfried Keller's 1886 "Martin Salander", followed by an Afterword by the translator, a timeline of his life and works and an index of his works. "Martin Salander" is both the title of a family and historical novel by Gottfried Keller, published in 1886. This final work by the author is a candid critique of conditions in his own country and beyond. It follows Martin, a poor idealist, as he navigates life ethically, which is a reflection of Keller's hope for a compassionate family life as an image for a free Switzerland. The idealistic but credulous and naive protagonist returns to his Swiss homeland after a lengthy stay in Brazil, achieving prosperity as a merchant and engaging in political activities. However, he witnesses how the unchecked pursuit of social advancement leads many contemporaries into fraud and embezzlement, resulting in him and his family becoming victims of such schemes. His hope that people, endowed with political rights in their country, would interact more responsibly with each other is bitterly disappointed, leading him to hand over the management of his business to his pragmatic son by the novel's end. One can compare this novel to Dosteovsky's "The Idiot". In his later work, Gottfried Keller undertook an experiment on multiple fronts. He engaged with contemporary history more directly than in any of his previous works and ventured into new formal pathways by attempting to minimize the use of an authoritative narrator. Despite varying reception, the novel held norm-setting power for many subsequent Swiss writers.
The People of Seldwyla (Die Leute von Seldwyla) is a two-part novella cycle. The first five novellas, Part I, were written by Keller between 1853 and 1855 in Berlin, and they were published in 1856 by the Vieweg Verlag. The subsequent five novellas, Part II, were composed in several stages between 1860 and 1875, primarily during Keller's tenure as State Secretary in Zurich. It comprises ten "life portraits" (the working title during the Berlin phase), interconnected by a shared setting—the fictional Swiss town of Seldwyla. With the exception of "Romeo und Julia auf dem Dorfe," an adaptation of Shakespeare's tragedy, the Seldwyla stories are comedies in novella form, characterized by a strong satirical and grotesque element. Two of the novellas, "Romeo und Julia auf dem Dorfe" and "Kleider machen Leute," hold a place in world literature and are among the most widely read narratives in German-language literature. They have been adapted into films and operas multiple times, translated into numerous languages, and are available in an extensive array of editions. "The People of Seldwyla," is regarded as a masterpiece of 19th-century German narrative art and is representative of the poetic realism style. If one disregards Goethe's writings, the best German book there is: what actually remains of German prose literature that deserves to be read again and again? Lichtenberg's aphorisms, the first book of Jung-Stilling's Lebensgeschichte, Adalbert Stifter's Nachsommer and Gottfried Keller's The people of Seldwyla, - and that will be the end of it for the time being. Nietzsche, Human, All Too Human ("Menschliches, Allzumenschliches") Part I Pankraz, the Schmoller Pankraz, der Schmoller is the first story in Die Leute von Seldwyla, which was published in Braunschweig in 1856. The title character works his way up from a day thief in Seldwyla to a colonel in the French legion, but is unable to find happiness. Romeo and Juliet in the village In this tale, Keller adapted a true incident that he had taken from a newspaper report. Two neighboring farmers live together in harmony until they begin to quarrel over a small piece of land. Frau Regel Amrain and her youngest Frau Regel Amrain und ihr Jüngster is a story from the cycle of novellas Die Leute von Seldwyla, published in Braunschweig in 1856. It is about the education of a boy to become an upright man and citizen. Franz Duncker had the text printed in the Berlin Volks-Zeitung in 1855. Mr Amrain, a former button-maker, had mixed with the speculators of Seldwyl and bought a quarry on the outskirts of the small town. He never quarried any stone, however, but merely speculated on the new property. When a conservative financier saw through the liberal Mr Amrain, he withdrew his capital from the quarry. Mr Amrain then left his wife Regula and their three children in Seldwyla and left for North America. The Three Righteous Comb Makers (Die drei gerechten Kammacher) The story is about three German journeymen craftsmen who work for a master craftsman in Seldwyla, all three of them hardworking, thrifty, frugal, calculating, and conflict-averse. Despite this - or perhaps because of it - they become fierce rivals: each wants to buy the comb-making business, and each wants to marry the same wealthy maiden to do so. A decisive race ensues, which ends badly for two of the Mirror, the kitten (Spiegel das Kätzchen) An animal fable within the tradition of the classical-romantic art fairy tale. His tomcat "Spiegel" (Mirror in German), so called because of his shiny fur, is inclined to philosophical contemplation like Puss Murr and, like Reineke Fuchs (a famous fairy tale by Goethe), possesses the gift of saving his head through tall tales and cunningly contrived intrigues. This novella is one of Keller's best-known tales and has been adapted several times.
A new translation of "The Seven Legends" (sieben Legenden) by Gottfried Keller. The Seven Legends is a novella cycle initially published in 1872 but conceived during the author's time in Berlin. This slim work established Keller's reputation in Germany, although it sparked controversy. The Legends' centerpiece is the Virgin Mary, depicted in an interpretation and form divergent from both Catholic and Protestant perspectives. She assumes the role of the "magna mater of earthly and affectionate love," embodying a syncretic deity merging elements of Paganism and Christianity into a feminine trinity of love or a post-Christian Mother Earth. While Theodor Fontane found it repugnant for deviating from the natural simplicity of the legend form, Eduard Mörike was captivated by it. In this collection of allegorical tales, Keller delves into the realms of myth and spirituality.
A new translation of Gottfried Keller's Romanticism and the Present (Die Romantik und die Gegenwart) followed by an Afterword by the translator, a timeline of his life and works and an index of his works. Here Keller makes a clear argument that he basically shares the views of the German realists in the field of aesthetics. He argues that poetry requires a favorable terrain or good soil on which its entities can operate and live accordingly but also that every landscape also needs "its poetic inhabitants." Here he elucidates his political philosophy which he dramatically and artistically extrapolates upon in his later works. To Keller, literary moderation results from the historical fact that the liberal revolution of 1848 was successful in Switzerland.
A new complete translation of Gottfried Keller's Zurich Novellas, followed by an Afterword by the translator, a timeline of his life and works and an index of his works. This edition contains all of the Zurich novellas, Parts I and II, in one volume. "The Zürich Novellas," written as "Züricher Novellen," constitute a novella cycle by Gottfried Keller. The first volume comprises three novellas interwoven by a framing narrative that itself constitutes a novella. In the second volume, this interconnection is not present. The novellas included are "Hadlaub," "Der Narr auf Manegg," and "Der Landvogt von Greifensee" in the first volume, while the second volume features "Das Fähnlein der sieben Aufrechten" (The Banner of the Seven Upright Men) and "Ursula." These novellas were initially serialized between November 1876 and April 1877 in the "Deutsche Rundschau" magazine and were later published as the first volume in 1877. The second volume combined Keller's previously published "Das Fähnlein der sieben Aufrechten" with the newly written concluding novella "Ursula," 17 years after its initial release. In contrast to his earlier work "Die Leute von Seldwyla," Keller shifted his focus to historical settings, incorporating elements such as the Manesse Codex and the Manegg Castle ruins. The first three novellas are linked by a framing narrative in which an old uncle aims to impart the values of the past to his inquisitive nephew. This cycle, notable for its didactic undertones, illustrates Keller's evolution in thematic and stylistic approaches.
A new translation of Gottfried Keller's 1862 "Day of Prayer Mandates" followed by an Afterword by the translator, a timeline of his life and works and an index of his works. Dr. Gottfried Keller's address of appreciation for Professor Dr. Hitzig at Burghölzli at a Christmas party as he was appointed director of the Burghölzli asylum. Eduard Hitzig studied at Friedrich-Wilhelms University in Berlin and Julius-Maximilians University in Würzburg, learning from notable figures like Emil Du Bois-Reymond, Rudolf Virchow, Moritz Heinrich Romberg, and Carl Friedrich Otto Westphal. He was a member of the Nassovia Würzburg Corps (1859) and the Neoborussia Berlin Corps (1860). He earned his medical doctorate in 1862 and started his medical career as an electrotherapist in Berlin. In 1872, he became qualified in internal medicine and psychiatry through habilitation in Berlin. By 1875, Hitzig became the director of the Burghölzli mental institution and a full professor of psychiatry at the University of Zurich. In 1879, he was appointed as the director of the Neuropsychiatric Clinic and a professor of psychiatry at the University of Halle, where he opened Prussia's first independent psychiatric and nerve clinic in 1891.
A new translation of Gottfried Keller's famous The Sense Poem (original german title Das Sinngedicht) followed by an Afterword by the translator, a timeline of his life and works and an index of his works. The Sense Poem ("Das Sinngedicht" in German) is a novella cycle authored by Swiss poet Gottfried Keller. Its inception commenced in Berlin around 1851 when Keller conceived initial ideas, followed by the composition of introductory chapters in 1855. The major portion of the text, however, was crafted in Zurich during 1881, concomitant with its serialization in the "Deutsche Rundschau." The Sense Poem garnered substantial acclaim among contemporary readers and literary critics, becoming a pinnacle of his literary career. Keller's innovative structuring, including chapter titles reminiscent of Cervantes' "Don Quijote," imbues the work with a playful-ironic ambiance. The male protagonist's perspective shapes the framing narrative, analogous to Cervantes' Don Quijote, contributing to the novella cycle's narrative charm. Its initial success was underscored by successive editions, with reviewers likening the work's stature to that of Boccaccio's "Decameron." Boccaccio' was a major artistic influence at the time- Herman Hesse wrote a Pathographic essay on him and his influence in Germany. The cycle derives its name from an epigram, or "Sinngedicht," by Baroque poet Friedrich von Logau. The epigram reads "How will you turn white lilies into red roses? / Kiss a white galathee: she will laugh blushing!" and alludes to Galateia, the embodiment of female beauty's dual nature—provocative allure and tempering influence. Logau's composition serves as a poetic discourse on gallant advice. The cycle's seven novellas are entwined within a framing narrative—a love story set in the romantic environs of a 19th-century German university town. The protagonist, Herr Reinhart, a young naturalist, engages in a spirited exchange with Lucie, a hostess of wit and beauty. Through the exchange of Logau's epigram, they embark on a discussion revolving around the equality of genders in fostering successful marriages, evoking tales exemplifying diverse love choices. The narrative culminates in Reinhart and Lucie's burgeoning affection.
The People of Seldwyla (Die Leute von Seldwyla) is a two-part novella cycle. The first five novellas, Part I, were written by Keller between 1853 and 1855 in Berlin, and they were published in 1856 by the Vieweg Verlag. The subsequent five novellas, Part II, were composed in several stages between 1860 and 1875, primarily during Keller's tenure as State Secretary in Zurich. It comprises ten "life portraits" (the working title during the Berlin phase), interconnected by a shared setting—the fictional Swiss town of Seldwyla. With the exception of "Romeo und Julia auf dem Dorfe," an adaptation of Shakespeare's tragedy, the Seldwyla stories are comedies in novella form, characterized by a strong satirical and grotesque element. Two of the novellas, "Romeo und Julia auf dem Dorfe" and "Kleider machen Leute," hold a place in world literature and are among the most widely read narratives in German-language literature. They have been adapted into films and operas multiple times, translated into numerous languages, and are available in an extensive array of editions. "The People of Seldwyla," is regarded as a masterpiece of 19th-century German narrative art and is representative of the poetic realism style. Nietzsche wrote in Human, All Too Human ("Menschliches, Allzumenschliches") If one disregards Goethe's writings, the best German book there is: what actually remains of German prose literature that deserves to be read again and again? Lichtenberg's aphorisms, the first book of Jung-Stilling's Lebensgeschichte, Adalbert Stifter's Nachsommer and Gottfried Keller's The people of Seldwyla, - and that will be the end of it for the time being. Part II contains: Clothes Make the Man (Kleider machen Leute) The plot revolves around Wenzel, a penniless tailor from Seldwyla who, on his arrival in the Swiss town of Goldach, is mistaken for a young lord because of the luxurious suit he has made for himself. Wenzel is feted by the townsfolk and begins to attract the attention of a high-born young woman called Nettchen. The Blacksmith of his Fortune (Der Schmied seines Glückes) A humoresque by Gottfried Keller from 1865. In 1873, Ferdinand Weibert published the text in the third volume of the second part of the novella cycle Die Leute von Seldwyla by Göschen in Stuttgart. The Lost Laughter is a novella by Gottfried Keller, completed in 1874 and published by Göschen in Stuttgart in the fall of the same year as the "keystone" of the second part of the novella cycle The People of Seldwyla (Die Leute von Seldwyla) in German. The story follows a married couple - Jukundus and Justine - lose their laughter in a marital crisis. When the couple finds each other again, they find that laughter again. The Abused Love Letters (Die mißbrauchten Liebesbriefe) Die missbrauchten Liebesbriefe is a literary satire by Gottfried Keller from 1860. In October 1865, the text was preprinted in the Braunschweig "Deutsche Reichs-Zeitung". The story did not appear in book form until 1874, in the second part of the novella cycle Die Leute von Seldwyla, published by Göschen in Stuttgart. Dietegen The novella is set at the time of the Burgundian and Milanese Wars in the two fictional Swiss towns of Seldwyla and Ruechenstein. In Ruechenstein, the orphan boy Dietegen, who is kept like a slave as a lawless Verding child, is falsely accused of stealing a crossbow and hanged. Küngolt, a girl from Seldwyla, discovers that the boy is still alive in his coffin. According to the Rüchenstein legal system, whoever survives an execution is given life. From then on Dietegen grows up with Küngolt's father, the forester of Seldwyla, and his mother. Küngolt sees in him her future husband and treats him like her property. Dietegen overcomes his moral prejudice against the "harlot", goes to Ruechenstein and saves Küngolt from death. He takes part in the Milanese campaigns in which he falls, but from the marriage a "numerous lineage" is born.
A new translation into American English of Gottfried Keller's handwritten article "Mixed Thoughts about Switzerland". Keller wrote this article in Munich for a handwritten pub newspaper in 1841, before he turned to poetry. He was studying in Munich at the time, and had joined a Swiss student fraternity and met with them once a week at the "Wagnerbräu" pub for a pub crawl, during which he read a weekly paper that he was both the main contributor to and editor of. The only pieces of this that survived were those that he kept in one of his study books. This is the only full article that survived. Here he dialogues about the nation as an expression of political self-determination and will-formation - not as a power structure defined in terms of a nation.
Love is necessarily an important element in all imaginative literature, but with Gottfried Keller it does not overshadow all other aspects of life. Great passion we do not find in his works. In "A Village Romeo and Juliet", it is not ill-consuming love that makes the two young people seek death, but the bitter realization of life's law, as they understood it, which made it impossible for them ever to be united. The story is a fine illustration of what a great artist may make out of his raw material. Keller had read in a newspaper a report of the suicide of two young people, the sort of tragedy that we may read almost daily in newspapers; he seized upon the possibilities of the situation and the result was this story, perhaps the best he ever wrote. --- Gottfried Keller (1819-1890) was one of the foremost Swiss novelists and one of the most original figures of German literature since Goethe, a master of style worthy to be classed with the great names of all ages. (John Albrecht Walz)
From the cycle "Zurich Novellas" by Gottfried Keller: In 1877 Gottfried Keller published his "Zurich Novellas" (Züricher Novellen), a series of short novels dealing with the history of Zurich and Switzerland. "Ursula" is a love story between a Swiss soldier and the daughter of a farmer during the time of the Swiss Reformation lead by Ulrich Zwingli and at the beginning of the Anabaptist movement in Europe in the 16th century. --- "Gottfried Keller was one of the foremost Swiss novelists and one of the most original figures of German literature since Goethe, a master of style worthy to be classed with the great names of all ages." (John Albrecht Walz)
This is a new translation of both Gottfried Keller's (1819-1890) personal diary and his dream book, followed by an Afterword by the translator, a timeline of his life and works and an index of his works. In 1838, when he was barely 20 years old, Heller stated that he felt that the independence of anyone who did not keep a diary was threatened, because "... this independence can only be preserved by constant reflection on oneself, and this is best done by keeping a diary". The poet himself did not adhere to this maxim for the rest of his life- in 1843, he kept a short diary that gives a deeper insight into the poet's life and work. In the Dream Book, which he kept from 1846, he recorded his dreams but also reflected on political events such as the revolutionary year of 1848. These two works are deeply intertwined, so they are presented in one volume.
A new translation of Gottfried Keller's 1849 "Jeremias Gotthelf", followed by an Afterword by the translator, a timeline of his life and works and an index of his works. In this work, Keller reviews the short stories by his fellow author Jeremias Gotthelf that appeared at length between 1849 and 1855 in Brockhaus' sheets for literary entertainment . After Keller's death, Baechtold brought the four treatises together, including their postscript commenting on Gotthelf's death, in the order in which they appeared and gave the whole thing the title “Jeremias Gotthelf”. This work is important because it is a main source for Keller's views on poetry and the political and social responsibility of the poet.
A new translation of Gottfried Keller's 1861 At the MythStone (Am Mythenstein) followed by an Afterword by the translator, a timeline of his life and works and an index of his works. This is a philosophical essay related to the "Mythenstein", also called the Schillerstein, which is a natural rock made into a monument to Schiller, located in seelisberg, Switzerland, and standing around 80 feet tall. It is only accessible by boat. The monument had a large inauguration ceremony in 1859, called the Schiller Festival, which Keller attended. It celebrated his greatest story, Wilhelm Tell, which Keller refers to as merely "Tell". Schiller's daughter read his poetry at the proceedings, and Keller describes the event in detail. "Schiller never saw Switzerland in the flesh; but all the more certainly his spirit will walk over the sunny slopes and ride with the storm through the rocky gorges, even after the Mythenstein will finally have long weathered and crumbled.
A new translation of Gottfried Keller's 1862 "Day of Prayer Mandates" followed by an Afterword by the translator, a timeline of his life and works and an index of his works. Among Keller's various official duties as the State Chancellery at the Zürcherische Freitagszeitung was the drafting of the "Bettagsmandate" (day of prayer mandates). The first of these documents was created in 1862. The government had reservations about publishing it. Keller, who himself abstained from religious ceremonies, had initially wished for well-attended church services for the Day of Prayer, but added, "However, let even the citizen who is not of a religious disposition not spend this day in restless diversion using his freedom of conscience, but demonstrate his respect for the fatherland in quiet contemplation." Many clergymen would have found it burdensome to read these words of a Feuerbachian from the pulpit, leading the government to order a more diplomatically formulated mandate from another writer.
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