TO THE MEMORY OF THE LATE NICHOLAS TRUBNER

This Work is Dedicated by Charles G. Leland

This Project Gutenberg Edition is dedicated to:

Poul and Karen Anderson without whose inspiration it would not exist.

Geoff Kidd Krista Rourke

Ad Musan. "Est mihi schoena etenim et praestanti corpore liebsta Haec sola est mea Musa meoque regierit in Herza. Huic me ergebo ipsum meaque illi abstatto geluebda, Huic ebrensaulas aufrichto opfroque Geschenka, Hic etiam absingo liedros et carmina scribo."

Rapsodia Andra, Leipzig, 17th Century

Preface To the Edition of 1889.

——

Though twenty years have passed since the first appearance of the "Breitmann Ballads" in a collected form, the author is deeply gratified — and not less sincerely grateful to the public — in knowing that Hans still lives in many memories, that he continues to be quoted when writers wish to illustrate an exuberantly joyous "barty" or ladies so very fashionably dressed as to recall "de maidens mit nodings on," and that no inconsiderable number of those who are "beginning German" continue to be addressed by sportive friends in the Breitmann dialect as a compliment to their capacity as linguists. For as a young medical student is asked by anxious intimates if he has got as far as salts, I have heard inquiries addressed to tyros in Teutonic whether they had mastered these songs. As I have realised all of this from newspapers and novels, even during the past few weeks, and have learned that a new and very expensive edition of the work has just appeared in America, I trust that I may be pardoned for a self-gratulation, which is, after all

really gratitude to those who have demanded of the English publisher another issue. My chief pleasure in this — though it be mingled with sorrow — is, that it enables me to dedicate to the memory of my friend the late NICHOLAS TRUBNER the most complete edition of the Ballads ever printed. I can think of no more appropriate tribute to his memory, since he was not only the first publisher of the work in England, but collaborated with the author in editing it so far as to greatly improve and extend the whole. This is more fully set forth in the Introduction to the Glossary, which is all his own. The memory of the deep personal interest which he took in the poems, his delight in being their publisher, his fondness for reciting them, is and ever will be to me indescribably touching; such experiences being rare in any life. He was an immensely general and yet thorough scholar, and I am certain that I never met with any man in my life who to such an extensive bibliographical knowledge added so much familiarity with the contents of books. And he was familiar with nothing

which did not interest him, which is rare indeed among men who MUST know something of thousands of works — in fact, he was a wonderful and very original book in himself, which, if it had ever been written out and published, would have never died. His was one of the instances which give the world good cause to regret that the art of autobiography is of all others the one least taught or studied. There are few characters more interesting than those in which the practical man of business is combined with the scholar, because of the contrasts, or varied play of light and shadow, in them, and this was, absolutely to perfection, that of Mr. Trubner. And if I have re-edited this work, it was that I might have an opportunity of recording it.

There are others to whom I owe sincere gratitude for interest displayed in this work when it was young. The first of these was the late CHARLES ASTOR BRISTED of New York. With the exception of the "Barty," most of the poems in the first edition were written merely to fill up letters to him, and as I kept no copy of them, they would have been forgotten, had he not preserved and printed them after a time in a sporting paper. Nor would they even after this have appeared (though Mr. Bristed once tried to surprise me with a privately printed collection of them, which attempt failed) had not Mr. RINGWALT, my collaborator on the PHILADELPHIA PRESS, and also a printer, had such faith in the work as to have it "set up" in his office, offering to try an edition for me. This was transferred to PETERSON BROTHERS, in whose hands the sale became at once very great; and I should be truly ungrateful if I omitted to mention among the many writers who were very kind in reviews, Mr. GEORGE A. SALA, who was chiefly influential in introducing Hans Breitmann to the English

public, and who has ever been his warmest friend. Another friend who encouraged and aided me by criticism was the late OCTAVE DELEPIERRE, a man of immense erudition, especially in archaeology, curiosa and facetiae. I trust that I may be pardoned for here mentioning that he often spoke of Breitmann's "Interview with the Pope" as his favorite Macaronic poem, which, as he had published two volumes of Macaronea, was praise indeed. His theory was, that as Macaronics were the ultra-extravagance of poetry, he who wrote most recklessly in them did best; in fact, that they should excel in first-rate BADNESS; and from this point of view it is possible that Breitmann's Latin lyric is not devoid of merit, since assuredly nobody ever wrote a worse. The late LORD LYTTON, or "Bulwer," was also kind enough to take an interest in these Ballads, which was to me as gratifying as it was amazing. It was one of the great surprises of my life. I have a long letter from him, addressed to me on the appearance of the collected edition, in 1870. In it he spoke with warmest compliment of the poem of

"Leyden," and the first verses of "Breitmann in Belgium."

In conclusion, I acknowledge the courtesy of Messers. DALZIELL BROTHERS for allowing me to republish here four poems which had appeared in the "Brand New Ballads" published by them in 1885. But to mention all of the people of whom I have grateful memories in connection with the work, who have become acquainted with me through it, or written to me, or said pleasant words, would be impossible. I am happy to think it would embrace many of the Men of the Times during the last twenty years — and unfortunately too many who are now departed. And trusting that the reader will take in good part all that I have said, I remain, — his true friend (for truly there is no friend dearer than a devoted reader),

CHARLES G. LELAND

PREFACE

When HANS BREITMANN'S PARTY, WITH OTHER BALLADS, appeared, the only claim made on its behalf was, that it constituted the first book ever written in English as imperfectly spoken by Germans. The author consequently held himself bound to give his broken English a truthful form. So far as observation and care, aided by the suggestions of well-educated German friends, could enable him to do this, it was done. But the more extensive were his observations, the more did the fact force itself upon his mind, that there is actually no well-defined method or standard of "German-English," since not only do no two men speak it alike, but no one individual is invariably consistent in his errors or accuracies. Every reader who knows any foreign language imperfectly is aware that HE SPEAKS IT BETTER AT ONE TIME THAN ANOTHER, and it would consequently have been a grave error to reduce the broken and irregular jargon of the book to a fixed and regular language, or to require that the author should invariably write exactly the same mispronunciations with strict consistency on all occasions.

The opinion — entirely foreign to any intention of the author — that Hans Breitmann is an embodied satire on everything German, has found very few supporters, and it is with the greatest gratification that he has learned that educated and intelligent Germans regard Hans as a jocose burlesque of a type which is every day becoming rarer. And if Teutonic philosophy and sentiment, beer, music, and romance, have been made the medium for what many reviewers have kindly declared to be laughter-moving, let the reader be assured that not a single word was meant in a bitter or unkindly spirit. It is true that there is always a standpoint from which any effort may be misjudged, but this standpoint certainly did not occur to the writer when he wrote, with anything but misgiving, of his "hearty, hard-fighting, good-natured old ex-student," who, in the political ballads and others, appears to no moral disadvantage by the side of his associates.

Breitmann in several ballads is indeed a very literal copy or combination of characteristics of men who really exist or existed, and who had in their lives embraced as many extremes of thought as the Captain. America abounds with Germans, who, having received in their youth a "classical education," have passed through varied adventures, and often present the most startling paradoxes of thought and personal appearance. I have seen bearing a keg a porter who could speak Latin fluently. I have been in a beer-shop kept by a man who was distinguished in the Frankfurt Parliament. I have found a graduate of the University of Munich in a negro minstrel troupe. And while mentioning these as proof that Breitmann, as I have depicted him, is not a contradictory character, I cannot refrain from a word of praise as to the energy and patience with which the German "under a cloud" in America bears his reverses, and works cheerfully and uncomplainingly, until, by sheer perseverance, he, in most cases, conquers fortune. In this respect the Germans, as a race, and I

might almost say as individuals, are superior to any others on the American continent. And if I have jested with the German new philosophy, it is with the more seriousness that I here acknowledge the deepest respect for that true practical philosophy of life — that well-balanced mixture of stoicism and epicurism — which enables Germans to endure and to ENJOY under circumstances when other men would probably despair.

Breitmann is one of the battered types of the men of '48 — a person whose education more than his heart has in every way led him to entire scepticism or indifference — and one whose Lutheranism does not go beyond "Wein, Weib, und Gesang." Beneath his unlimited faith in pleasure lie natural shrewdness, an excellent early education, and certain principles of honesty and good fellowship, which are all the more clearly defined from his moral looseness in details which are identified in the Anglo-Saxon mind with total depravity. In such a man, the appreciation of the beautiful in nature may be keen, but it will continually vanish before humour or mere fun; while having no deep root in life or interests in common with the settled Anglo-Saxon citizen, he cannot fail to appear at times to the latter as a near relation to Mephistopheles. But his "mockery" is as accidental and naif as that of Jewish Young Germany is keen and deliberate; and the former differs from the latter as the drollery of Abraham a Santa Clara differs from the brilliant satire of Heine.

The reader should be fairly warned that these poems abound in words, phrases, suggestions, and even couplets, borrowed to such an extent from old ballads and other sources, as to make acknowledgement in many cases seem affectation. Where this has appeared to be worth the while, it has been done. The lyrics were written for a laugh — without anticipating publication, so far as a number of the principal ones in the first volume were concerned, and certainly without the least idea that they would be extensively and closely criticised by eminent and able reviewers. Before the compilation the "Barty" had almost passed from the writer's memory, several other songs of the same character by him were quite forgotten, while a number had formed portions of letters to friends, by one of whom a few were published in a newspaper. When finally urged by many who were pleased with "Breitmann" to issue these humble lyrics in book form, it was with some difficulty that the first volume was brought together.

The excuse for the foregoing observations is the unexpected success of a book which is of itself of so eccentric a character as to require some explanation. For its reception from the public, and the kindness and consideration with which it has been treated by the press, the author can never be sufficiently grateful.

CHARLES G. LELAND London, 1871.

CONTENTS

HANS BREITMANN'S BARTY BREITMANN AND THE TURNERS BALLAD A BALLAD APOUT DE ROWDIES THE PICNIC I GILI ROMANESKRO STEINLI VON SLANG TO A FRIEND STUDYING GERMAN LOVE SONG DER FREISCHUTZ WEIN GEIST SCHNITZERL'S PHILOSOPEDE — I. PROLOGUE II. HANS BREITMANN AND HIS PHILOSOPEDE

DIE SCHONE WITTWE — I. VOT DE YANKEE CHAP SUNG II. HOW DER BREITMANN CUT HIM OUT

BREITMANN IN BATTLE BREITMANN IN MARYLAND BREITMANN AS A BUMMER SECOND PART

BREITMANN'S GOING TO CHURCH BREITMANN IN KANSAS HANS BREITMANN'S CHRISTMAS BREITMANN ABOUT TOWN BREITMANN IN POLITICS — I. 1. THE NOMINATION 2. THE COMMITTEE OF INSTRUCTIONS 3. MR. TWINE EXPLAINS BEING "SOUND UPON THE GOOSE" II. 4. HOW BREITMANN AND SMITH WERE REPORTED TO BE LOG-ROLLING 5. HOW THEY HELD THE MASS MEETING 6. BREITMANN'S GREAT SPEECH III. PARDT DE VIRST: — THE AUTHOR ASSERTS THE VAST INTELLECTUAL SUPERIORITY OF GERMANS TO AMERICANS PARDT DE SECOND: — SHOWING HOW MR. HIRAM TWINE "PLAYED OFF" ON SMITH BREITMANN AS AN UHLAN — I. THE VISION II. BREITMANN IN A BALLOON III. BREITMANN AND BOUILLI IV. BREITMANN TAKES THE TOWN OF NANCY V. BREITMANN IN BIVOUAC VI. BREITMANN'S LAST BARTY EUROPE — BREITMANN IN PARIS BREITMANN IN LA SORBONNE BREITMANN IN FORTY-EIGHT BREITMANN IN BELGIUM — SPA OSTENDE GENT BREITMANN IN HOLLAND — 'S GRAVENHAGE — THE HAGUE LEYDEN SCHEVENINGEN AMSTERDAM GERMANY — BREITMANN AM RHEIN — COLOGNE AM RHEIN — NO. II AM RHEIN — NO. III MUNICH FRANKFORT-ON-THE-MAIN ITALY — BREITMANN IN ROME LA SCALA SANTA BREITMANN INTERVIEWS THE POPE THE FIRST EDITION OF BREITMANN — SHOWING HOW AND WHY IT WAS THAT IT NEVER APPEARED LAST BALLADS — BREITMANN IN TURKEY COBUS HAGELSTEIN FRITZERL SCHNALL THE GYPSY LOVER DORNENLIEDER BREITMANN'S SLEIGH-RIDE THE MAGIC SHOES GLOSSARY

INTRODUCTION BY THE PUBLISHER

"HANS BREITMANN GIFE A BARTY" - the first of the poems here submitted to the English public - appeared originally in 1857, in Graham's Magazine, in Philadelphia, and soon became widely known. Few American poems, indeed, have been held in better or more constant remembrance than the ballad of "Hans Breitmann's Barty;" for the words just quoted have actually passed into a proverbial expression. The other ballads of the present collection, likewise published in several newspapers, were first collected in 1869 by Mr. Leland, the translator of Heine's "Pictures of Travel" and "Book of Songs," and author of Meister Karl's Sketch -Book," Philadelphia, 1856 and "Sunshine in Thought," New York, 1863. They are much of the same character as "The Barty" - most of them celebrating the martial career of "Hans Breitmann," whose prototype was a German, serving during the war in the 15th Pennsylvanian cavalry, and who - we have it on good authority - was a man of desperate courage whenever a cent could be made, and one who never fought unless something could be made. The "rebs" "gobbled" him

one day; but he re-appeared in three weeks overloaded with money and valuables. One of the American critics remarks: - "Throughout all the ballads it is the same figure presented - an honest 'Deutscher,' drunk with the New World as with new wine, and rioting in the expression of purely Deutsch nature and half-Deutsch ideas through a strange speech."

The poems are written in the dull broken English (not to be confounded with the Pennsylvanian German) spoken by millions of - mostly uneducated - Germans in America, immigrants to a great extent from southern Germany. Their English has not yet become a distinct dialect; and it would even be difficult to fix at present the varieties in which it occurs. One of its prominent peculiarities, however, is easily perceived: it consists in the constant confounding of the soft and hard consonants; and the reader must well bear it in mind when translating the language that meets his eye into one to become intelligible to his ear. Thus to the German of our poet, kiss becomes giss; company - gompany; care - gare; count - gount; corner - gorner; till - dill; terrible - derrible; time - dime; mountain - moundain; thing - ding; through - droo; the - de; themselves - demselves; other - oder; party - barty; place - blace; pig - big; priest - breest; piano - biano; plaster - blaster; fine - vine; fighting - vighting; fellow - veller; or, vice versa, he sounds got -

cot; green - creen; great - crate; gold dollars - cold tollars; dam - tam; dreadful - treadful; drunk - troonk; brown - prown; blood - ploot; bridge - pridge; barrel - parrel; boot - poot; begging - peggin'; blackguard - plackguart; rebel - repel; never - nefer; river - rifer; very - fery; give - gife; victory - fictory; evening - efening; revive - refife; jump - shoomp; join - choin; joy - choy; just - shoost; joke - choke; jingling - shingling;, &c.; or, through a kindred change, both - bofe; youth - youf; but mouth - mout'; earth - eart'; south - sout'; waiting - vaiten;' was - vas; widow - vidow; woman - voman; work - vork; one - von; we - ve, &c. And hence, by way of a compound mixture, we get from him drafel for travel, derriple for terrible, a daple-leck for a table-leg, bepples for pebbles, tisasder for disaster, schimnastig dricks for gymnastic tricks, let-bencil for lead-pencil, &c. The peculiarity of Germans pronouncing in their mother tongue s like sh when it is followed by a t or p, and of Germans in southern Germany often also final

s like sh, naturally produced in their American jargon such results as shplit, shtop, shtraight, shtar, shtupendous, shpree, shpirit, &c; ish(is), ash(as), &c.; and, by analogy led to shveet(sweet), schwig(swig), &c. We need not notice, however, more than these freaks of the German-American-English of the present poems, as little as we need advert to simple vulgarisms also met with in England, such as the omission of the final g in words terminating in ing (blayin' - playing; shpinnen' - spinning; ridin', sailin', roonin', &c.). We must, of course, assume that the reader of this little volume is well acquainted both with English and German.

The reader will perceive that the writer has taken another flight in "Hans Breitmann's Christmas," and many of the later ballads, from what he did in those preceding; and exception might be taken to his choice of subjects, and treatment of them, if the language employed by him were a fixed dialect - that is, a language arrested at a certain stage of its progress; for in that case he would have had to subordinate his pictures to the narrow sphere of the realistic incidents of a given locality. But the imperfect English utterances of the German, newly arrived in America, coloured more or less by the peculiarities of his native idiom, do not make, and never will make a dialect, for the simple reason that, in proportion to his intelligence, his opportunities, and the length of time spent by him among his new English-speaking countrymen, he will sooner or later rid himself of the crudenesses of his speech, thus preventing it from becoming fixed. Many of the Germans who have emigrated and are still emigrating to America belong to the well-educated classes,

and some possess a very high culture. Our poet has therefore presented his typical German, with perfect propriety, in a variety of situations which would be imperceptible within which the the dialect necessarily moves, and has endowed him with character, even where the local colour is wanting.

In "Breitmann in Politics," we are on purely American ground.