Various - The Atlantic Monthly, Volume 07, No. 41, March, 1861

A real abuse, however, is the perpetual dictation-system still used by some. For these, the three worthies in profile on the title-page of old Elzevir editions are as if they had never existed; they teach as they have been taught, perpetuating the methods in use in the days of Abelard, when books were dearer than time. All that has been said and written against the custom will do less towards abolishing it than the recent introduction of lessons in phonography, or stenography rather, which is now taught in several universities. The question is agitated of introducing this study into the preparatory schools. The system is different from the English or American, being based on the etymological nature of the language. It is fast coming into use, though as yet not general. The old slow delivery seems little better than spelling to those that have mastered it. The students have usually special abbreviations of their own, and so find no difficulty in taking down all the important points, even when the utterance is rapid.

Not all, by any means, go through this labor of transcription. Many of the wealthier and high-titled attend but irregularly, and when they do, are impatient listeners. In Berlin may be seen many a youth who, from the exquisite fit and finish of his dress, if he be not an American just from Paris, must at least be a German count The young Graf plays with his lips on the ivory head of his bamboo, as he holds it with his kid-gloved hand, sitting carefully the while, lest the elbow of his French coat should be soiled by contact with a desk ignorant of duster for many a month. He is condemned, however, to hear, day by day, over and over, many a truth that will scarcely flatter his noble ears. The heft and the toil of writing down a lecture are unknown to him. He pays a reasonable sum to some poor scholar who sits behind and copies it all afterwards, while he takes his afternoon-ride towards Charlottenburg, or saunters along Unter-den-Linden, ogling the pretty English girls, and spying every chance of saluting, whenever a royal equipage, preceded by a monkey-looking lackey, rolls by. These are, of course, exceptions, rarer in the present than formerly. In Padua, in the sixteenth century, it became notorious that the richer students never attended in person, but always sent one of their servants who wrote a good hand. Laws were enacted to prevent the evil, yet long after this there were still many promotions of these paper-doctors.

Many, in taking their notes, abandon the German script as too illegible, and make use of the Latin letters. A word or two on this subject, as connected with general education. The German script, which any one may learn in a few hours, is a constant source of vexation to a foreigner. To write, and write fast, too, is easy enough; but then to read one's own handwriting, not to mention the crumpled notices of the professors tacked on the blackboard in the Aula , is almost impossible without much practice. Why the Germans should have kept their Gothic lettering and peculiar script, when all other European nations, save the Russian, have adopted the Roman, it is difficult to say, unless it be with them a matter of national pride. And they have been unnational in so many things! That the Russians should have their own alphabet is natural enough; they have sounds and letters and combinations—which neither the Germanic nor the Romanic group of languages possess. And yet both in Polish and Zechish, where the same sounds exist to a great extent, the deficiencies are made up by accented and dotted letters. So, though we have a universal standard of spelling for names and places on the Continent, we find in our most popular histories and geographies a divergence in the lesser known Russian names, not far removed from that we daily meet in the nomenclature of the gods of Hindoo mythology.

The like plea of necessity cannot be urged in regard to the Teutonic or Scandinavian languages. Within the last quarter of a century, the chief scientific works issued in Northern Germany, and many even in Southern, have been printed in the Roman character. Were there no other argument in favor of its universal adoption, it has been found less trying to the eyes. It can be read by all nations; and the other is at best but an additional difficulty for the learner, even in the case of native children, who are plagued with two alphabets and two diametrically opposite systems of penmanship in their earliest years. The result is evident: a good hand is a rare thing In Germany. It is a good sign, that of late years public acts and records, works of learning, all the higher literature, in fact, not purely national, as poetry and romance, are all printed in the Roman character. Nor will any look upon this as a servile imitation. Some of the most national of German writers and scholars, as the brothers Grimm, have pronounced themselves loudly in favor of the change. The tendency of the age is towards universality. It will occur to none to talk of French imitation because chemists make use of the excellent and universally applicable system of the decimal French weights and measures.

What has been said above is not altogether irrelevant as characterizing the tendency of the higher institutions of learning. Every movement in Germany, even the least, since the Reformation, whose chief propagators were professors in the universities,—Luther, Reuchlin, Melancthon,—every permanent and pervading conquest of the new and good over the old and worn-out, has issued from the lecture-room. Whatever sticklers for old forms and crab-like progress may be found, there is always an overbalancing power. The unity of Germany as one nation has never stood a better chance of being realized than now, when the very men who were students and flocked as volunteers when the iron hand of Napoleon I. weighed heavily on their Fatherland stand as lecturers in the days of Napoleon III., warning of the past, and preaching louder than Schiller or Körner or Arndt for the brotherhood of Prussian and Bavarian, of those that dwell on the Rhine and those that inhabit the regions of the Danube.

Thanks, not to her statesmen, not to her nobility, not to her princes even, that Germany has at last fairly shaken off the self-imposed yoke of servile French imitation, but thanks to her scholars who centre in her twenty-six universities! There was a time, and that not a century ago, when the German language was considered to be of too limited circulation for works of general scientific interest. Lectures were all delivered in Latin, until Thomasius broke open a new path, and now lessons otherwise than in the vernacular tongue are exceptions. French was long the universal medium. Even Humboldt wrote most of his works in that language; and it is not two years since one of the most distinguished Egyptian scholars of Prussia published his History of Egypt in French. The last representatives of this tendency are dying off. The days are over, when every petty German prince must create in his domains a servile imitation of the stiff parks of Versailles,—the days of powdered wigs and long cues,—when French ballet-dancers gave the tone, and French actors strutted on every stage,—when Boileau was the great canon of criticism, and Racine and Molière perpetuated in tragedy and comedy a pseudo-classicism. They are far, those times when Frederick the Great wrote French at which Voltaire laughed, and could find no better occupation for his leisure hours at Sans-Souci than the discussion of the materialistic philosophy of the Encyclopedists, while he affected to despise his own tongue, rejecting every effort towards the popularization of a national literature. Well is it for Germany that other ideas now prevail,—well, that Goethe in his old age overcame the Gallomania, which for a while possessed him, of translating all his works, and thenceforth writing only in French. The iron hand of Goetz of Berlichingen would burst the seams of a Paris kid-glove. The bold lyric and dramatic poesy of a language whose figures well up in each word with primitive freshness can ill be contained in an idiom blasé by conventionality and frozen into crystal rigidity by the academy of the illustrious forty,—in an idiom in which an unfortunate pun or allusion can destroy the effect of a whole piece. We need but call to mind that Shakspeare's "Othello" was laughed off the stage of the Odéon, owing to the ridiculous ideas the word "napkin" or "handkerchief" called up in the auditory.