Here, then, comes the "child of sorrows;" for this surname is due to "Iphigenia" in more than one sense. On the occasion of my reading it to our artists, I put a mark against several hues, some of which I have in my opinion improved, but others I have allowed to stand—perhaps Herder will cross a few of them with his pen.
The true cause of my having for many years preferred prose for my works, is the great uncertainty in which our prosody fluctuates, in consequence of which many of my judicious learned friends and fellow artists have left many things to taste,—a course, however, which was little favourable to the establishing of any certain standard.
I should never have attempted to translate "Iphigenia" into iambics, had not Moritz's prosody shone upon me like a star of light. My conversation with its author, especially during his confinement from his accident, has still more enlightened me on the subject; and I would recommend my friends to think favourably of it.
It is somewhat singular, that in our language we have but very few syllables which are decidedly long or short. With all the others, one proceeds as taste or caprice may dictate. Now, Moritz, after much thought, has hit upon the idea that there is a certain order of rank among our syllables, and that the one which in sense is more emphatic is long as compared with the less significant, and makes the latter short; but, on the other hand, it does in its turn become short whenever it comes into the neighbourhood of another which possesses greater weight and emphasis than itself. Here, then, is at least a rule to go by; and even though it does not decide the whole matter, still it opens out a path by which one may hope to get a little farther. I have often allowed myself to be
