It was falling night when they reached Weimar, where they found at the station a provision of omnibuses far beyond the hotel accommodations.
They drove first to the Crown-Prince, which was in a promising state of reparation, but which for the present could only welcome them to an apartment where a canvas curtain cut them off from a freshly plastered wall. The landlord deplored the fact, and sent hospitably out to try and place them at the Elephant. But the Elephant was full, and the Russian Court was full too. Then the landlord of the Crown-Prince bethought himself of a new hotel, of the second class, indeed, but very nice, where they might get rooms, and after the delay of an hour, they got a carriage and drove away from the Crown-Prince, where the landlord continued to the last as benevolent as if they had been a profit instead of a loss to him.
The streets of the town at nine o'clock were empty and quiet, and they instantly felt the academic quality of the place. Through the pale night they could see that the architecture was of the classic sentiment which they were destined to feel more and more; at one point they caught a fleeting glimpse of two figures with clasped hands and half embraced, which they knew for the statues of Goethe and Schiller; and when they mounted to their rooms at the Grand-Duke of Saxe-Weimar, they passed under a fresco representing Goethe and four other world-famous poets, Shakspere, Milton, Tasso, and Schiller. The poets all looked like Germans, as was just, and Goethe was naturally chief among them; he marshalled the immortals on their way, and Schiller brought up the rear and kept them from going astray in an Elysium where they did not speak the language. For the rest, the hotel was brand-new, of a quite American freshness, and was pervaded by a sweet smell as of straw matting, and provided with steam-radiators. In the sense of its homelikeness the Marches boasted that they were never going away from it.
In the morning they discovered that their windows looked out on the grand-ducal museum, with a gardened space before and below its classicistic bulk, where, in a whim of the weather, the gay flowers were full of sun. In a pleasant illusion of taking it unawares, March strolled up through the town; but Weimar was as much awake at that hour as at any of the twenty-four, and the tranquillity of its streets, where he encountered a few passers several blocks apart, was their habitual mood. He came promptly upon two objects which he would willingly have shunned: a 'denkmal' of the Franco-German war, not so furiously bad as most German monuments, but antipathetic and uninteresting, as all patriotic monuments are; and a woman-and-dog team. In the shock from this he was sensible that he had not seen any woman-and-dog teams for some time, and he wondered by what civic or ethnic influences their distribution was so controlled that they should have abounded in Hamburg, Leipsic, and Carlsbad, and wholly ceased in Nuremberg, Ansbach, and Wurzburg, to reappear again in Weimar, though they seemed as characteristic of all Germany as the ugly denkmals to her victories over France.
The Goethe and Schiller monument which he had glimpsed the night before was characteristic too, but less offensively so. German statues at the best are conscious; and the poet-pair, as the inscription calls them, have the air of showily confronting posterity with their clasped hands, and of being only partially rapt from the spectators. But they were more unconscious than any other German statues that March had seen, and he quelled a desire to ask Goethe, as he stood with his hand on Schiller's shoulder, and looked serenely into space far above one of the typical equipages of his country, what he thought of that sort of thing. But upon reflection he did not know why Goethe should be held personally responsible for the existence of the woman-and-dog team. He felt that he might more reasonably attribute to his taste the prevalence of classic profiles which he began to note in the Weimar populace. This could be a sympathetic effect of that passion for the antique which the poet brought back with him from his sojourn in Italy; though many of the people, especially the children, were bow-legged. Perhaps the antique had: begun in their faces, and had not yet got down to their legs; in any case they were charming children, and as a test of their culture, he had a mind to ask a little girl if she could tell him where the statue of Herder was, which he thought he might as well take in on his ramble, and so be done with as many statues as he could. She answered with a pretty regret in her tender voice, "That I truly cannot," and he was more satisfied than if she could, for he thought it better to be a child and honest, than to know where any German statue was.
