WILHELM CARL See also:

• GRIMM, FRIEDRICH MELCHIOR, I
• GRIMM, JACOB LUDWIG CARL (1785-1863)
• WILHELM CARL GRIMM (1786-1859)

GRIMM (1786-1859)  . For the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief events in the See also:

• LIFE

life of Wilhelm See also:

• GRIMM, FRIEDRICH MELCHIOR, I
• GRIMM, JACOB LUDWIG CARL (1785-1863)
• GRIMM, WILHELM CARL (1786-1859)

Grimm see See also:

• ARTICLE (from Lat. articulus, a joint)

article on See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob Grimm above . As Jacob himself said in his celebrated address to the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy on the See also:

• DEATH

death of his See also:

• BROTHER

brother, the whole of their lives were passed together . In their schooldays they had one See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed and one table in See also:

• COMMON

common, as students they had two beds and two tables in the same See also:

• ROOM

room, and they always lived under one roof, and had their books and See also:

• PROPERTY

property in common . Nor did Wilhelm's See also:

• MARRIAGE

marriage in any way disturb their See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony . As Cleasby said (" Life of Cleasby," prefixed to his Icelandic See also:

• DICTIONARY

Dictionary, p . Ixix.), " they both live in the same See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, and in such harmony and community that one might almost imagine the See also:

• CHILDREN, LAW RELATING TO

children were common property." Wilhelm's See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character was a See also:

• COMPLETE

complete contrast to that of his brother . As a boy he was strong and healthy, but as he See also:

• GREW, NEHEMIAH (1641-1712)

grew up he was attacked by a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and severe illness, which See also:

• LEFT

left him weak all his life . His was a less comprehensive and energetic mind than that of his brother, and he had less of the spirit of investigation, preferring to confine himself to some limited and definitely bounded See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of See also:

• WORK

work; he utilized everything that See also:

• BORE

bore directly on his own studies, and ignored the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest . These studies were almost always of a See also:

• LITERARY

literary nature . It is characteristic of his more aesthetic nature that he took See also:

• GREAT

great delight in See also:

• MUSIC

music, for which his brother had but a moderate liking, and had a remarkable See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story-telling . Cleasby, in the See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of his visit to the See also:

• BROTHERS, RICHARD (1757-1824)

brothers, quoted above, tells that " Wilhelm read a sort of See also:

• FARCE

farce written in the See also:

• FRANKFORT

Frankfort See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect, depicting the ` malheurs ' of a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich Frankfort tradesman on a See also:

• HOLIDAY

holiday jaunt on See also:

• SUNDAY

Sunday .

It was very droll, and he read it admirably." Cleasby describes him as " an uncommonly animated, jovial See also:

• FELLOW

fellow." He was, accordingly, much sought in society, which he frequented much more than his brother . His first work was a spirited See also:

• TRANSLATION

translation of the Danish Kcmpeviser, Altdanische Heldenlieder, published in 1811–1813, which made his name at first more widely known than that of his brother . The most important of his See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text See also:

• EDITIONS

editions are—Ruolandslied (See also:

• GOTTINGEN

Gottingen, 1838) ; Konrad von Wiirzburg's Goldene Schmiede (Berlin, 1840) ; See also:

• GRAVE

Grave Ruodolf (Gottingen, 1844, 2nd ed.); Athis and Prophilias (Berlin, 1846) ; Altdeutsche Gespriche (Berlin, 1851) ; See also:

• FREIDANK (VRIDANC)

Freidank (Gottingen, 1860, 2nd ed.) . Of his other See also:

• WORKS

works the most important is Deutsche Heldensage (Berlin, 1868, 2nd ed.) . His Deutsche Runen (Gottingen, 1821) has now only an See also:

• HISTORICAL

historical See also:

• INTEREST

interest . (H .