The Art of Drinking: A Historical Sketch — Context and Discussion

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In Category - Ethics
Gervinus, Georg Gottfried, 1805-1871 Project Gutenberg 2014 Not confirmed
Wine and wine making; Drinking customs; Beer Readers of public-domain and historical texts
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Words 10,403
Reading time 46 min
Text sections 1

The source record for The Art of Drinking: A Historical Sketch — Context and Discussion measures this digital text at 10,403 words, 46 min estimated reading time, and 1 detected text section.

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Gervinus defends drinking as a serious historical subject, tracing global beverage customs from ancient China to Europe, with emphasis on wine, beer, and spirits.
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uch times, when outer and inner powers begin to stir with wonderful energy--times as yet divided between old roughness and new humanity; between the coarse, ordinary fare of every day for mind and imagination, and the new hope of some finer nourishment--at such times the genial enjoyment of wine, and the delights of regular social pleasures, have always struck deepest root and had freest play. Such images as those, this history would most willingly depict; nor would it be superfluous to present them in our day, when society seems more and more to forget that its aim is to be simply pleasure and recreation. The future seems to offer nothing that could take the place of the great simplicity of past manners; of those feasts of youth which asked nothing but uncontrolled enjoyment; of those evening entertainments of the citizens, which were devoted to their immediate surroundings in house or community; of the frank and manly rectitude of that race which seemed, indeed, to find truth and constancy in wine, and its best pleasures in an afternoon spent in the “wine-garden,” surrounded by wife and children, relatives and friends. All public pleasure has disappeared from among us, and we arrange parties and receptions that only tire ourselves and others. Ceremonious etiquette gives us work and trouble when we should find recreation, and fatigues our minds when imagination should have free play. Only where men, here and there, permit themselves to meet about the bottle, according to the good old custom, and where no committee is necessary to approve of the toasts, pure, genuine pleasure revives once more, together with the pure, genuine art of drinking. For there is no intellectual power that is so directly quickened and strengthened by any nourishment as imagination is by wine. Tea keeps conversation within the bounds of pedantic propriety, and beer soothes but checks quick repartee; but wine sharpens the sting of wit, stimulates spirited conversation, and brightens the whole social atmosphere. The poet, who lives in imagination, and turns his back upon reality, was always a lover of wine--the beverage which intensifies reality, and, at the same time, lifts him above it. The drinking-song, from Anacreon down to all his imitators in Germany, occupies a special and very prominent place in literature. To wine are dedicated the first productions of the tragic art; and to it has been assigned a particular dithyrambic measure, which a poet who should set water above wine could never soar high enough to make his own. And whosoever has any cause to turn away from the real world, and longs for the freedom of living in an ideal one, is fond of wine. If I wished to spoil my idyllic picture by satire, I should here name the converts and the monks; but I should rather call up the wandering beggar, whom want and hardship have made weary of the world. Sleep has been praised as the friend of poverty; but there were times when wine also was called its friend, which, even in waking hours, calls up dreams that charm away the burden of a miserable existence. For wine tempts even the beggar to extravagance, that vice which has often been set down to the account of wine; although, if there be such a thing as degrees in vice, it may be called one of the nobler ones. And this genial pleasure in spending helps the poor man in his misery; consoles him for his destitution; offers him who is homeless a spot where he may feel comfortable, and teaches him to forget all that oppresses him. Wine makes man liberal and generous; the offered cup was formerly the symbol of hospitality granted, and even the miser is more ready to share tobacco and wine than any of his other possessions. For it makes us communicative and confidential in social intercourse; it founds friendships, and is still the symbol of brotherhood. If it sometimes stirs up heat and dissension, it also smooths the way to union again; and, formerly, no reconciliation could take place without having a seal set upon it by a common cup of wine. At your cup you find the freest and most enlightened spot in the world, where you may not only think what you please, and say what you think, but where your thoughts themselves take the highest flight man is capable of. I do not know whether it is due to jealous gods that the excessive enjoyment of wine proves its own penalty. Without this depressing fire in the wine itself, it seems to me heaven and its secrets would be far more endangered by the spiritual flight of the drinker than by the towering rocks of the Titans. Thus, wherever despots and hierarchs intended to keep nations in drowsy stupidity, they forbade wine. Only at times, when liberty and enlightenment were common property, when no castes possessed an exclusive monoply of wisdom, right or might, was it possible to introduce political discussion at the cup. For only at such times of universal public spirit and feeling could one take counsel of the imagination in practical affairs and matters of State, and hope for such results of the evening discussion at the cup as would bear the test of the sober next day’s light. For only such heroic conditions as are represented by the Germans and Persians of ancient times can really show the virtues of truth and faithfulness, and in the most public concerns could hear the voice that always speaks in wine; and, in those days, no one needed to fear that wine would impel him to speak truth too freely. Only nations of really active nature, who called manliness and war-power by the name of virtue, could do full honor to wine, and it could only be a Greek who asked, as did Aristophanes:--

Gervinus opens by confronting the reader's likely prejudice: a history of drinking seems frivolous for a serious historian. He insists that the subject can be approached from a scientific standpoint, rejecting both mere curiosity and the notion that recreation must be disguised labor. The translator's note reveals that this sketch was commissioned by the United States Brewers' Association in 1890, which gives the work a practical, industry-oriented context.

The author immediately establishes a comparative, global framework. He discusses Chinese rice-wine and grape-wine, citing Emperor Kanghi's personal abstinence and the imperial decrees against harmful beverages. This early focus on China sets the pattern for the book: a chronological and geographical survey of drinking customs, with moral and economic observations woven in.

A Historian's Defense of Potology

Gervinus begins by acknowledging that a sketch on drinking might seem unworthy of a man devoted to earnest purposes. He rejects the idea of making it a mere treasure-box of curiosities, insisting that science excludes frivolous treatment. He scorns the notion of recreation as work, preferring that labors be pleasures. This opening establishes a serious, almost defensive tone, as if the author anticipates criticism for choosing such a topic.

The translator's note provides crucial context: Gervinus was a noted German historian and liberal activist, one of the seven Göttingen professors who protested the king's violation of the constitution. His fame rests on works about German literature, the nineteenth century, and Shakespeare. This sketch was designed as an outline for a history of potology, a term the translator uses to mean the study of beverages. The commission by the Brewers' Association suggests a practical, perhaps promotional, purpose behind the scholarly frame.

Chinese Wine and Imperial Prohibitions

The excerpt on China is the most detailed surviving passage. Gervinus describes rice-wine and grape-brandy, noting that grape-culture flourished only briefly. He cites Emperor Yu-te, who banished the inventor of rice-wine for foreseeing its sad consequences, yet the beverage persisted. The author observes that the Chinese cling to old customs with obstinacy, and that these wines fatten at first but then bring on consumption and death.

He mentions imperial decrees against injurious beverages, including a commandment from Emperor Yong-Tsheng and the personal example of Kanghi, who only touched wine with his lips at feasts. Gervinus also notes the economic argument: wine consumes grain in a densely populated country. This passage shows his method: combining anecdote, moral judgment, and practical reasoning, all within a historical framework.

Grape Cultivation and Climate

Gervinus turns to grape-culture in China, citing Kanghi's natural history remarks. The emperor boasted of introducing new grape varieties from Ha-mi, preferring that to building a hundred porcelain towers. The author notes that grapes degenerate in the south but do well in dry, stony northern soil. Missionaries in Peking had unfavorable experiences due to soil and climate, but earlier southern provinces produced wine that could be preserved for years when buried in well-closed vessels.

This leads to a recurring observation: the grape demands youthful power in the soil, and after a time even favorable land no longer suffices. Gervinus traces the introduction of vines from Samarcand, Persia, Thibet, and other regions, and mentions wine under Emperor Wu-ty in 140 B.C. He follows its use from reign to reign, showing a systematic, chronological approach that characterizes the larger work.

The Translator's Frame and the Brewers' Patronage

The translator's note, though not by Gervinus, shapes how we read the sketch. It presents Gervinus as a man of marvelous erudition and a defender of constitutional rights, lending gravitas to the subject. The note states that the sketch was designed as an outline for a history of potology, conceived by a philosophical mind. The translation was made for the United States Brewers' Association, which explains why the work might emphasize beer and wine over spirits.

This patronage context is essential: the book is not a neutral academic treatise but a commissioned work intended to elevate the cultural status of brewing. The translator claims no justification is needed for the English version, implying that the subject has become timely. Readers should keep this promotional undercurrent in mind, even as Gervinus maintains a scholarly tone.

The surviving excerpts offer only a fragment of Gervinus's global survey, focusing on China and the translator's frame. Readers should expect a work that moves from ancient to modern times, covering beer, wine, and spirits across cultures. The author's serious, moralizing voice and his reliance on imperial edicts and classical quotations suggest a blend of history and ethics. The Brewers' Association sponsorship adds a layer of advocacy, making this as much a defense of drinking as a history.

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