The German Classics of the Nineteenth and Twentieth Centuries, Volume 01. Коллектив авторов
but seldom. On this account our best writers of "Novellen" have also been, almost without exception, eminent lyric poets; such were Goethe, Tieck, Eichendorff, Mörike, Keller, Heyse, Theodor Storm and C.F. Meyer; whereas, in the case of Marie von Ebner-Eschenbach, who otherwise would form an exception, even what appears to be a "Novelle" is in reality a "small novel."
The novel, on the contrary, still enjoys in Germany the dangerous privilege of formlessness. In its language it varies from the vague lyric of romantic composition to the bureaucratic sobriety of mechanically-compiled studies of real life. In its outline, in the rhythm of its construction, in the division of its parts and the way in which they are brought into relief, it has, in spite of masterly individual performances, never attained a specific literary form, such as has long been possessed by the English and the French novels. Likewise the inclination, sanctioned by Goethe and the Romantic school, to interpolate specimens of the least formed half-literary genres—namely, letters and diaries—worked against the adoption of a fixed form, notwithstanding that this expedient augmented the great—often indeed too great—inner richness of the German novel. Thus the German novel, as well as the so justly favorite form of letters and diaries, is of infinitely more importance as a human or contemporary "document" than as a direct work of art. We have, however, already drawn attention to the fact that the never-failing efforts to clothe the novel in a more esthetically pure form have, in our own day, happily increased.
The traditional material of literary compositions is, however, also a conservative power, just as are language and form. The stock of dominating motives naturally undergoes just as many transformations as language or metrics; but, in both cases, what already exists has a determining influence on everything new, often going so far as to suppress the latter entirely. Customary themes preferably claim the interest of the reader; as, for example, in the age of religious pictures it would have been exceedingly hard to procure an order for a purely worldly painting. The artists themselves unconsciously glide into the usual path, and what was intended to be a world-poem flows off into the convenient worn channel of the love-story. But the vivifying and deepening power of the Germanic spirit has here, more than in any other domain, destroyed the opposing force of inertia.
The oldest poetry is confined to such subjects as are of universal interest—one could also say of universal importance. War and the harvest, the festivals of the gods and the destinies of the tribe, are the subjects of song. These things retain their traditional interest even where a healthy communal life no longer exists. Epochs which are absolutely wanting in political understanding still cultivate the glory of Brutus in an epic or dramatic form; or those ages which can scarcely lay claim to a living religious interest still join in choruses in honor of Apollo or in honor of the Christian religion. Every literature carries with it a large and respectable ballast of sensations that are no longer felt, of objects that are no longer seen, culminating in the spring-songs of poets confined to their room, and the wine-songs of the water-drinkers. A stagnating literature, as that of the seventeenth century was essentially, always has an especially large amount of such rubbish. Poems composed for certain occasions, in the worst sense—that is to say, poems of congratulation and condolence written for money, trivial reflections and mechanical devotion, occupy an alarmingly large space in the lyric of this period. Drama is entirely confined, and the novel for the greater part, to the dressing up in adopted forms of didactic subject matter of the most general type. Men of individuality are, however, not altogether lacking: such were lyric poets like Andreas Gryphius and Paul Fleming, gnomologists like Johann Scheffler, and narrators like J.J. Christoffel von Grimmelshausen; but even with them the personal note does not dare to sound openly. The first to give free expression again to intimate sensations is Christian Günther, and he arouses thereby contradiction, together with admiration. The court poets about the year 1700 work more in a negative way, i. e., by that which they did not express in their verses. The great merit of the pre-classical writers is to have created space, on the one hand, for personal sensations, and, on the other, for the great new thoughts of the age. Hagedorn, with the elegant frivolity of the man of the world, continued the necessary sifting of antiquated material; Albrecht von Haller, with the deep seriousness of the great student of nature, once more squarely faced the eternal problems. But the entire wealth of inner experience, in its most exclusively individual sense, was first revealed, not only to the literature of Germany but to modern literature in general, by Klopstock. Along this path Goethe pressed forward gloriously, his whole poetic work presenting, according to his own testimony, a single great confession. From Haller, on the contrary, proceeds the effort to develop a poetical style that would enable individuals to share in the great thoughts of the age. Lessing strides onward from Minna von Barnhelm—the first drama of contemporary history since the Persians of Æschylus—to Nathan the Wise, herein following the lead of the "literature with a distinct purpose" (Tendenz-Dichtung) of France, and especially of Voltaire, otherwise antipathetic to Lessing. Lessing's great dramatic heir is Schiller, whose tradition is in turn carried on by Kleist, the latter allowing his personality to penetrate the subject matter far more even than either of his predecessors.
But the utmost was done by Goethe, when in Werther and Götz, in Prometheus or Satyros, but above all eventually in Faust, he lived through in advance—or, as he himself said, he "anticipated" (vorfühlte)—the peculiar experience of the age with such intensity that, in the work which resulted, the individual experience became the direct experience of the whole generation.
Out of the "reverence for nature" (Naturfrömmigkeit) with which he contemplated all created things—from "the Cedar of Lebanon to the hyssop which grows on the wall," from the mighty movement of the stream in Mahomet to the bit of cheese that is weighed by the old woman in Die Geschwister—out of all comes a widening of the poetic horizon, the like of which had never before been seen in any age. The Romanticists in reality only made a watchword out of this practice of Goethe's when they demanded "progressive universal poetry," by which they meant that the poet should live through the whole experience of creation in his own person. In demanding this, they—as the aging Goethe had himself done—formed too narrow a conception of the personal, and rejected too absolutely the problems of politics and of science, so that once more a narrowing process ensued. But even in their own ranks this tendency was offset by the exigency of the times; after the wars of liberation, political and in general, poetry written with a purpose was actually in the ascendency. The poetry of the mood, like that of a Mörike, remained for a long time almost unknown on account of its strictly intimate character. In the success of Ernst von Wildenbruch we see provisionally the last victory of this sort of literature—which directly proclaims what is worth striving for—at least in its loftier form. For the contemporary novel constantly takes for its subject the emancipation of woman, or the fight for culture, the protection of the Ostmark, or the fight against alcohol.
On the other hand the Romantic school has also broadened the realm of poetic material in a very important manner, by adding to it the provinces of the phantastic, the visionary, the fairy-like, and by giving to the symbolical an undreamed-of expansion.
On the whole, modern German literature has probably a richer field from which to choose her material than any other literature can boast of. In fact it is perhaps too variegated, and thus, because of the richness and originality of its subject matter, allows too much latitude to genius. One field only in poetry, considered from the viewpoint of real art, is almost uncultivated. All the efforts and all the attempts on the part of both Catholics and Protestants have not succeeded in producing religious poems of any degree of importance since Annette von Droste-Hülshoff ceased to sing; whereas, on the other hand, poetry that is hostile to the church has brought to maturity some great productions, not only in Anzengruber or Karl Schoenherr, in Friedrich Theodor Vischer, in Storm, and Keller, but, above all, in Nietzsche. A turn in the tide that seems just now to be taking place is exemplified in the important epic poems of Enrica von Handel-Mazzetti.
Finally, as the last and, in a certain sense, the strongest, pillar of permanency we will name the public. It is just as much a product as a contributing factor of literature; in both respects, however, preëminently important as a conservative force. The predominant and enduring tendencies, forms, and subjects are naturally chiefly conducive to the formation of a circle of "fixed subscribers" among the crowd of possible patrons. These subscribers, on their part, of course insist upon the preservation