The German Classics of the Nineteenth and Twentieth Centuries, Volume 08. Коллектив авторов
manure and stones, precious gold coins and old shoes, fragments of crockery and bones—they all come to light and mingle their sweet and foul smells in peaceful harmony." His adherence to the principle Naturalia non sunt turpia is indeed so strict that at times a sensitive reader is tempted to hold his nose. It is to be regretted that so great a genius in his outspoken preference for all that is characteristic should have been so partial to the rude, the crude, and the brutal. For Gotthelf's literary influence—which, to be sure, did not make itself felt at once—has misled many less original writers to consider these qualities as essential to naturalistic style.
Very largely in consequence of his indifference to form and the naturalistic tendencies mentioned—for to all intents and purposes Gotthelf must be regarded as the precursor of naturalism—the Swiss writer did not gain immediate recognition in the world of letters, and the credit rightfully belonging to him fell, as already mentioned, to Berthold Auerbach (1812-1882), a native of the village of Nordstetten in the Württemberg portion of the Black Forest. From 1843-1853 Auerbach published his Black Forest Village Stories, which at once became the delight of the reading public. Auerbach himself claimed the distinction of being the originator of this new species of narrative—an honor which was also claimed by Alexander Weill, because of his Sittengemälde aus dem Elsass ("Genre Paintings from Alsace," 1843). While Gotthelf had written only for his peasants, without any regard for others, Auerbach wrote for the same general readers of fiction as the then fashionable writers did. So far as his popularity among the readers of the times and his influence on other authors are concerned, Auerbach has a certain right to the coveted title, for a whole school of village novelists followed at his heels; and his name must remain inseparably connected with the history of the novel of provincial life. The impression his stories made everywhere was so strong as to beggar description. They afforded the genuine delight that we get from murmuring brooks and flowering meadows—although the racy smell of the soil that is wafted toward us from the pages of Gotthelf's writings is no doubt more wholesome for a greater length of time. Auerbach has often been charged with idealizing his peasants too much. It must be admitted that his method and style are idealistic, but, at least in his best works, no more so than is compatible with the demands of artistic presentation. He does not, like Gotthelf, delight in painting a face with all its wrinkles, warts, and freckles, but works more like the portrait painter who will remove unsightly blemishes by retouching the picture without in any way sacrificing its lifelike character. When occasion demands he also shows himself capable of handling thoroughly tragic themes with pronounced success. In his later years, it is true, he fell into mannerism, overemphasized his inclination toward didacticism and sententiousness, and allowed the philosopher to run away with the poet by making his peasant folk think and speak as though they were adepts in the system of Spinoza, with which Auerbach himself, being of Jewish birth and having been educated to be a rabbi, was intimately familiar. On the whole, however, the lasting impression we obtain from Auerbach's literary work remains a very pleasant one—that of a rich and characteristic life, sound to the core, vigorous and buoyant.
Not as a writer of village stories—for in the portrayal of the rustic population, as such, he was not concerned—but in his basic purpose of holding up nature, pure and holy, as an ideal, Adalbert Stifter (1805-1868), an Austrian, must be assigned a place of honor in this group. A more incisive contrast to the general turbulence of the forties could hardly be imagined than is found in the nature descriptions and idyls of this quietist, who "from the madding crowd's ignoble strife" sought refuge in the stillness of the country and among people to whom such outward peace is a physical necessity. His feeling for nature, especially for her minutest and seemingly most insignificant phenomena, is closely akin to religion; there is an infinite charm in his description of the mysterious life of apparently lifeless objects; he renders all the sensuous impressions so masterfully that the reader often has the feeling of a physical experience; and it is but natural that up to his thirty-fifth year, before he discovered his literary talent, he had dreamed of being a landscape painter. Hebbel's epigram, "Know ye why ye are such past masters in painting beetles and buttercups? 'Tis because ye know not man; 'tis because ye see not the stars," utterly fails to do justice to Stifter's poetic individuality. But in avoiding the great tempests and serious conflicts of the human heart he obeyed a healthy instinct of his artistic genius, choosing to retain undisputed mastery in his own field.
It is, of course, an impossibility to treat adequately, in the remainder of the space at our disposal, the poetic and general literary merit of Fritz Reuter (1810-1874), the great regenerator and rejuvenator of Low German as a literary language. His lasting merit in the field of the village story is that by his exclusive use of dialect he threw an effective safeguard around the naturalness of the emotional life of his characters, and through this ingenious device will for all time to come serve as a model to writers in this particular domain. For dialectic utterance does not admit of any super-exaltation of sentiment; at any rate, it helps to detect such at first glance. But there are other features no less meritorious in his stories of rural life, chief of which is that unique blending of seriousness and humor that makes us laugh and cry at the same time. With his wise and kind heart, with his deep sympathy for all human suffering, with the smile of understanding for everything truly human, also for all the limitations and follies of human nature, Reuter has worthily taken his place by the side of his model, Charles Dickens. It is questionable whether even Dickens ever created a character equal to the fine and excellent Uncle Bräsig, who, in the opinion of competent critics, is the most successful humorous figure in all German literature. Bräsig is certainly a masterpiece of psychology; as remote from any mere comic effect, despite his idiosyncrasies, as from maudlin sentimentality; an impersonation of sturdy manhood and a victor in life's battles, no less than his creator, who, although he had lost seven of the most precious years of his life in unjust imprisonment and even had been under sentence of death for a crime of which he knew himself to be absolutely innocent, had not allowed his fate to make him a pessimist. Nor does the central theme and idea of his masterpiece Ut mine Stromtid ("From my Roaming Days," 1862), in its strength and beauty, deserve less praise than the character delineation. Four years previous, in Kein Hüsung ("Homeless ") the author had raised a bitter cry of distress over the social injustice and the deceit and arrogance of the ruling classes. In spite of a ray of sunshine at the end, the treatment was essentially tragic. Now he has found a harmonious solution of the problem; the true nobility of human nature triumphs over all social distinctions; aristocracy of birth and yeomanry are forever united. Thus the marriage of Louise Havermann with Franz von Rambow both symbolizes the fusion of opposing social forces and exemplifies the lofty teaching of Gotthelf—"The light that is to illumine our fatherland must have its birth at a fireside." With his gospel of true humanity the North German poet supplements and brings to its full fruition the religious austerity of the doctrines and precepts of Jeremias Gotthelf, the preacher on the Alpine heights of Switzerland.
BERTHOLD AUERBACH
LITTLE BAREFOOT2 (1856)
A TALE OF VILLAGE LIFE
TRANSLATED BY H.W. DULCKEN, PH.D. REVISED AND ABRIDGED BY PAUL BERNARD THOMAS
CHAPTER I
THE CHILDREN KNOCK AT THE DOOR
Early in the morning through the autumnal mist two children of six or seven years are wending their way, hand in hand, along the garden-paths outside the village. The girl, evidently the elder of the two, carries a slate, school-books, and writing materials under her arm; the boy has a similar equipment, which he carries in an open gray linen bag slung across his shoulder. The girl wears a cap of white twill, that reaches almost to her forehead, and from beneath it the outline of her broad brow stands forth prominently; the boy's head is bare. Only one child's step is heard, for while the boy has strong shoes on, the girl is barefoot. Wherever the path is broad enough, the children walk side by side, but where the space between the hedges is too narrow for this, the girl walks ahead.
The white hoar frost has covered the faded leaves of the bushes, and the haws and berries; and the flips especially, standing upright on their bare stems, seem coated with silver. The sparrows in the hedges twitter and fly away in restless groups at the children's approach; then they settle down not far
Editor's note.—Numerous omissions have been made in the course of the narrative, reducing the length of the original text by about one fifth. Wherever necessary for the continuity of the story, the essence of the excluded portions has been supplied by synopses. These synopses are printed enclosed in brackets. Permission Kegan Paul, Trench, Trübner & Co., Ltd., London.