Eminent Authors of the Nineteenth Century: Literary Portraits. Georg Brandes
the treasures of their inner being, he turned his gaze not within but without, pondered but little on his ego, his calling, and his capabilities; but fully conscious that he bore within his own soul a clear mirror, which reflected everything within his immediate surroundings that interested him, he allowed his gaze, with the keen susceptibility and true creative impulse of a plastic artist, to wander in all directions.
Of a plastic artist, I said; for he did not long continue to carol forth the music of romance. He himself has said—
"Fair is romantic poesie,
Yet what we call beauté de nuit."
True men, Heyse thinks, understand how to grasp their ideas in the light of day, and he is too thoroughly a child of the sun to be able to linger in the twilight of romance. A lyric poet he is not in the main, and the strength of romance, conformably to its nature and of necessity, lies in lyric poetry. Nor did the surroundings of nature imbue him with an independent poetic interest; such a freshness of the sea and of the landscape as is breathed for instance by the Danish novels of Blicher will not be found in his works; he is not a landscape-painter, and has always availed himself of the landscape merely as a background. What first and earliest met his gaze, as soon as he was developed enough to see with his own eyes, was man; and let it be observed, not man as an intelligence served by organs, or as a will walking on a pair of legs, or as a psychological curiosity, but man as a plastic form. Like the sculptor or the figure-painter it is his wont, according to my opinion, on closing his eyes, to see his horizon first and foremost populated with outlines and profiles. Beautiful external forms and movements, the poise of a graceful head, a charming peculiarity of carriage or walk, have occupied him in precisely the same way as they engross the attention of the plastic artist, and are reproduced by him with the same partiality, indeed, at times with technical exactness of expression. And not only the narrator, but the personages that appear on the scene, often form the same kind of conceptions. Thus, for instance, the main character in "Der Kreisrichter" (The Circuit Judge) says: "The young people here are healthy, and health constitutes half of the beauty of youth. There is also race development. Notice the refined form of their heads, and the delicate moulding of their temples, and the natural grace of their bearing in walking, dancing, and sitting down."[18] A striking example of the poet's method of contemplation may be found in "Die Einsamen" (The Solitary Ones), where his dissatisfaction at being able to paint so imperfectly with the means which his art affords, breaks forth in the following words: "Only the mere outlines!" he raved to himself. "Only a few dozen lines! How she went trotting about on her little donkey, one leg thrown across the back of the animal, resting firmly and securely, the other almost grazing the ground with the tip of her foot, and her right elbow supported on the knee that was in repose, her hand playing gently with the chain about her neck, her face turned toward the sea. What a mass of black tresses on the neck! Something red lends a radiance thereto. A coral necklace? No; fresh pomegranate blossoms. The wind plays with the loosely knotted kerchief; how dark is the glow of the cheeks, and how much darker the eye!"[19] Such are the pictures of plastic figures, simple, picturesque situations, with which Heyse's imagination has had to operate upon from the beginning, and which serve to form for it a starting-point. And though it may be felt ever so keenly how much more sensible it is to describe a poet than to praise him, still it were scarcely possible to restrain an outburst of admiration upon considering how exceedingly well Heyse, in every instance, has succeeded in presenting his characters, especially, however, his female characters, to the reader's eye. He does not belong to the descriptive school; he does not characterize in detail, as either Balzac or Turgenief; he describes with a few delicate strokes: yet his creations remain fixed in our memories, from the simple reason that they all have defined style. A peasant maiden from Naples or Tyrol, a servant girl, or a young fräulein from Germany, all obtain, when depicted by his hand, a higher, more visionary, and yet ever-memorable life, because they are all ennobled by strictly ideal methods and the art of representation. They are as perfect in form as statues; they have the carriage of queens. With the exception of the painter Leopold Robert, of whom some of Heyse's Italian works are reminders, no one, to my knowledge, has displayed so grand a style in the delineation of peasants and fishing people as Heyse. And as the forms of the outer person, so those of the inner being are of an exquisitely finished style. Did not the expression seem almost too daring, I should say that Heyse's descriptions of love are plastic. The romantic school always conceived love to be of a lyric nature. If Heyse's love stories be compared with the love stories of the romantic school, it will be found that while the romantic writers give their strength in analyzing their romantic transports as such, and forming a nomenclature for the rarest moods which it has usually been thought impossible to name, in Heyse's writings every psychological force is mirrored in a look or in a gesture; everything becomes with him contemplation and visible life.
VI.
I remarked that the faculty of preserving and idealizing forms constituted one of the starting-points of this poet's imagination. It has, however, another. Quite as inherent as his capacity for delineating character is his fondness for experiencing and inventing "adventures." By adventures, I understand events of a peculiar and unusual nature, which—as is scarcely ever the case in real adventures—have a sure outline, and so clearly defined a beginning, middle, and end, that they appear to the imagination like a work of art enclosed in a frame. From any chance, outward or inward, observation—the fragment of a dream, an encounter on the street, the sight of a tower dating from the Middle Ages, in some ancient city, in the glow of the setting sun—there springs up for him, through the most rapid association of ideas, a history, a chain of events; and as he is by nature an artist, this series of events ever assumes a rhythmic form. Like the beings he creates, it has clear, firm outlines and inner equilibrium. It has its skeleton, its filling up of flesh; above all, its well-defined and slender shape. The faculty of relating a story in brief, concise form, of imparting to it, so to say, a harmonious rhythm, has its origin directly in Heyse's thoroughly harmonious nature.[20] The "novellen" form, as he has carved it out and engraved it, is an entirely original and independent creation, his actual property. Therefore he has become especially popular through his prose "novelle." The "novelle" with him always has extremely few and simple factors, the number of the personages introduced is small, the action is concise and may be surveyed with a single glance. But his fiction does not exist for the sake of the personages alone, as in the modern French novels, which only satisfy a psychological or a physiological interest; it has its own peculiar mode of development and its independent interest. A novel like Christian Winter's "Aftenscene" (Evening Scene), whose quaint, old-fashioned grace of style renders it so fascinating, possesses the fault of having no incident. With Heyse the "novelle" is not a picture of the times, or a genre painting; something always does happen with him, and it is always something unexpected. The plot, as a rule, is so arranged that at a certain point an unforeseen change takes place; a surprise which, when the reader looks back, always proves to have had a firm and carefully prepared foundation in what went before. At this point the action sharpens; here the threads unite to form a knot from which they are spun around in an opposite direction. The enjoyment of the reader is based upon the art with which the purpose of the action is gradually more and more veiled and hidden from view, until suddenly the covering falls. His surprise is caused by the skill with which Heyse apparently strays farther and farther away from the goal which rose beyond the starting-point, until he finally discovers that he has been led through a winding path and finds himself exactly above the point where the story began.
Heyse himself, in his introduction to his "Deutscher Novellenschatz," has expressed his views on the principle to which he does homage in his "novellen" compositions. Here, as in the introduction to the "Stickerin von Treviso" (The Embroidery Woman of Treviso), he calls the attention of those who would place the entire importance on style and diction, to the fact that the narrative as a narrative, what children call the story, is unquestionably the essential foundation of the "novelle" and possesses its own peculiar beauty. He lays stress on the statement that according to his æsthetic taste, he would give the preference to that "novelle" whose main motive