Part 24

The literature produced between 1850 and 1870 was preeminently one of prose fiction. The beginnings which the "Young German" school had made to a type of novel dealing with social problems--the best example is Gutzkow's _Ritter vom Geiste_--developed rapidly in this succeeding epoch. Friedrich Spielhagen (born 1829) followed immediately in Gutzkow's footsteps, and in a series of romances from _Problematische Naturen_ (1860) to _Sturmflut_ (1876), discussed in a militant spirit that recalls Laube and Gutzkow the social problems which agitated German life in these decades. Gustav Freytag (1816-1895), although an older man, freed himself more successfully from the "Young German" tradition; his romance of German commercialism, _Soll und Haben_ (1855), is the masterpiece of mid-century fiction of this class. Less successful was Freytag's subsequent attempt to transfer his method to the _milieu_ of German academic life in _Die verlorene Handschrift_ (1864). As was perhaps only natural in an age of social and political interests, the historical novel occupies a subordinate place. The influence of Scott, which in the earlier period had been strong, produced only one writer, Wilhelm Haring ("Willibald Alexis," 1798-1871), who was more than a mere imitator of the Scottish master. In the series of six novels, from _Der Roland von Berlin_ to _Dorothe_, which Alexis published between 1840 and 1856, he gave Germany, and more particularly Prussia, a historical fiction which might not unworthily be compared with the _Waverley Novels_. But Alexis had no successor, and the historical novel soon made way for a type of fiction in which the accurate reproduction of remote conditions was held of more account than poetic inspiration or artistic power. Such are the "antiquarian" novels of ancient Egyptian life by Georg Ebers (1837-1898), and those from primitive German history by Felix Dahn (born 1834). The vogue of historical fiction was also transferred to some extent, as in English literature, to novels of American life and adventure, of which the chief German cultivators were K.A. Postl, who wrote under the pseudonym of Charles Sealsfield (1793-1864) and Friedrich Gerstacker (1816-1872).

Of greater importance was the fiction which owed its inspiration to the Romantic traditions that survived the "Young German" age. To this group belongs the novel of peasant and provincial life, of which Immermann had given an excellent example in _Der Oberhof_, a story included in the arabesque of _Munchhausen_. A Swiss pastor, Albrecht Bitzius, better known by his pseudonym "Jeremias Gotthelf" (1797-1854), was, however, the real founder of this class of romance; and his simple, unvarnished and naively didactic stories of the Swiss peasant were followed not long afterwards by the more famous _Schwarzwalder Dorfgeschichten_ (1843-1854) of Berthold Auerbach (1812-1882). Auerbach is not by any means so naive and realistic as Gotthelf, nor is his work free from tendencies and ideas which recall "Young German" rationalism rather than the unsophisticated life of the Black Forest; but the _Schwarzwalder Dorfgeschichten_ exerted a decisive influence; they were the forerunners of a large body of peasant literature which described with affectionate sympathy and with a liberal admixture of dialect, south German village life. With this group of writers may also be associated the German Bohemian, A. Stifter (1805-1868), who has called up unforgettable pictures and impressions of the life and scenery of his home.

Meanwhile, the Low German peoples also benefited by the revival of an interest in dialect and peasant life; it is to the credit of Fritz Reuter (1810-1874) that he brought honour to the Plattdeutsch of the north, the dialects of which had played a fitful, but by no means negligible role in the earlier history of German letters. His Mecklenburg novels, especially _Ut de Franzosentid_ (1860), _Ut mine Festungstid_ (1863) and _Ut mine Stromtid_ (1862-1864), are a faithful reflection of Mecklenburg life and temperament, and hold their place beside the best German fiction of the period. What Reuter did for Plattdeutsch prose, his contemporary, Klaus Groth (1819-1899), the author of _Quickborn_ (1852), did for its verse. We owe, however, the best German prose fiction of these years to two writers, whose affinity with the older Romanticists was closer. The north German, Theodor Storm (1817-1888) is the author of a series of short stories of delicate, lyric inspiration, steeped in that elegiac Romanticism which harmonized so well with mid-century pessimism in Germany. Gottfried Keller (1819-1890), on the other hand, a native of Zurich, was a modern Romanticist of a robuster type; his magnificent autobiographical novel, _Der grune Heinrich_ (1854-1855), might be described as the last in the great line of Romantic fiction that had begun with _Wilhelm Meister_, and the short stories, _Die Leute von Seldwyla_ (1856-1874) and _Zuricher Novellen_ (1878) are masterpieces of the first rank.

In the dramatic literature of these decades, at least as it was reflected in the repertories of the German theatres, there was little promise. French influence was, in general, predominant; French translations formed the mainstay of the theatre-directors, while successful German playwrights, such as R. Benedix (1811-1873) and Charlotte Birch-Pfeiffer (1800-1868), have little claim to consideration in a literary survey. Gustav Freytag's admirable comedy, _Die Journalisten_ (1852), was one of the rare exceptions. But the German drama of this epoch is not to be judged solely by the theatres. At the middle of the century Germany could point to two writers who, each in his way, contributed very materially to the development of the modern drama. These were Friedrich Hebbel (1813-1863) and Otto Ludwig (1813-1865). Both of these men, as a later generation discovered, were the pioneers of that dramatic literature which at the close of the century accepted the canons of realism and aimed at superseding outward effects by psychological conflicts and problems of social life. Hebbel, especially, must be regarded as the most original and revolutionary German dramatist of the 19th century. Unlike his contemporary Grillparzer, whose aim had been to reconcile the "classic" and the "romantic" drama with the help of Spanish models, Hebbel laid the foundations of a psychological and social drama, of which the most modern interpreter has been Henrik Ibsen. Hebbel's first tragedy, _Judith_, appeared in 1840, his masterpieces, _Herodes und Marianne_, _Agnes Bernauer_, _Gyges und sein Ring_, and the trilogy of _Die Nibelungen_ between 1850 and 1862.

In this period of somewhat confused literary striving, there is, however, one body of writers who might be grouped together as a school, although the designation must be regarded rather as an outward accident of union than as implying conformity of aims. This is the group which Maximilian II. of Bavaria gathered round him in Munich between 1852 and 1860. A leading spirit of the group was Emanuel Geibel, who, as we have seen, set a model to the German lyric in this age; F. von Bodenstedt (1819-1892), the popular author of _Mirza Schaffy_; and J.V. von Scheffel (1826-1886), who, in his verse-romance, _Der Trompeter von Sackingen_ (1854), broke a lance for a type of literature which had been cultivated somewhat earlier, but with no very conspicuous success, by men like O. von Redwitz (1823-1891) and G. Kinkel (1815-1882). The romance was, in fact, one of the favourite vehicles of poetic expression of the Munich school, its most successful exponents being J. Wolff (b. 1834) and R. Baumbach (1840-1905); while others, such as H. Lingg (1820-1905) and R. Hamerling (1830-1889) devoted themselves to the more ambitious epic. The general tone of the literary movement was pessimistic, the hopelessness of the spiritual outlook being most deeply engrained in the verse of H. Lorm (pseudonym for Heinrich Landesmann, 1821-1902) and H. Leuthold (1827-1879). On the whole, the most important member of the Munich group is Paul Heyse (b. 1830), who, as a writer of "Novellen" or short stories, may be classed with Storm and Keller. An essentially Latin genius, Heyse excels in stories of Italian life, where his lightness of touch and sense of form are shown to best advantage; but he has also written several long novels. Of these, _Kinder der Welt_ (1873) and, in a lesser degree, _Im Paradiese_ (1875), sum up the spirit and tendency of their time, just as, in earlier decades, _Die Ritter vom Geiste_, _Problematische Naturen_ and _Soll und Haben_ were characteristic of the periods which produced them.

(c) _German Literature after 1870._--In the years immediately following the Franco-German War, the prevailing conditions were unfavourable to literary production in Germany, and the re-establishment of the empire left comparatively little trace on the national literature. All minds were for a time engrossed by the _Kulturkampf_, by the financial difficulties--the so-called _Grundertum_--due to unscrupulous speculation, and, finally, by the rapid rise of social democracy as a political force. The intellectual basis of the latter movement was laid by Ferdinand Lassalle (1825-1864) and Karl Marx (1818-1883), author of _Das Kapital_ (vol. i, 1867). But even had such disturbing elements been wanting, the general tone of German intellectual life at that time was not buoyant enough to inspire a vigorous literary revival. The influence of Hegel was still strong, and the "historical" method, as enunciated in _Der alte und der neue Glaube_ (1872) by the Hegelian D.F. Strauss, was generally accepted at the German universities. To many the compromise which H. Lotze (1817-1881) had attempted to establish between science and metaphysics, came as a relief from the Hegelian tradition, but in literature and art the dominant force was still, as before the war, the philosophy of Schopenhauer. In his _Philosophie des Unbewussten_ (1869), E. von Hartmann (1842-1906) endeavoured to bring pessimism into harmony with idealism. In lyric poetry, the dull monotony was broken by the excitement of the war, and the singers of the revolution of 1848 were among the first to welcome the triumph and unification of Germany. At the same time, men of the older generation, like Herwegh, Freiligrath and Geibel could ill conceal a certain disappointment with the new regime; the united Germany of 1871 was not what they had dreamed of in their youth, when all hopes were set on the Frankfort parliament.

The novel continued to be what it was before 1870, the most vigorous form of German literature, but the novelists who were popular in the early 'seventies were all older men. Laube, Gutzkow and Auerbach were still writing; Fritz Reuter was a universal favourite; while among the writers of short stories, Storm, who, between 1877 and 1888, put the crown to his work with his _Chroniknovellen_, and Paul Heyse were the acknowledged masters. It was not until at least a decade later that the genius of Gottfried Keller was generally recognized. The historical novel seemed, in those days, beyond hope of revival. Gustav Freytag, it is true, had made the attempt in _Die Ahnen_ (1872-1881), a number of independent historical romances linked together to form an ambitious prose epic; but there was more of the spirit of Ebers and Dahn in Freytag's work than of the spacious art of Scott, or of Scott's disciple, Willibald Alexis.

The drama of the 'seventies was in an even less hopeful condition than during the preceding period. The classical iambic tragedy was cultivated by the Munich school, by A. Wilbrandt (b. 1837), A. Lindner (1831-1888), H. Kruse (1815-1902), by the Austrian F. Nissel (1831-1893), and A. Fitger (b. 1840); but it was characteristic of the time that Halm was popular, while Hebbel and Grillparzer were neglected, it might even be said ignored. The most gifted German dramatist belonging exclusively to the decade between 1870 and 1880 was an Austrian, Ludwig Anzengruber (1839-1889), whose _Pfarrer von Kirchfeld_ (1870) recalled the controversies of the _Kulturkampf_. This was Anzengruber's first drama, and it was followed by a series of powerful plays dealing with the life of the Austrian peasant; Anzengruber was, indeed, one of the ablest exponents of that village life, which had attracted so many gifted writers since the days of Gotthelf and Auerbach. But the really popular dramatists of this epoch were either writers who, like Benedix in the older generation, cultivated the _bourgeoise_ comedy--A. L'Arronge (b. 1838), G. von Moser (1825-1903), F. von Schonthan (b. 1849) and O. Blumenthal (b. 1852)--or playwrights, of whom P. Lindau (b. 1839) may be regarded as representative, who imitated French models. The only sign of progress in the dramatic history of this period was the marked improvement of the German stage, an improvement due, on the one hand, to the artistic reforms introduced by the duke of Meiningen in the Court theatre at Meiningen, and, on the other hand, to the ideals of a national theatre realized at Bayreuth by Richard Wagner (1813-1883). The greatest composer of the later 19th century is also one of Germany's leading dramatists; and the first performance of the trilogy _Der Ring der Nibelungen_ at Bayreuth in the summer of 1876 may be said to have inaugurated the latest epoch in the history of the German drama.

The last fifteen or twenty years of the 19th century were distinguished in Germany by a remarkable literary activity. Among the younger generation, which was growing up as citizens of the united German empire, a more hopeful and optimistic spirit prevailed. The influence of Schopenhauer was on the wane, and at the universities Hegelianism had lost its former hold. The sponsor of the new philosophic movement was Kant, the master of 18th-century "enlightenment," and under the influence of the "neo-Kantian" movement, not merely German school philosophy, but theology also, was imbued with a healthier spirit. L. von Ranke (1795-1886) was still the dominant force in German historical science, and between 1881 and 1888 nine volumes appeared of his last great work, _Weltgeschichte_. Other historians of the period were H. von Sybel (1817-1895) and H. von Treitschke (1834-1896), the latter a vigorous and inspiring spokesman of the new political conditions; while J. Burckhardt (1818-1897), author of the masterly _Kultur der Renaissance in Italien_ (1860) and the friend of Nietzsche, exerted an influence on German thought which was not confined to academic circles. Literary criticism perhaps benefited most of all by the dethronement of Hegel and the more objective attitude towards Schopenhauer; it seemed as if in this epoch the Germans first formed definite ideas--and ideas which were acceptable and accepted outside Germany--as to the rank and merits of their great poets. A marked change came over the nation's attitude towards Goethe, a poet to whom, as we have seen, neither the era of Hegel nor that of Schopenhauer had been favourable; Schiller was regarded with less national prejudice, and--most important of all--amends were made by the new generation for the earlier neglect of Kleist, Grillparzer, Hebbel and Keller.

The thinker and poet who most completely embodies the spirit of this period--who dealt the Hegelian metaphysics its death-blow as far as its wider influence was concerned--was Friedrich Nietzsche (1844-1900). Nietzsche had begun as a disciple of Schopenhauer and a friend of Wagner, and he ultimately became the champion of an individualistic and optimistic philosophy which formed the sharpest possible contrast to mid-century pessimism. The individual, not the race, the _Herrenmensch_, not the slave, self-assertion, not self-denying renunciation--these are some of the ideas round which this new optimistic ethics turns. Nietzsche looked forward to the human race emerging from an effete culture, burdened and clogged by tradition, and re-establishing itself on a basis that is in harmony with man's primitive instincts. Like Schopenhauer before him, Nietzsche was a stylist of the first rank, and his literary masterpiece, _Also sprach Zarathustra_ (1883-1891), is to be regarded as the most important imaginative work of its epoch.

Nietzschean individualism was only one of many factors which contributed to the new literary development. The realistic movement, as it had manifested itself in France under Flaubert, the Goncourts, Zola and Maupassant, in Russia under Dostoievsky and Tolstoi, and in Norway under Ibsen and Bjornson, was, for a time, the dominant force in Germany, and the younger generation of critics hailed it with undisguised satisfaction; most characteristic and significant of all, the centre of this revival was Berlin, which, since it had become the imperial capital, was rapidly establishing its claim to be also the literary metropolis. It was the best testimony to the vitality of the movement that it rarely descended to slavish imitation of the realistic masterpieces of other literatures; realism in Germany was, in fact, only an episode of the 'eighties, a stimulating influence rather than an accepted principle or dogma. And its suggestive character is to be seen not merely in the writings of the young _Sturmer und Dranger_ of this time, but also in those of the older generation who, in temperament, were naturally more inclined to the ideals of a past age.

Of the novelists of the latter class, A. Wilbrandt, who has already been mentioned as a dramatist, has shown, since about 1890, a remarkable power of adapting himself, if not to the style and artistic methods of the younger school, at least to the ideas by which it was agitated; F. Spielhagen's attitude towards the realistic movement has been invariably sympathetic, while a still older writer, Theodor Fontane (1819-1898), wrote between 1880 and 1898 a series of works in which the finer elements of French realism were grafted on the German novel. To the older school belong Wilhelm Jensen (b. 1837), and that fine humorist, Wilhelm Raabe (b. 1831), with whom may be associated as other humorists of this period, H. Seidel (1842-1906) and W. Busch (1832-1908). Some of the most interesting examples of recent German fiction come, however, from Austria and Switzerland. The two most eminent Austrian authors, Marie von Ebner-Eschenbach (b. 1830), and Ferdinand, von Saar (1833-1906), both excel as writers of Novellen or short stories--the latter especially being an exponent of that pessimism which is Austria's peculiar heritage from the previous generation of her poets. Austrians too, are Peter Rosegger (b. 1843), who has won popularity with his novels of peasant life, K.E. Franzos (1848-1904) and L. von Sacher-Masoch (1835-1895). German prose fiction is, in Switzerland, represented by two writers of the first rank: one of these, Gottfried Keller, has already been mentioned; the other, Konrad Ferdinand Meyer (1825-1898), turned to literature or, at least, made his reputation, comparatively late in life. Although, like Keller, a writer of virile, original verse, Meyer is best known as a novelist; he, too, was a master of the short story. His themes are drawn by preference from the epoch of the Renaissance, and his method is characterized by an objectivity of standpoint and a purity of style exceptional in German writers.

The realistic novels of the period were written by H. Conradi (1862-1890), Max Kretzer (b. 1854), M.G. Conrad (b. 1846), H. Heiberg (b. 1840), K. Bleibtreu (b. 1859), K. Alberti (pseudonym for Konrad Sittenfeld, b. 1862) and Hermann Sudermann (b. 1857). A want of stability was, however, as has been already indicated, characteristic of the realistic movement in Germany; the idealistic trend of the German mind proved itself ill-adapted to the uncompromising realism of the French school, and the German realists, whether in fiction or in drama, ultimately sought to escape from the logical consequences of their theories. Even Sudermann, whose _Frau Sorge_ (1887), _Der Katzensteg_ (1889), and the brilliant, if somewhat sensational romance, _Es war_ (1894), are among the best novels of this period, has never been a consistent realist. It is consequently not surprising to find that, before long, German fiction returned to psychological and emotional problems, to the poetical or symbolical presentation of life, which was more in harmony with the German temperament than was the robuster realism of Flaubert or Zola. This trend is noticeable in the work of Gustav Frenssen (b. 1863), whose novel _Jorn Uhl_ (1901) was extraordinarily popular; it is also to be seen in the studies of child life and educational problems which have proved so attractive to the younger writers of the present day, such as Hermann Hesse (b. 1877), Emil Strauss (b. 1866), Rudolf Huch (b. 1862) and Friedrich Huch (b. 1873). One might say, indeed, that at the beginning of the 20th century the traditional form of German fiction, the _Bildungsroman_, had come into its ancient rights again. Mention ought also to be made of J.J. David (1859-1907), E. von Keyserling (b. 1858), W. Hegeler (b. 1870), G. von Ompteda (b. 1863), J. Wassermann (b. 1873), Heinrich Mann (b. 1871) and Thomas Mann (b. 1875). _Buddenbrooks_ (1902) by the last mentioned is one of the outstanding novels of the period. Some of the best fiction of the most recent period is the work of women, the most distinguished being Helene Bohlau (b. 1859), Gabriele Reuter (b. 1859), Clara Viebig (C. Cohn-Viebig, b. 1860) and Ricarda Huch (b. 1864). Whether the latest movement in German poetry and fiction, which, under the catchword _Heimatkunst_, has favoured the province rather than the city, the dialect in preference to the language of the educated classes, will prove a permanent gain, it is still too soon to say, but the movement is at least a protest against the decadent tendencies of naturalism.

At no period of German letters were literature and the theatre in closer touch than at the end of the 19th and the beginning of the 20th centuries; more than at any previous time has the theatre become the arena in which the literary battles of the day are fought out. The general improvement in the artistic, technical and economic conditions of the German stage have already been indicated; but it was not until 1889 that the effects of these improvements became apparent in dramatic literature. Before that date, it is true, Ernst von Wildenbruch (1845-1909) had attempted to revive the historical tragedy, but the purely literary qualities of his work were handicapped by a too effusive patriotism and a Schillerian pathos; nor did the talent of Richard Voss (b. 1851) prove strong enough to effect any lasting reform. In October 1889, however, Gerhart Hauptmann's play, _Vor Sonnenaufgang_, was produced on the then recently founded _Freie Buhne_ in Berlin; and a month later, _Die Ehre_ by Hermann Sudermann met with a more enthusiastic reception in Berlin than had fallen to the lot of any German play for more than a generation.

Hauptmann (b. 1862), the most original of contemporary German writers, stands, more or less, alone. His early plays, the most powerful of which is _Die Weber_ (1892), were written under the influence either of an uncompromising realism, or of that modified form of realism introduced from Scandinavia; but in _Hanneles Himmelfahrt_ (1893) he combined realism with the poetic mysticism of a child's dream, in _Florian Geyer_ (1895) he adapted the methods of realism to an historical subject, and in the year 1896 he, to all appearance, abandoned realism to write an allegorical dramatic poem, _Die versunkene Glocke_. Hauptmann's subsequent work has oscillated between the extremes marked out by these works--from the frank naturalism of _Fuhrmann Henschel_ (1898) and _Rose Berndt_ (1903), to the fantastic mysticism of _Der arme Heinrich_ (1902) and _Und Pippa tanzt!_ (1906).

The dramatic talent of Hermann Sudermann has developed on more even lines; the success of _Die Ehre_ was due in the first instance to the ability which Sudermann had shown in adapting the ideas of his time and the new methods of dramatic presentation to the traditional German _burgerliches Drama_. This is the characteristic of the majority of the many plays which followed of which _Heimat_ (1893), _Das Gluck im Winkel_ (1896) and _Es lebe das Leben!_ (1902) may be mentioned as typical. With less success Sudermann attempted in _Johannes_ (1898) a tragedy on lines suggested by Hebbel. A keen observer, a writer of brilliant and suggestive ideas, Sudermann is, above all, the practical playwright; but it is unfortunate that the theatrical element in his work too often overshadows its literary qualities.