PERIOD SECOND.

THE REFORMATION TO THE BEGINNING OF THE EIGHTEENTH CENTURY (1517-1700).

1. THE LUTHERAN PERIOD.--With the sixteenth century we enter upon the modern history and modern literature of Germany. The language now becomes settled, and the literature for a time becomes national. Luther and the Reformers belonged to the people, who, through them, now for the first time claimed an equality with the old estates of the realm, the two representatives of which, the emperor and the pope, were never more powerful than at this period. The armies of the emperor were recruited from Spain, Austria, Naples, Sicily, and Burgundy while the pope, armed with the weapons of the Inquisition, and the thunderbolts of excommunication, levied his armies of priests and monks from all parts of the Christian world. Against these formidable powers a poor Augustine monk came forth from his study in the small university of Wittenberg, with no armies, no treasures, with no weapon in his hand but the Bible, and in his clear manly voice defied both emperor and pope, clergy and n.o.bility. There never was a more memorable spectacle.

After the Reformation nearly all eminent men in Germany, poets, philosophers, and historians, belonged to the Protestant party, and resided chiefly in the universities, which were what the monasteries had been under Charlemagne, and the castles under Frederic Barbarossa--the centres of gravitation for the intellectual and political life of the country. A new aristocracy now arose, founded on intellectual preeminence, which counted among its members princes, n.o.bles, divines, soldiers, lawyers, and artists. But the danger which threatens all aristocracies was not averted from the intellectual n.o.bility of Germany; the spirit of caste, which soon pervaded all their inst.i.tutions, deprived the second generation of that power which men like Luther had gained at the beginning of the Reformation. The moral influence of the universities was great, but it would have been far greater if the intellectual leaders of the realm had not separated themselves from the ranks whence they themselves had risen, and to which alone they owed their influence. This intellectual aristocracy manifested a disregard of the real wants of the people, a contempt of all knowledge which did not wear the academic garb, and the same exclusive spirit of caste that characterizes all aristocracies. Latin continued to be the literary medium of scholars, and at the close of the seventeenth century German was only beginning to a.s.sert its capabilities as a vehicle of elegant and refined literature.

The sixteenth century may be called the Lutheran period, for Martin Luther (1483-1546) was the most prominent character in the general literature as well as in the theology of Germany. He was the exponent of the national feeling, he gave shape and utterance to thoughts and sentiments which had been before only obscurely expressed, and his influence was felt in almost every department of life and literature. The remodeling of the German tongue may be said to have gone hand in hand with the Reformation, and it is to Luther more than to any other that it owes its rapid progress. His translation of the Bible was the great work of the period, and gives to him the deserved t.i.tle of creator of German prose. The Scriptures were now familiarly read by all cla.s.ses, and never has their beautiful simplicity been more admirably rendered. The hymns of Luther are no less remarkable for their vigor of style, than for their high devotional feeling. His prose works consist chiefly of twenty volumes of sermons, and eight volumes of polemical writings, besides his "Letters" and "Table Talk,"

which give us a view of the singular mixture of qualities which formed the character of the great Reformer.

The literature of that period also owes much to Melanchthon (1497-1560), the author of the "Confession of Augsburg," who by his cla.s.sical learning, natural sagacity, simplicity and clearness of style, and above all by his moderation and mildness, greatly contributed to the progress of the Reformation. He devoted himself to the improvement of schools and the diffusion of learning, and through his influence the Protestant princes of Germany patronized native literature, established public libraries, and promoted the general education of the people.

The earnest polemical writings of the age must be pa.s.sed over, as they belong rather to ecclesiastical and political than to literary history.

Yet these are the most characteristic productions of the times, and display the effects of controversy in a very unfavorable light. The license, personality, acrimony, and grossness of the invectives published by the controversial writers, particularly of the sixteenth century, can hardly be imagined by a modern reader who has not read the originals. The better specimens of this style of writing are found in the remains of Manuel and Zwingle. Manuel (1484-1530), a native of Switzerland, is an instance of the versatility of talent, which was not uncommon at this time; he was a soldier, a poet, a painter, a sculptor, and a wood- engraver. The boldness and license of his satires are far beyond modern toleration. Zwingle (1484-1531), the leading reformer of Switzerland, was a statesman, a theologian, a musician, and a soldier. His princ.i.p.al work is the "Exposition of the Christian Faith." A celebrated writer of prose satire was Fischart (1530-1590), whose numerous works, under the most extravagant t.i.tles, are distinguished by wit and extensive learning. His "Prophetic Almanac" was the selling book at all the fairs and markets of the day, and was read with an excitement far exceeding that produced by any modern novels. In his "Garagantua," he borrowed some of his descriptions from Rabelais; and this extravagant, satirical, and humorous book, though full of the uncouth and far-fetched combinations of words found in his other writings, contains many ludicrous caricatures of the follies of society in his age.

Franck (fl. 1533), one of the best writers of German prose on history and theology during the sixteenth century, was the representative of the mystic school, and opposed Luther, whom he called the new pope. His religious views in many respects correspond with those of the Society of Friends. Rejecting all ecclesiastical authority, he maintained that there is an internal light in man which is better fitted than even the Scriptures to guide him aright in religious matters. He wrote with bitterness and severity, though he seldom used the coa.r.s.e style of invective common to his age.

Arnd (1555-1621) may be cla.s.sed among the best theological writers of the period. His treatise "On True Christianity" is still read and esteemed. He belonged to the mystic school, and the pious and practical character of his work made it a favorite among religious men of various sects.

Jacob Boehm (1575-1624) was a poor shoemaker, who, without the advantages of education, devoted his mind to the most abstruse studies, and professed that his doctrines were derived from immediate revelation; his works contain many profound and lofty ideas mingled with many confused notions.

2. POETRY, SATIRE, AND DEMONOLOGY.--In the sixteenth century the old poetry of Germany was in a great measure forgotten; the Nibelungen Lied and the Heldenbuch were despised by the learned as relics of barbarian life; cla.s.sical studies engaged the attention of all who loved elegant literature, and while Horace was admired, the t.i.tle of German poet was generally applied as a badge of ridicule. A propensity to satire of the most violent and personal description seems to have been almost universal in these excited times. Hutten (1488-1523) shared the general excitement of the age, and warmly defended the views of Luther. He addressed many satirical pamphlets in prose and verse to the people, and was compelled to flee from one city to another, his life being always in danger from the numerous enemies excited by his severity. Next to invectives and satires, comic stories and fables were the characteristic productions of these times. Hans Sachs (1494-1576), the most distinguished of the Mastersingers of the sixteenth century, excelled in that kind of poetry as well as in all other styles of composition, and following his business as shoemaker, he made verses with equal a.s.siduity. He employed his pen chiefly in writing innumerable tales and fables containing common morality for common people. In one of these he represents the Apostle St. Peter as being greatly perplexed by the disorder and injustice prevailing in the world.

Peter longs to have the reins of government in his own hand, and believes that he could soon reduce the world to order. While he is thinking thus, a peasant girl comes to him and complains that she has to do a day's work in the field, and at the same time to keep within bounds a frolicsome young goat. Peter kindly takes the goat into custody, but it escapes into the wood, and the apostle is so much fatigued by his efforts to recover the animal that he is led to this conclusion: "If I am not competent to keep even one young goat in my care, it cannot be my proper business to perplex myself about the management of the whole world."

The best lyrical poetry was devoted to the service of the church. Its merit consists in its simple, energetic language. Hymns were the favorite literature of the people; they were the cradle songs which lulled the children to sleep, they were sung by mechanics and maid-servants engaged in their work; and they were heard in the streets and market-places instead of ballads. Luther, who loved music and psalmody, encouraged the people to take a more prominent part in public worship, and wrote for them several German hymns and psalms.

The belief in demonology and witchcraft, which was universally diffused through Europe in the Middle Ages, raged in Germany with fearful intensity and fury. While in other countries persecution was limited to the old, the ugly, and the poor, here neither rank nor age offered any exemption from suspicion and torture. While this persecution was at its height, from 1580 to 1680, more than one hundred thousand individuals, mostly women, were consigned to the flames, or otherwise sacrificed to this blood-thirsty insanity. Luther himself was a devout believer in witchcraft, and in the bodily presence of the Spirit of Evil upon the earth; all his hara.s.sing doubts and mental struggles he ascribes to his visible agency. Germany, indeed, seemed to live and breathe in an atmosphere of mysticism.

Among the mystic philosophers and speculators on natural history and the occult sciences who flourished in this period are Paracelsus (1493-1546), and Cornelius Agrippa (1486-1539). Camerarius was distinguished in the cla.s.sics and philosophy; Gesner in botany, zoology, and the cla.s.sics; Fuchs in botany and medicine; and Agricola in mineralogy.

Among the legends of the period, that of Faust, or Dr. Faustus, has obtained the most lasting popularity. There are good reasons for believing that the hero of this tale was a real personage, who lived in Suabia in the early part of the sixteenth century. He is frequently mentioned as a well-known character who gained his celebrity by the profession of magic.

In the "History of Dr. Faustus," first published 1587, he is represented as a magician, who gained by unlawful arts a mastery over nature. The legend rapidly spread; It was versified by the English dramatist Marlowe, it became the foundation of innumerable tales and dramas, until, transformed by the genius of Goethe, it has acquired a prominent place in German literature.

At the conclusion of the sixteenth century, owing to the disturbed state of religious, social, and political life, and to the fact that the best minds of the age were occupied in Latin writings on theology, while a few, devoted to quiet study, cultivated only the cla.s.sics, the hopes which had been raised of a national poetry and literature were blighted, and a scholastic and polemical theology continued to prevail. The native tongue was again neglected for the Latin; the national poems were translated into Latin to induce the learned to read them; native poets composed their verses in Latin, and all lectures at the universities were delivered in that tongue. The work of Luther was undone: ambitious princes and quarrelsome divines continued the rulers of Germany, and everything seemed drifting back into the Middle Ages. Then came the Thirty Years' War (1618- 1648), with all its disastrous consequences. At the close of that war the public mind was somewhat awakened, literary societies were organized, and literature was fostered; but the nation was so completely demoralized that it hardly cared for the liberty sanctioned by the treaty of Westphalia, or for the efforts of a few princes and scholars to better its intellectual condition. The population of Germany was reduced by one half; thousands of villages and towns had been burnt to the ground; the schools, the churches, the universities, were deserted; and a whole generation had grown up during the war, particularly among the lower cla.s.ses, with no education at all. The once wealthy merchants were reduced to small traders. The Hanse League was broken up; commerce was suspended, and intellectual activity paralyzed. Where any national feeling was left, it was a feeling of shame and despair.

3. THE SEVENTEENTH CENTURY.--During the seventeenth century the German language was regarded by comparatively few writers as a fit vehicle for polite literature, and was reserved almost exclusively for satires, novels, and religious discourses.

Opitz (1597-1639) attempted to introduce the use of his native tongue, and, in a work on German poetry, explained the laws of poetic composition and the mechanism of versification.

Several scholars at length directed their attention to the grammar of the language, which, through their influence, now began to be used in the treatment of scientific subjects. Meantime great mathematical and physical discoveries were made through the Academy of Berlin, which was founded under the auspices of Leibnitz, and scientific and literary a.s.sociations were everywhere established. Books became a vast branch of commerce and great philologists and archaeologists devoted themselves to the study of cla.s.sical antiquity. Puffendorf expounded his theories of political history, Kepler, of astronomy, Arnold, of ecclesiastical history; and Leibnitz laid a basis for the scientific study of philosophy in Germany.

Wolf shaped the views of Leibnitz into a comprehensive system, and popularized them by publishing his works in the German language.

Thomasius, the able jurist and pietistic philosopher, was the first, in 1688, to subst.i.tute in the universities the German for the Latin language as the medium of instruction.

Satirical novels form a prominent feature in the prose literature of the time, and took the place of the invectives and satires of the sixteenth century. No work of fiction, however, produced such an excitement as the translation of Defoe's "Robinson Crusoe." Soon after its publication more than forty imitations appeared.

During this century the Mastersingers went on composing, according to the rules of their guilds, but we look in vain for the raciness and simplicity of Hans Sachs. Some poets wrote plays in the style of Terence, or after English models; and fables in the style of Phaedrus became fashionable.

But there was no trace anywhere of originality, truth, taste, or feeling, except in sacred poetry. Paul Gerhard (1606-1696) is yet without an equal in his sacred songs; many of the best hymns which are still heard in the churches of Germany date from the age of this poet. Soon, however, even this cla.s.s of poetry degenerated on one side into dry theological phraseology, on the other into sentimental affectation.

This century saw the rise and the fall of the _first and the second Silesian schools_. The first is represented by Opitz (1597-1639), Paul Flemming, a writer of hymns (1609-1640), and a number of less gifted poets. Its character is pseudo-cla.s.sical. All these poets endeavored to write correctly, sedately, and eloquently. Some of them aimed at a certain simplicity and sincerity, particularly Flemming. But it would be difficult to find in all their writings one single thought or expression that had not been used before; although the works of Opitz and of his followers were marked by a servile imitation of French and Dutch poets, they exerted an influence on the literary taste of their country, enriched the German language with new words and phrases, and established the rules of prosody.

The second Silesian school is represented by Hoffmanswaldan (1618-1679) and Lohenstein (1635-1683), who undertook to introduce into the German poetry the bad taste of Marini which at that time so corrupted the literature of Italy. Their compositions are bombastic and full of metaphors,--the poetry of adjectives, without substance, truth, or taste.

Dramatic writing rose little above the level of the first period, The Mysteries and Moralities still continued popular, and some of them were altered to suit the new doctrines. Opitz wrote some operas in imitation of the Italian, and Gryphius acquired popularity by his translations from Marini and his introduction of the pastoral drama. The theatrical productions of Lohenstein, characterized by pedantry and bad taste, together with the mult.i.tude of others belonging to this age, are curious instances of the folly and degradation to which the stage may be reduced.

PERIOD THIRD.

FROM THE BEGINNING OF THE EIGHTEENTH CENTURY TO THE PRESENT TIME (1700-1885.)

1. THE SAXONIC AND SWISS SCHOOLS.--In contrast to the barrenness of the last period, the eighteenth and nineteenth centuries present us with a brilliant constellation of writers in every department of letters, whose works form an era in the intellectual development of Germany unsurpa.s.sed in many respects by any other in the history of literature. Gottsched and Bodmer each succeeded in establishing schools of poetry which exerted great influence on the literary taste of the country. Gottsched (1700- 1766), the founder of the Saxonic school, exercised the same dictatorship as a poet and critic which Opitz had exercised at the beginning of the seventeenth century. He was the advocate and copyist of French models in art and poetry, and he used his widespread influence in favor of the correct and so-called cla.s.sical style. After having rendered good service in putting down the senseless extravagance of the school of Lohenstein, he became himself a pedantic and arrogant critic; then followed a long literary warfare between him and Bodmer (1698-1783), the founder of the Swiss school. Gottsched and his followers at Leipsic defended the French and insisted on cla.s.sical forms and traditional rules; Bodmer and his friends in Switzerland defended the English style, and insisted on natural sentiment and spontaneous expression. A paper war was carried on in their respective journals, which at length ended favorably to the Swiss or Bodmer's school, which, although the smaller party, obtained a splendid victory over its antagonist.

Many of the followers of Gottsched, disgusted with his pedantry, finally separated themselves from him and formed a new poetical union, called the Second Saxonic School. They established at the same time a periodical, which was at once the channel of their communications and the point around which they centred. The princ.i.p.al representatives of this school were Rabener (1714-1771), very popular for the cheerful strain of wit that runs through his satires, and for the correctness of his language and style; Gellert (1715-1769), whose "Fables" contain great moral truth enlivened by vivid pictures of life, full of sprightliness and humor, and expressed in a style of extraordinary ease and clearness; Kastner (1719-1800), a celebrated and acute mathematician, and the author of many epigrams, elegies, odes, and songs; John Elias Schlegel (1718-1749), distinguished for his dramatic compositions; and Zachariae (1726-1777), endowed with a poetical and witty invention, which he displayed in his comic epopees and descriptive poems.

The following two poets were the most celebrated of them all: Hagedorn (1708-1754), whose fables and poems are remarkable for their fancy and wit; and Haller (1708-1777), who acquired an enduring fame as a poet, anatomist, physiologist, botanist, and scholar. Of inferior powers, but yet of great popularity, were: Gleim (1719-1803), upon whom the Germans bestowed the t.i.tle of "father," which shows at once how high he ranked among the poets of his time; Kleist (1715-1759), whose poems are characterized by pleasant portraitures, harmonious numbers, great ease, and richness of thought, conciseness of expression, and a n.o.ble morality; Ramler (1725-1798), who has been styled the German Horace, from his odes in praise of Frederic the Great; Nicolai (1733-1811), who acquired considerable fame, both for the promotion of literature and for the correction of German taste particularly, through his critical reviews; and Gessner (1730-1787), who gained a great reputation for his "Idyls," which are distinguished by freshness of thought and grace and eloquence of style.

2. KLOPSTOCK, LESSING, WIELAND, AND HERDER.--Klopstock (1724-1803), inspired by the purest enthusiasm for Christianity, and by an exalted love for his fatherland, expressed his thoughts and feelings in eloquent but somewhat mystic strains. He was hailed as the herald of a new school of sacred and national literature, and his "Messiah" announced him in some respects as the rival of Milton. In comparing the Messiah with the "Paradise Lost," Herder says: "Milton's poem Is a building resting on mighty pillars; Klopstock's, a magic picture hovering between heaven and earth, amid the tenderest emotions and the most moving scenes of human nature."

Lessing (1729-1781) produced a reformation in German literature second only to that effected by Luther in theology. He was equally eminent as a dramatist, critic, and philosopher. His princ.i.p.al dramatic productions are "Emilie Galotti" and "Nathan the Wise." As a critic he demanded creative imagination from all who would claim the t.i.tle of poet, and spared neither friends nor foes in his efforts to maintain a high standard of literary excellence. The writings of Lessing exerted a commanding influence on the best minds of Germany in almost all departments of thought. They mark, and in a great measure produced, the important change in the tone of German literature, from the national and Christian character of Klopstock to the cosmopolitan character which prevails in the writings of Goethe and Schiller.

Wieland (1733-1813) was, in his youth, the friend of Klopstock, and would tolerate nothing but religious poetry; but he suddenly turned to the opposite extreme, and began to write epicurean romances as vehicles of his new views of human life and happiness. Among his tales are "Agathon,"

"Musarion," and "Aristippus," which last is considered his best work. In all these writings his purpose was to represent pleasure or utility as the only criterion of truth. Although there is much in his prose writings to subject him to severe censure, he maintains his place in the literature of his native country as one of its most gay, witty, and graceful poets. His "Oberon" is one of the most charming and attractive poems of modern times.

Herder (1741-1803) was deeply versed in almost all branches of study, and exercised great influence, not only as a poet, but as a theologian, philosopher, critic, and philologist. He studied philosophy under Kant, and, after filling the offices of teacher and clergyman, he was invited to join the circle of poets and other literary men at Weimar, under the patronage of the Grand Duke Karl August. Here he produced a series of works on various subjects, all marked by a kindly and n.o.ble spirit of humanity. Among them are a treatise "On the Origin of Language," an essay on "Hebrew Poetry," and a work ent.i.tled "Ideas for the Philosophy of Humanity," besides poetical and critical writings. In his collection of popular ballads from various nations he showed his power of appreciating the various national tomes of poetry.

The most n.o.ble feature in Herder's character was his constant striving for the highest interests of mankind. He did not employ literature as the means of satisfying personal ambition, and the melancholy of his last days arose from his lofty and unfulfilled aspirations.

His friend Richter said of him: "Herder was no poet,--he was something far more sublime and better than a poet,--he was himself a poem,--an Indian Greek Epic composed by one of the purest of the G.o.ds."

3. GOETHE AND SCHILLER.--The close of the eighteenth and the beginning of the nineteenth century, the age of Herder, Goethe, and Schiller, was one of remarkable intellectual excitement, and it has produced a literature richer, more voluminous, and more important than that of all preceding periods taken collectively.

The time extending between 1150 and 1300 has been styled the _First Cla.s.sic Period_, and that we are now entering upon is regarded as the second. These two epochs resemble each other not only in their productiveness, but in the failure of both to maintain a distinct national school of poetry. In the thirteenth century the national epic appeared, but was soon neglected for the foreign legends and sentimental verses of the romancists and minnesingers. In the eighteenth century, when Lessing had made a path for original genius by clearing away French pedantry and affectation, there appeared some hope of a revival of true national literature. But Herder directed the literary enthusiasm of his time towards foreign poetry and universal studies, and a cosmopolitan rather than a national style has been the result; although for thoughtfuless and sincerity, and for the number of important ideas which it has brought into circulation, modern German literature may justly claim the highest honor.

Goethe (1749-1832) was a man of universal genius; he was born at Frankfort-on-the-Maine, and of his boyhood he gives a pleasant account in his work ent.i.tled "Poetry and Truth." In 1773 the appearance of his "Gotz von Berlichingen," a drama founded upon the autobiography of that national and popular hero, was regarded as the commencement of an entirely new period in German dramatic literature. It was followed, in 1774, by the sentimental novel, "The Sorrows of Werther," in which Goethe gave expression to the morbid sentiments of many of his contemporaries. The Grand Duke of Weimar invited him to his court, where he was elevated to an honorable position. Here he produced his dramatic poems, "Iphigenia,"

"Egmont," "Ta.s.so," and "Faust," besides many occasional poems and other works, and continued writing until his eighty-second year, while he varied his literary life with the pleasures of society.

As a poet, Goethe is chiefly known by his dramas, "Faust," "Ta.s.so," and "Egmont;" his lyrical and occasional poems, and his domestic epic, ent.i.tled "Herman and Dorothea." The first part of "Faust" is the poem by which the fame of this author has been most widely extended. Though incomplete, it is remarkably original, and suggests important reflections on human character and destiny. The narrative is partly founded on the old legend of Faust, the magician. We are introduced to the hero at the moment when he despairs of arriving at any valuable result, after years of abstruse study, and is about to put the cup of poison to his lips. The church bells of Easter Sunday recall to his mind the scenes of his innocent childhood, and he puts aside the cup and resolves to commence a new career of life. At this moment, his evil genius, Mephistopheles, appears, and persuades him to abandon philosophy and to enjoy the pleasures of the world. Faust yields to his advice, and after many adventures ends his career in crime and in misery. Many parts of the poem are written in a mystical vein, and intimate rather than express the various reflections to be deduced from it. The second part of "Faust" is remarkable for its varied and harmonious versification.

Goethe was a voluminous writer, and much devoted to the fine arts and the natural sciences, as is attested by his remarkable work on the theory of colors. He extended his wide sympathies over almost every department of literature.

The great merit of Goethe lies not so much in his separate productions, as in the philosophy of life and individual development which pervades his works, all of which, from "Faust," his greatest achievement, to his songs, elegies, and shorter poems, have the same peculiar character, and are tinged with the same profound reflections. The service he rendered to the German language was immense. The clearness and simplicity of his prose style make the best model for the imitation of his countrymen. During his lifetime, professors of various universities lectured on his works, and other authors wrote commentaries on his productions, while his genius has been amply recognized in foreign countries, especially within the last thirty years.

Schiller (1759-1805) was born at Marbach, a town of Wurtemberg. At the age of fourteen he was admitted to the military academy at Stuttgart, where, in spite of its dull routine, he secretly educated himself as a poet. At the age of twenty-two, he gave to the world his tragedy of the "Robbers"

(composed when he was only seventeen), in which his own wild longings for intellectual liberty found a turbulent and exaggerated expression. The public received it with great enthusiasm, as the production of a vigorous and revolutionary genius, and Schiller soon after escaped from the academy to try his fortune as a theatrical author. Accompanied by a young musician, with only twenty-three florins in his pocket, he set out for Manheim, on the night when the Grand Duke Paul of Russia paid a visit to Stuttgart, and all the people were too full of the excitement of the royal preparations and illuminations to observe the departure of the young poet.

The good citizens did not dream that an obscure youth was leaving the city gate, of whom they would one day be far more proud than of the glittering visit of the Grand Duke. Yet the royal entrance is only now remembered because on that night young Schiller ran away; and the people of Stuttgart, when they would show a stranger their objects of interest, point first of all to the statue of Friedrich Schiller.

After many adventures, Schiller was appointed poet to the theatre at Manheim. At a later period he was made Professor of History at the University of Jena, a position for which his genius eminently fitted him, and every prospect of happiness opened before him. But his health soon failed, and, after a short illness, he expired at the early age of forty- five.