The Harvard Cla.s.sics Shelf of Fiction - German.

by J. W. von Goethe and Gottfried Keller and Theodor Fontane and Theodor Storm.

THE NOVEL IN GERMANY

The fact that newspaper reporters commonly call their articles "stories" points to a certain a.n.a.logy between the novel and the newspaper. Even when prose fiction aims to be a fine art, it readily takes on a journalistic character; it is usually designed for immediate effect--at the concomitant risk of producing no other--and it easily pa.s.ses from hand to hand or from country to country. In our day prose fiction is almost an international phenomenon: novels of a high degree of popularity are immediately translated and promptly imitated in the most distant quarters of the globe.

In the universal give and take of literary commodities Germany has played her part and, from time to time at least, has been in no wise a debtor nation; but she has more often followed than led along new paths, making up in thoroughness what she lacked in originality, and a superficial history of the German novel would be little more than a record of how successive foreign influences were turned to account in domestic production. Thus, in the eighteenth century such sorrows as those of Werther would doubtless have found some form of expression, but Goethe could not have expressed them as he did without the example of Rousseau and Richardson. Wieland and Jean Paul Richter are inconceivable without Fielding and Sterne. In the nineteenth century the epochs of German novel-writing are marked by the times when Scott, d.i.c.kens, Balzac, Dumas, Sue, George Sand, Tolstoy, Ibsen, Bjornson, Turgenev, Zola, or some other foreigner, happened for the moment to be most conspicuous on the literary horizon. During the century that lies between Goethe and Hauptmann there is hardly a German novelist who has invited imitation abroad. It is in the lyric poem that the Germans have excelled, and in the drama and the opera that they have scored their international successes.

The history of the German novel would have, however, also to record that those writers have secured the most permanent distinction who have most significantly modified in their own way the suggestions which foreign examples gave them, and that the greatest distinction of all belongs to writers whom we can, if we will, a.s.sociate with one or another of the main currents, but who are by no means carried away by it. In the work of these men the national character of the German novel, if it has a national character, ought to be discoverable.

For two reasons it is a fair question whether the German novel has a national character. In the first place, modern Germany has been a nation only since 1871; and in the second place, only in times of some great crisis does there appear to be in Germany a national life, as we understand the term. At other times life in Germany is urban, provincial, or private, in those aspects of existence which the Germans most prize. The imperial capital affects to represent Germany as London represents England and Paris represents France; but such ascendancy is stoutly denied Berlin in the capitals of the other states, and Saxons or Bavarians refuse to submit to Prussian hegemony in any other than political and military affairs. In literature Prussia is not the nation; the empire itself is a federation of states, and Berlin is less specifically a German city than any other in the realm. Germany is emphatically _e pluribus_. Still, there may be some bond of union stronger than political alliance, some fundamental quality common to Prussian, Saxon, and Bavarian. In this we should seek the national character. We should find the national character depicted in the historical novel, which has had a great vogue in Germany; but we may discern it also in the fiction devoted to the problems of contemporary life.

It was Goethe's opinion that the hero of a novel should be pa.s.sive, and so eminently dramatic a genius as Hebbel declared that the important thing for us to observe in any individual is not how he makes his mark in the world, but how the world makes its marks upon him. These views, synonymous in meaning, but uttered by men as different, one from the other, as two Germans could very well be, may suffice as an indication of the common quality for which we are seeking: it is the metaphysical cast of the German mind. When Goethe contemplated the transitoriness of conditions, and in all his work endeavored to catch and preserve these fleeting phenomena, or when Hebbel defined man as the resultant of conflicting forces rather than as an effective force in himself, both evidently thought of life as a product, not as a producer, and sought the meaning of life in personal reaction rather than in personal action. The life of which the German desires abundance is the inner life. Character is to him a greater good than conduct.

Accordingly, German literature is not rich in tales of adventurous activity--indeed, it affords few examples of pure narrative, that is, of stories told chiefly for the sake of chronicling events. When such a master narrator as Heinrich von Kleist tells a tale, he presents the facts objectively--no judicial referee could be more circ.u.mstantial; but in the case on which he reports the author sees the impersonation of a problem, and the data which really concern him are the perturbed emotions of a man or woman. The same is true of Kleist's contemporary, Ludwig Tieck, of the amiable Theodor Storm, and of the prolific Paul Heyse. The character, in its peculiar makeup and its peculiar circ.u.mstances, presents a problem, and the most significant evidence that its experiences furnish is its reaction upon the outside world. An author who treats this character will, then, dwell fondly upon psychological a.n.a.lysis and upon the atmosphere in which the character lives and moves and has its being.

These facts account for certain peculiarities of form in German fiction which to us seem like defects. It generally takes a German novelist a long while to get under way, and he generally appears to move in spirals. He invites us to tarry and survey the scenery--to which his hero is wont to be more sensitive than we are--and he tends to elaborate episodes, which serve indeed to bring out qualities in his persons, but which, an impatient reader would say, delay the action.

Evidently, it is not the action about which the author primarily cares.

But the German novelist has the merits of his defects: if he does not touch lightly, he does probe deeply, and if his characters cannot manage to get things done and over, their impediment is an excess of those personal endowments which have after all to be reckoned among the positive values of life. It is better to be sentimental or even whimsical than to have neither sentiments nor ideas.

Sentimentality and whimsicality are apt to strike one as the most prominent traits of any art that aims at what is characteristic and individual, rather than at what is typical and broadly representative.

The Germans are individualists. They can cooperate efficiently with their fellow Germans, but each insists upon being himself. The German novelist will surely treat by preference a character of notable peculiarity, and if he writes many novels, he will try to give a conspectus of the qualities of the stock to which he belongs. Thus Reuter presents many characteristic figures taken from Mecklenburg; Ludwig from Thuringia; Auerbach from the Black Forest; Gotthelf, Keller, and Zahn from Switzerland; Fontane from Brandenburg; Storm and Frenssen from Schleswig-Holstein. So strong is this tendency that the Germans have a special name for this kind of art; they call it _Heimatkunst_, a word which may be translated "art of the native heath." If the author is a humorist, like Reuter or Keller, he will successfully recommend his whimsical creations to our indulgent esteem; or if he is a discriminating lover of mankind, like Ludwig, he will reconcile us even to the supersensitiveness of a narrow-minded but n.o.ble-hearted slater. The danger incurred by writers without humor and without discrimination is that their creations shall seem boorish or lachrymose.

Probably the most pitiful failures in German fiction have attended those imitators of foreign models who mistook for "modern" what is simply shallow and frivolous, and, trying to be smart, proved themselves merely clumsy. Freytag, call him a Philistine if you will, is preferable, with his gospel of toil for one's daily bread, to those who would hold the dissolute idlers of the great cities to be typical representatives of modern life. Fontane, on the other hand, as "modern"

as any, shows how an intelligent and cultivated man can a.s.similate foreign suggestions, remain himself, and treat the actualities of life with a matter-of-factness as far from cynicism as it is from prudery.

At the beginning of the nineteenth century the German Romanticists proclaimed the novel (in German _der Roman_) the supremely appropriate form for Romantic literature, and they regarded this truth as especially ill.u.s.trated by Goethe's "Wilhelm Meister." The novel, they said, is not merely the most elastic, the most inclusive, the freest of the literary forms, it is the form in which a writer can most perfectly convey by suggestion and implication the infinitude of relations in which persons and objects stand to their environment, but which the necessarily sharper contours of the other forms--notably the drama--do not permit. By contrast to the drama, which in a certain sense is similar to statuary, the novel is picturesque; that is, it presents figures in relation to their background; and it is quite conceivable that in some compositions the whole, with what corresponds to perspective and to light and shade--in other words "atmosphere"--is more significant than the individual figures that are given their setting in this whole. This, at any rate, is the case with "Wilhelm Meister." A story first conceived as the fulfilment of a theatrical mission by a young man whose experience was an education, became the picture of a world full of influences, many of them mysterious, that operate to develop personality.

The German novel after Goethe followed his lead. The idea of education by experience, and the idea of the symbolical presentation of the inexplicable background of life, give to some of the greatest examples of prose fiction of the nineteenth century--such as Morike's "Maler Nolten," Keller's "Gruner Heinrich," and Spielhagen's "Problematische Naturen"--this Goethean, Romantic picturesqueness. If the heroes are seldom great public characters and the background of their lives does not always suggest relations with illimitable s.p.a.ce, these facts find their explanation in the German p.r.o.neness to particularism.

To this particularism the short story would seem to be especially adapted. In fact, the Germans--again following Goethe's lead--have probably attained to a higher excellence in the short story than in the novel. It is to their advantage that in the narrow limits of this form they have no opportunity to philosophize; they must relate how something happened of which their auditors have not heard, or must depict a situation as it discloses itself to a pa.s.sing glance. The Swiss Keller and Meyer and many Germans, Austrians, and Swiss of our own time have attained considerable virtuosity in this form; but many of their products would have to be called little novels rather than short stories in the technical sense.

There are, then, some national traits in German prose fiction taken by and large. The Germans cannot vie with the English as writers of stories long or short. They have, however, much more to offer than has yet been widely circulated. During the past forty years the world has marveled at their achievements is the multifarious departments of active life. Nevertheless, their highest ideal is not doing, but being; and this being is faithfully reflected in their novels and tales.

W. G. H.

THE SORROWS OF WERTHER

BY J. W. VON GOETHE

TRANSLATED BY BAYARD TAYLOR

CRITICISM AND INTERPRETATION

By Thomas Carlyle

By degrees, however, after not a little suffering in many hard contests with himself and his circ.u.mstances, Goethe began to emerge from these troubles: light dawned on his course; and his true destination, a life of literature, became more and more plain to him. His first efforts were crowned with a success well calculated to confirm him in such purposes. "Gotz von Berlichingen," an historical drama of the Feudal Ages, appeared in 1773; by the originality both of its subject and its execution, attracting the public eye to the young author: and next year his "Sorrows of Werther" rose like a literary meteor on the world; and carried his name on its blazing wings, not only over Germany, but into the remotest corners of Europe. The chief incident of this work had been suggested by a tragical catastrophe, which had occurred in his neighbourhood, during a residence at Wetzlar: the emotions and delineations which give life to it; the vague impa.s.sioned longing, the moody melancholy, the wayward love and indignation, the soft feeling and the stern philosophy, which characterize the hero, he had drawn from his own past or actual experience.

The works just mentioned, though n.o.ble specimens of youthful talent, are still not so much distinguished by their intrinsic merits, as by their splendid fortune. It would be difficult to name two books which have exercised a deeper influence on the subsequent literature of Europe than these two performances of a young author; his first fruits, the produce of his twenty-fourth year. "Werther" appeared to seize the hearts of men in all quarters of the world, and to utter for them the word which they had long been waiting to hear. As usually happens, too, this same word once uttered was soon abundantly repeated; spoken in all dialects, and chanted through all the notes of the gamut, till at length the sound of it had grown a weariness rather than a pleasure.

Sceptical sentimentality, view-hunting, love, friendship, suicide, and desperation, became the staple of literary ware; and though the epidemic, after a long course of years, subsided in Germany, it reappeared with t various modifications in other countries; and everywhere abundant traces of its good and bad effects are still to be discerned....

But overlooking these spiritual genealogies, which bring little certainty and little profit, it may be sufficient to observe of "Berlichingen" and "Werther," that they stand prominent among the causes, or, at the very least, among the signals, of a great change in modern Literature. The former directed men's attention with a new force to the picturesque effects of the Past; and the latter, for the first time, attempted the more accurate delineation of a cla.s.s of feelings, deeply important to modern minds; but for which our elder poetry offered no exponent, and perhaps could offer none, because they are feelings that arise from pa.s.sion incapable of being converted into action, and belong chiefly to an age as indolent, cultivated, and unbelieving, as our own. This, notwithstanding the dash of falsehood which may exist in "Werter" itself, and the boundless delirium of extravagance which it called forth in others, is a high praise which cannot justly be denied it.--From "German Romance" (1827).

THE SORROWS OF WERTHER

BOOK I

May 4.

How happy I am that I am gone! My dear friend, what a thing is the heart of man! To leave you, from whom I have been inseparable, whom I love so dearly, and yet to feel happy! I know you will forgive me. Have not other attachments been specially appointed by fate to torment a head like mine? Poor Leonora! and yet I was not to blame. Was it my fault, that, whilst the peculiar charms of her sister afforded me an agreeable entertainment, a pa.s.sion for me was engendered in her feeble heart? And yet am I wholly blameless? Did I not encourage her emotions?

Did I not feel charmed at those truly genuine expressions of nature, which, though but little mirthful in reality, so often amused us? Did I not--but oh! what is man, that he dares so to accuse himself? My dear friend, I promise you I will improve; I will no longer, as has ever been my habit, continue to ruminate on every petty vexation which fortune may dispense; I will enjoy the present, and the past shall be for me the past. No doubt you are right, my best of friends, there would be far less suffering amongst mankind, if men--and G.o.d knows why they are so fashioned--did not employ their imaginations so a.s.siduously in recalling the memory of past sorrow, instead of bearing their present lot with equanimity.

Be kind enough to inform my mother that I shall attend to her business to the best of my ability, and shall give her the earliest information about it. I have seen my aunt, and find that she is very far from being the disagreeable person our friends allege her to be. She is a lively, cheerful woman, with the best of hearts. I explained to her my mother's wrongs with regard to that part of her portion which has been withheld from her. She told me the motives and reasons of her own conduct, and the terms on which she is willing to give up the whole, and to do more than we have asked. In short, I cannot write further upon this subject at present; only a.s.sure my mother that all will go on well. And I have again observed, my dear friend, in this trifling affair, that misunderstandings and neglect occasion more mischief in the world than even malice and wickedness. At all events, the two latter are of less frequent occurrence.

In other respects I am very well off here. Solitude in this terrestrial paradise is a genial balm to my mind, and the young spring cheers with its bounteous promises my oftentimes misgiving heart. Every tree, every bush, is full of flowers; and one might wish himself transformed into a b.u.t.terfly, to float about in this ocean of perfume, and find his whole existence in it.

The town itself is disagreeable; but then, all around, you find an inexpressible beauty of Nature. This induced the late Count M---- to lay out a garden on one of the sloping hills which here intersect each other with the most charming variety, and form the most lovely valleys.

The garden is simple; and it is easy to perceive, even upon your first entrance, that the plan was not designed by a scientific gardener, but by a man who wished to give himself up here to the enjoyment of his own sensitive heart. Many a tear have I already shed to the memory of its departed master in a summer-house which is now reduced to ruins, but was his favourite resort, and now is mine. I shall soon be master of the place. The gardener has become attached to me within the last few days, and he will lose nothing thereby.

May 10.

A wonderful serenity has taken possession of my entire soul, like these sweet mornings of spring which I enjoy with my whole heart. I am alone, and feel the charm of existence in this spot, which was created for the bliss of souls like mine. I am so happy, my dear friend, so absorbed in the exquisite sense of mere tranquil existence, that I neglect my talents. I should be incapable of drawing a single stroke at the present moment; and yet I feel that I never was a greater artist than now. When, while the lovely valley teems with vapour around me, and the meridian sun strikes the upper surface of the impenetrable foliage of my trees, and but a few stray gleams steal into the inner sanctuary, I throw myself down among the tall gra.s.s by the trickling stream; and as I lie close to the earth, a thousand unknown plants are noticed by me: when I hear the buzz of the little world among the stalks, and grow familiar with the countless indescribable forms of the insects and flies, then I feel the presence of the Almighty, who formed us in his own image, and the breath of that universal love which bears and sustains us, as it floats around us in an eternity of bliss; and then, my friend, when darkness overspreads my eyes, and heaven and earth seem to dwell in my soul and absorb its power, like the form of a beloved mistress,--then I often think with longing, Oh, would I could describe these conceptions, could impress upon paper all that is living so full and warm within me, that it might be the mirror of my soul, as my soul is the mirror of the infinite G.o.d! O my friend--but it is too much for my strength--I sink under the weight of the splendour of these visions!

May 12.

I know not whether some deceitful spirits haunt this spot, or whether it be the warm, celestial fancy in my own heart which makes everything around me seem like paradise. In front of the house is a fountain,--a fountain to which I am bound by a charm like Melusina and her sisters.

Descending a gentle slope, you come to an arch, where, some twenty steps lower down, water of the clearest crystal gushes from the marble rock. The narrow wall which encloses it above, the tall trees which encircle the spot, and the coolness of the place itself,--everything imparts a pleasant but sublime impression. Not a day pa.s.ses on which I do not spend an hour there. The young maidens come from the town to fetch water,--innocent and necessary employment, and formerly the occupation of the daughters of kings. As I take my rest there, the idea of the old patriarchal life is awakened around me. I see them, our old ancestors, how they formed their friendships and contracted alliances at the fountain-side; and I feel how fountains and streams were guarded by beneficent spirits. He who is a stranger to these sensations has never really enjoyed cool repose at the side of a fountain after the fatigue of a weary summer day.