Коллектив авторов - The German Classics of the Nineteenth and Twentieth Centuries, Volume 04

From this volume on, an attempt will be made to bring out, in the illustrations, certain broad tendencies of German painting in the nineteenth century, parallel to the literary development here represented. There will be few direct illustrations of the subject matter of the text. Instead, each volume will be dominated, as far as possible, by a master, or a group of masters, whose works offer an artistic analogy to the character and spirit of the works of literature contained in it. Volumes IV and V, for instance, being devoted to German Romantic literature of the early nineteenth century, will present at the same time selections from the work of two of the foremost Romantic painters of Germany: Moritz von Schwind and Ludwig Richter. It is hoped that in this way THE GERMAN CLASSICS OF THE NINETEENTH AND TWENTIETH CENTURIES will shed a not unwelcome side-light upon the development of modern German art.

By BENJAMIN W. WELLS, Ph.D.

Author of Modern German Literature .

"The Spring and I came into the world together," Jean Paul liked to tell his friends when in later days of comfort and fame he looked back on his early years. He was, in fact, born on the first day (March 21) and at almost the first hour of the Spring of 1763 at Wunsiedel in the Fichtelgebirge, the very heart of Germany. The boy was christened Johann Paul Friedrich Richter. His parents called him Fritz. It was not till 1793 that, with a thought of Jean Jacques Rousseau, he called himself Jean Paul.

Place and time are alike significant in his birth. Wunsiedel was a typical German hill village; the ancestry, as far back as we can trace it, was typically German, as untouched as Wunsiedel itself, by any breath of cosmopolitan life. It meant much that the child who was in later life to interpret most intimately the spirit of the German people through the days of the French Revolution, of the Napoleonic tyranny and of the War of Liberation, who was to be a bond between the old literature and the new, beside, yet independent of, the men of Weimar, should have such heredity and such environment. Richter's grandfather had held worthily minor offices in the church, his father had followed in his churchly steps with especial leaning to music; his maternal grandfather was a well-to-do clothmaker in the near-by town of Hof, his mother a long-suffering housewife. It was well that Fritz brought sunshine with him into the world; for his temperament was his sole patrimony and for many years his chief dependence. He was the eldest of seven children. None, save he, passed unscathed through the privations and trials of the growing household with its accumulating burdens of debt. For Fritz these trials meant but the tempering of his wit, the mellowing of his humor, the deepening of his sympathies.

When Fritz was two years old the family moved to Joditz, another village of the Fichtelgebirge. Of his boyhood here Jean Paul in his last years set down some mellowed recollections. He tells how his father, still in his dressing gown, used to take him and his brother Adam across the Saale to dig potatoes and gather nuts, alternating in the labor and the play; how his thrifty mother would send him with the provision bag to her own mother's at Hof, who would give him goodies that he would share with some little friend. He tells, too, of his rapture at his first A B C book and its gilded cover, and of his eagerness at school, until his too-anxious father took him from contact with the rough peasant boys and tried to educate him himself, an experience not without value, at least as a warning, to the future author of Levana . But if the Richters were proud, they were very poor. The boys used to count it a privilege to carry the father's coffee-cup to him of a Sunday morning, as he sat by the window meditating his sermon, for then they could carry it back again "and pick the unmelted remains of sugar-candy from the bottom of it." Simple pleasures surely, but, as Carlyle says, "there was a bold, deep, joyful spirit looking through those young eyes, and to such a spirit the world has nothing poor, but all is rich and full of loveliness and wonder."

Every book that the boy Fritz could anywise come at was, he tells us, "a fresh green spring-place," where "rootlets, thirsty for knowledge pressed and twisted in every direction to seize and absorb." Very characteristic of the later Jean Paul is one incident of his childhood which, he says, made him doubt whether he had not been born rather for philosophy than for imaginative writing. He was witness to the birth of his own self-consciousness.

"One forenoon," he writes, "I was standing, a very young child, by the house door, looking to the left at the wood-pile, when, all at once, like a lightning flash from heaven, the inner vision arose before me: I am an I . It has remained ever since radiant. At that moment my I saw itself for the first time and forever."

It is curious to contrast this childhood, in the almost cloistered seclusion of the Fichtelgebirge, with Goethe's at cosmopolitan Frankfurt or even with Schiller's at Marbach. Much that came unsought, even to Schiller, Richter had a struggle to come by; much he could never get at all. The place of "Frau Aja" in the development of the child Goethe's fancy was taken at Joditz by the cow-girl. Eagerness to learn Fritz showed in pathetic fulness, but the most diligent search has revealed no trace in these years of that creative imagination with which he was so richly dowered.

When Fritz was thirteen his father received a long-hoped-for promotion to Schwarzenbach, a market town near Hof, then counting some 1,500 inhabitants. The boy's horizon was thus widened, though the family fortunes were far from finding the expected relief. Here Fritz first participated in the Communion and has left a remarkable record of his emotional experience at "becoming a citizen in the city of God." About the same time, as was to be expected, came the boy's earliest strong emotional attachment. Katharina Bärin's first kiss was, for him, "a unique pearl of a minute, such as never had been and never was to be." But, as with the Communion, though the memory remained, the feeling soon passed away.

The father designed Fritz, evidently the most gifted of his sons, for the church, and after some desultory attempts at instruction in Schwarzenbach, sent him in 1779 to the high school at Hof. His entrance examination was brilliant, a last consolation to the father, who died, worn out with the anxieties of accumulating debt, a few weeks later. From his fellow pupils the country lad suffered much till his courage and endurance had compelled respect. His teachers were conscientious but not competent. In the liberally minded Pastor Vogel of near-by Rehau, however, he found a kindred spirit and a helpful friend. In this clergyman's generously opened library the thirsty student made his first acquaintance with the unorthodox thought of his time, with Lessing and Lavater, Goethe and even Helvetius. When in 1781 he left Hof for the University of Leipzig the pastor took leave of the youth with the prophetic words: "You will some time be able to render me a greater service than I have rendered you. Remember this prophecy."

Under such stimulating encouragement Richter began to write. Some little essays, two addresses, and a novel, a happy chance has preserved. The novel is an echo of Goethe's Werther , the essays are marked by a clear, straightforward style, an absence of sentimentality or mysticism, and an eagerness for reform that shows the influence of Lessing. Religion is the dominant interest, but the youth is no longer orthodox, indeed he is only conditionally Christian.