Коллектив авторов - The German Classics of the Nineteenth and Twentieth Centuries, Volume 01

Kuno Francke.

The German Classics is the first work issued by The German Publication Society in pursuance of a comprehensive plan to open to the English-speaking people of the world the treasures of German thought and achievement in Literature, Art and Science.

In the production of this monumental work the thanks and appreciation of the Publishers are especially due to Hugo Reisinger, Esq., whose loyal support and constant encouragement have made possible its publication.

General Introduction

By Richard M. Meyer, Ph.D. Professor of German Literature, University of Berlin.

Men formerly pictured the origin and development of a literature as an order less play of incalculable forces; out of a seething chaos forms more or less definite arose, and then, one day, behold! the literary earth was there, with sun and moon, water and mountains, animals and men. This conception was intimately connected with that of the origin of individual literary compositions. These likewise—since the new "theory of genius," spreading from England, had gained recognition throughout the whole of Europe, especially in those countries speaking the Germanic languages—were imagined to be a mere succession of inspirations and even of improvisations. This view of the subject can no longer be held either wholly or in part, though in the origin and growth of literature, as in every other origin and development, much manifestly remains that is still incomprehensible and incalculable. But even as regards the individual literary work, writers themselves—as latterly Richard Dehmel—have laid almost too strong an emphasis on the element of conscious deliberation. And concerning the whole literary product of an individual, which seems to offer the most instructive analogies to the literary achievement of a people, we received a short time ago a remarkable opinion from Carl Spitteler. He asserts that he is guided in his choice of definite styles and definite forms by an absolutely clear purpose; that he has, for example, essayed every kind of metre which could possibly be suited to his "cosmic" epic, or that he has written a novelette solely in order to have once written a novelette. Although in these confessions, as well as in Edgar Allen Poe's celebrated Poet's Art , self-delusion and pleasure in the paradoxical may very likely be mingled, it still remains true that such dicta as these point to certain peculiarities in the development of literatures. Experiments with all kinds of forms, imitation of certain literary genres without intrinsic necessity, and deliberate selection of new species, play a larger part in the history of modern German literature than people for a long time wished to admit. It is true, however, that all this experimenting, imitating, and speculating, in the end serves a higher necessity, as well in the poet of genius as in a great literature.

Three kinds of forces virtually determine the general trend of all artistic development as, indeed, of all other forms of evolution—forces which constitute the sum total of those that we comprehend under the joint name of tradition , a sum total of progressive tendencies which we will designate as esthetic ideals , and, mediating between the two, the typical development of the individuals themselves —above all, naturally, individuals of genius who really create literature.

These powers are present everywhere, but in very different proportion. Characteristic of Romance literatures and also of the English, is the great predominance of the conservative elements. Thus not only is the literature of the constitutional mother-country democratic, but also the literature of France, otherwise so decidedly aristocratic: a majority dictates its laws to the distinguished individual and is inclined to ostracize him, if too headstrong, and exile him from the "Republic of Letters." This, for instance, is what happened to Lord Byron among the British. On the other hand, German literature, like Germanic literatures in general, is disposed to concede, at least at times, a dictatorial leadership to the individual, even at the cost of tradition—as, for example, to a Klopstock, a Goethe, or a Richard Wagner. But, in exchange, the leader is often forced to uphold his power, no matter how much it may have been due to his achievements, by coercive measures—as, again for example, by means of a prætorian guard of partisans, such as Klopstock first created for himself in the Göttinger "Hain," but which was most effectively organized by Wagner, and such as Victor Hugo, imitating the German model, possessed in the Young Guard which applauded Hernani . Another method of enforcing his mastery is the organization of a systematic reign of terror, consisting of bitter satires, such as Schiller and Goethe (after the model of Pope) founded in the Xenien , and the Romanticists established in many different forms—satires much more personal and much better aimed than was the general sort of mockery which the Romance or Romanized imitators of Horace flung at Bavius and Mævius. In saying all this, however, we have at the same time made it clear that the power and influence of the individual of genius receives much more positive expression in German literature than in those which produced men like Corneille, Calderon, yes, even Dante and Shakespeare. German literary history is, more than any other, occupied with the Individual .

If we now try rapidly to comprehend to what extent each one of the already enumerated literary forces has participated in the development of modern German literature, we must, first of all, emphasize the fact that here the question is, intrinsically, one of construction—of a really new creation.

German literature since 1700 is not simply the continuation of former literature with the addition of radical innovations, as is the case with the literature of the same period in England, but was systematically constructed on new theories—if it may be said that nature and history systematically "construct." A destruction, a suspension of tradition, had taken place, such as no other civilized nation has ever experienced in a like degree—in which connection the lately much-disputed question as to whether the complete decay dates from the time of the Thirty Years' War or the latter merely marks the climax of a long period of decadence may be left to take care of itself. In any event, about the year 1700 the literature of Germany stood lower than that of any other nation, once in possession of a great civilization and literature, has ever stood in recent times. Everything, literally everything, had to be created de novo ; and it is natural that a nation which had to struggle for its very existence, for which life itself had become a daily questioning of fate, could at first think of renovation only through its conservative forces. Any violent commotion in the religious or political, in the economic or social, sphere, as well as in the esthetic, might prove fatal, or at least appear to be so.

The strongest conservative factor of a literature is the language. Upon its relative immutability depends, in general, the possibility of literary compositions becoming the common possession of many generations—depends absolutely all transmission. Especially is poetic language wont to bear the stamp of constancy; convenient formulas, obvious rhymes, established epithets, favorite metaphors, do not, in periods of exhaustion, afford much choice in the matter of phraseology. On the other hand, however, a new tenor of thought, often enough a new tenor of feeling, is continually pressing forward to demand a medium of expression. This battle between the established linguistic form and the new content gives rise to charming, but at the same time alarming, conflicts. In the seventeenth century it was felt strongly how much the store of linguistic expression had diminished, partly on account of a violent and careless "working of the mine," which made prodigal use of the existing medium, as was the case in the prose of Luther and, above all, of Johann Fischart and his contemporaries; partly on account of a narrow confinement to a small number of ideas and words, as in the church hymns.