Stefan Zweig - The Society of the Crossed Keys

But I did join him after all, only a few months later. The illness that was beginning to make him stoop at that last meeting of ours had suddenly felled him, and now I could accompany him only to the cemetery. It was a strange day, a day in July, and no one who was there will ever forget it. For suddenly people arrived at all the Viennese railway stations, coming with every train by day and night, from all lands and countries; Western, Eastern, Russian, Turkish Jews—from all the provinces and small towns they suddenly stormed in, the shock of the news of his death still showing on their faces. You never felt more clearly what their quarrels and talking had veiled over—the leader of a great movement was being carried to his grave. It was an endless procession. Suddenly Vienna realised that it was not only a writer, an author of moderate importance, who had died, but one of those original thinkers who rise victorious in a country and among its people only at rare intervals. There was uproar in the cemetery itself; too many mourners suddenly poured like a torrent up to his coffin, weeping, howling and screaming in a wild explosion of despair. There was an almost raging turmoil; all order failed in the face of a kind of elemental, ecstatic grief. I have never seen anything like it at a funeral before or since. And I could tell for the first time from all this pain, rising in sudden great outbursts from the hearts of a crowd a million strong, how much passion and hope this one lonely man had brought into the world by the force of his ideas.

The real significance to me of my ceremonial admission to the rank of feuilletonist on the Neue Freie Presse was in my private life. It gave me unexpected confidence within the family. My parents had little to do with literature, and did not presume to make literary judgements; to them, and to the entire Viennese bourgeoisie, important works were those that won praise in the Neue Freie Presse , and works ignored or condemned there didn’t matter. They felt that anything published in the feuilleton was vouched for by the highest authority, and a writer who pronounced judgement there demanded respect merely by virtue of that fact. And now, imagine such a family glancing daily at the front page of their newspaper with reverent awe and one morning, incredibly, finding that the rather unkempt nineteen-year-old sitting at their table, who had been far from a high-flyer at school and whose writing they accepted with kindly tolerance as a harmless diversion (better than playing cards or flirting with disreputable girls, anyway), has been giving his opinions, not much valued previously at home, in that highly responsible journal among famous and experienced men. If I had written the finest poems of Keats, Hölderlin or Shelley, it would not have caused such a total change of attitude in my entire family circle. When I came into the theatre, they pointed this puzzling Benjamin of theirs out to each other, a lad who in some mysterious way had entered the sacred precincts of the old and dignified. And since I was published quite often in the feuilleton, almost on a regular basis, I soon risked winning high esteem and respect locally. But fortunately I avoided that danger in good time by telling my parents one morning, to their surprise, that I would like to spend the next semester studying in Berlin. My family respected me, or rather the Neue Freie Presse in whose golden aura I stood, too much not to grant my wish.

Of course I had no intention of ‘studying’ in Berlin. I called in at the university there, just as I had in Vienna, only twice in the course of a semester—once to register for lectures, the second time for certification of my alleged attendance at them. I was not looking for colleges or professors in Berlin, I wanted a greater and even more complete form of freedom. In Vienna, I still felt tied to my environment. The literary colleagues with whom I mingled almost all came from the same middle-class Jewish background as I did; in a small city where everyone knew everyone else, I was inevitably the son of a ‘good’ family, and I was tired of what was considered ‘good’ society’; I even liked the idea of decidedly bad society, an unconstrained way of life with no one checking up on me. I hadn’t even looked in the university register to see who lectured on philosophy in Berlin. It was enough for me to know that modern literature was cultivated more actively and eagerly there than at home, that Dehmel and other writers of the younger generation could be met in Berlin, that new journals, cabarets and theatres were being opened, and in short, that the whole place was in a buzz.

In fact I arrived in Berlin at a very interesting moment in its history. Since 1870, when it had ceased to be the modest and by no means rich little capital of the Kingdom of Prussia and became the residence of the German Kaiser, this unassuming city on the river Spree had seen its fortunes soar to great heights. However, Berlin had not yet assumed leadership in culture and the arts. Munich, with its painters and writers, was still considered the real artistic centre; the Dresden Opera dominated music; the smaller capital cities of former princely states attracted notable artistic figures, but Vienna above all, with its centuries of tradition, concentrated cultural force, and wealth of natural talent had still, until this point, been considered greatly superior. In the last few years, however, with the rapid economic rise of Germany, all that had begun to change. Great industrial companies and prosperous families moved to Berlin, and new wealth accompanied by daring audacity opened up greater opportunities in architecture and the theatre there than in any other large German city. Under the patronage of Kaiser Wilhelm museums began to expand, the theatre found an excellent director in Otto Brahm, and the very fact that there was no real cultural tradition going back for centuries encouraged young artists to try something new. For tradition also and always means inhibition. Vienna, bound to the old ways and idolising its own past, was cautious when faced with young people and bold experiments, waiting to see what came of them. In Berlin, on the other hand, a city seeking to mould itself quickly and in its own individual form, innovation was much in demand. It was only natural, then, for young people to come thronging to Berlin from all over the Reich and even from Austria, and the talented among them were proved right by the success they achieved. Max Reinhardt of Vienna, for instance, would have had to wait patiently for a couple of decades in his native city to reach the position that he was holding in Berlin within two years.

It was at exactly this point of its change from a mere capital city to an international metropolis that I arrived in Berlin. After the rich beauty of Vienna, a legacy of our great forebears, my first impression was rather disappointing; the crucial move towards the Westend district, where a new style of architecture was to replace that of the rather ostentatious buildings of the Tiergarten, had only just begun, and architecturally uninteresting Friedrichstrasse and Leipziger Strasse, with their ponderous splendours, still formed the centre of the city. Suburbs such as Wilmersdorf, Nikolassee and Steglitz could be reached only with some difficulty by tram, and in those days visiting the austerely beautiful lakes of the March of Brandenburg still meant quite an elaborate expedition. Apart from the old Unter den Linden, there was no real centre, no place for showy parades such as the Graben in Vienna, and old Prussian habits of thrift died hard—there was no sign of elegance in general. Women went to the theatre in unfashionable home-made dresses, and wherever you went you never found the light, skilful, prodigal touch that in Vienna and Paris could make something that cost very little look enchantingly extravagant. Every detail showed the miserly economy of the period of Frederick the Great; the coffee was weak and bad because every bean was grudged, food was carelessly prepared and had no zest in it. Cleanliness and a strict, painstaking sense of order ruled here, not the musical verve of Vienna. Nothing seemed to me more typical than the contrast between my Viennese and my Berlin landladies. The woman from whom I rented rooms in Vienna was cheerful and talkative; she did not keep everything sparkling clean, and would carelessly forget things, but she was ready and willing to oblige her tenants. My landlady in Berlin was correct and kept the place immaculate, but on receiving her first monthly bill I found every small service she had done me charged in her neat, upright hand—three pfennigs for sewing on a trouser button, twenty pfennigs for removing a splash of ink from the table top, until finally, under a strong line ruled above, the total sum I owed for such labours, they amounted to sixty-seven pfennigs in all. At first this made me smile, but more telling was the fact that after a few days I myself was infected with this Prussian passion for meticulous order, and for the first and last time in my life found myself keeping precise accounts of my expenditure.