The German Classics of the Nineteenth and Twentieth Centuries, Volume 08

The German Classics of the Nineteenth and Twentieth Centuries, Volume 08
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The German Classics of the Nineteenth and Twentieth Centuries, Volume 08 / Masterpieces of German Literature Translated into English

EDITOR'S NOTE

This volume, containing chiefly masterpieces of the Novel of Provincial Life, is illustrated by the principal works of one of the foremost painters of German peasant life, Benjamin Vautier. These picture's have been so arranged as to bring out in natural succession typical situations in the career of an individual from the cradle to the grave. In order not to interrupt this succession, Auerbach's Little Barefoot, likewise illustrated by Vautier, has been placed before Gotthelf's Uli, The Farmhand, although Gotthelf, and not Auerbach, is to be considered as the real founder of the German village story.

The frontispiece, Karl Spitzweg's Garret Window, introduces a master of German genre painting who in a later volume will be more fully represented.

THE NOVEL OF PROVINCIAL LIFE

By EDWIN C. ROEDDER, PH.D.

Associate Professor of German Philology, University of Wisconsin

To Rousseau belongs the credit of having given, in his passionate cry "Back to Nature!" the classic expression to the consciousness that all the refinements of civilization do not constitute life in its truest sense. The sentiment itself is thousands of years old. It had inspired the idyls of Theocritus in the midst of the magnificence and luxury of the courts of Alexandria and Syracuse. It reëchoed through the pages of Virgil's bucolic poetry. It made itself heard, howsoever faintly, in the artificiality and sham of the pastoral plays from the sixteenth to the eighteenth century. And it was but logical that this sentiment should seek its most adequate and definitive expression in a portrayal of all phases of the life and fate of those who, as the tillers of the soil, had ever remained nearer to Mother Earth than the rest of humankind.

Not suddenly, then, did rural poetry rise into being; but while its origin harks back to remote antiquity it has found its final form only during the last century. In this its last, as well as its most vigorous, offshoot, it presents itself as the village story—as we shall term it for brevity's sake—which has won a permanent place in literature by the side of its older brothers and sisters, and has even entirely driven out the fanciful pastoral or village idyl of old.

The village story was bound to come in the nineteenth century, even if there had been no beginnings of it in earlier times, and even if it did not correspond to a deep-rooted general sentiment. The eighteenth century had allowed the Third Estate to gain a firm foothold in the domain of dignified letters; the catholicity of the nineteenth admitted the laborer and the proletarian. It would have been passing strange if the rustic alone had been denied the privilege. An especially hearty welcome was accorded to the writings of the first representatives of the new species. Internationalism, due to increased traffic, advanced with unparalleled strides in the third and fourth decades. The seclusion of rural life seemed to remain the quiet and unshakable realm of patriarchal virtue and venerable tradition. The political skies were overcast with the thunder clouds of approaching revolutions; France had just passed through another violent upheaval. Village conditions seemed to offer a veritable haven of refuge. The pristine artlessness of the peasant's intellectual, moral, and emotional life furnished a wholesome antidote to the morbid hyperculture of dying romanticism, the controversies and polemics of Young Germany, and the self-adulation of the society of the salons. Neither could the exotic, ethnographic, and adventure narratives in the manner of Sealsfield, at first enthusiastically received, satisfy the taste of the reading public for any length of time—at best, these novels supplanted one fashion by another, if, indeed, they did not drive out Satan by means of Beelzebub. And was it wise to roam so far afield when the real good was so close at hand? Why cross oceans when the land of promise lay right before one's doors? All that was needed was the poet discoverer.

The Columbus of this new world shared the fate of the great Genoese in more than one respect. Like him, he set out in quest of shores that he was destined never to reach. Like him, he discovered, or rather rediscovered, a new land. Like him, he so far outstripped his forerunners that they sank into oblivion. Like Columbus, who died without knowing that he had not reached India, the land of his dreams, but found a new world, he may have departed from this life in the belief that he had been a measurably successful social reformer when he had proved to be a great epic poet. Like Columbus, he was succeeded by his Amerigo Vespucci, after whom his discovery was named. The Columbus of the village story is the Swiss clergyman Albert Bitzius, better known by his assumed name as Jeremias Gotthelf; the Amerigo Vespucci is his contemporary Berthold Auerbach.

The choice of his nom de guerre is significant of Jeremias Gotthelf's literary activity. He regarded himself as the prophet wailing the misery of his people, who could be delivered only through the aid of the Almighty. It never occurred to him to strive for literary fame. He considered himself as a teacher and preacher purely and simply; in a measure, as the successor of Pestalozzi, who, in his Lienhard und Gertrud (1781-1789), had created a sort of pedagogical classic for the humbler ranks of society; and if there be such a thing in Gotthelf's make-up as literary influence, it must have emanated from the sage of Burgdorf and Yverdun. To some extent also Johann Peter Hebel (1760-1826), justly famed for his Alemannian dialect poems, may have served him as a model, for Hebel followed an avowedly educational purpose in the popular tales of his Schatzkästlein des rheinischen Hausfreunds ("Treasure Box of the Rhenish Crony"), of which it has been said that they outweigh tons of novels.

Gotthelf's intention was twofold: to champion the cause of the rustic yeomanry in the threatening of its peculiar existence—for the radical spirit of the times was already seizing and preying upon the hallowed customs of the peasantry's life—and to fight against certain inveterate vices of the rural population itself that seemed to be indigenous to the soil. As the first great social writer of the German tongue, he is not content to make the rich answerable for existing conditions, but labors with all earnestness to educate the lower classes toward self-help. At first he appeared as an uncommonly energetic, conservative, polemic author in whose views the religious, basis of life and genuine moral worth coincided with the traditional character of the country yeomanry. A more thorough examination revealed to his readers an original epic talent of stupendous powers. He was indeed eminently fitted to be an educator and reformer among his flock by his own nobility of character, his keen knowledge and sane judgment of the people's real needs and wants, his warm feeling, and his unexcelled insight into the peasant's inner life. Beyond that, however, he was gifted with exuberant poetic imagination and creative power, with an intuitive knowledge of the subtlest workings of the emotional life, and a veritable genius for finding the critical moments in an individual existence.

So it came about that the poet triumphed over the social reformer, in spite of himself; and while in his own parish, at Lützelflüh in the Canton of Berne—where he was installed as minister of the Gospel in 1832 after having spent some time there as a vicar—he is remembered to this day for his self-sacrificing activity in every walk of life, the world at large knows him only as one of the great prose writers of Germany in the nineteenth century. His first work, Bauernspiegel ("The Peasants' Mirror"), was published in 1836, when he was thirty-nine years old. From that time on until his death in 1854, his productivity was most marvelous. The Peasants' Mirror is the first village story that deserves the name; here, for the first time, the world of the peasant was presented as a distinct world by itself.[1 - This peculiarity distinguishes Gotthelf's Bauernspiegel from the nearly contemporary Oberhof, the episode of Immermann's Münchhausen which is intended as a popular contrast to the aristocratic society represented in the larger part of that novel. Cf. Vol. vii, p. 169.] It is at the same time one of the earliest, as well as the most splendid, products of realistic art; and, considered in connection with his later writings, must be regarded as his creed and program. For the motives of the several chapters reappear later, worked out into complete books, and thus both Uli der Knecht ("Uli, the Farmhand," 1841) and Uli der Pächter ("Uli, the Tenant," 1849) are foreshadowed here.

As a literary artist Gotthelf shows barely any progress in his whole career, and intentionally so. Few writers of note have been so perfectly indifferent to matters of form. The same Gottfried Keller who calls Gotthelf "without exception the greatest epic genius that has lived in a long time, or perhaps will live for a long time to come," characterizes him thus as to his style: "With his strong, sharp spade he will dig out a large piece of soil, load it on his literary wheelbarrow, and to the accompaniment of strong language upset it before our feet; good garden soil, grass, flowers and weeds, manure and stones, precious gold coins and old shoes, fragments of crockery and bones—they all come to light and mingle their sweet and foul smells in peaceful harmony." His adherence to the principle Naturalia non sunt turpia is indeed so strict that at times a sensitive reader is tempted to hold his nose. It is to be regretted that so great a genius in his outspoken preference for all that is characteristic should have been so partial to the rude, the crude, and the brutal. For Gotthelf's literary influence—which, to be sure, did not make itself felt at once—has misled many less original writers to consider these qualities as essential to naturalistic style.

Very largely in consequence of his indifference to form and the naturalistic tendencies mentioned—for to all intents and purposes Gotthelf must be regarded as the precursor of naturalism—the Swiss writer did not gain immediate recognition in the world of letters, and the credit rightfully belonging to him fell, as already mentioned, to Berthold Auerbach (1812-1882), a native of the village of Nordstetten in the Württemberg portion of the Black Forest. From 1843-1853 Auerbach published his Black Forest Village Stories, which at once became the delight of the reading public. Auerbach himself claimed the distinction of being the originator of this new species of narrative—an honor which was also claimed by Alexander Weill, because of his Sittengemälde aus dem Elsass ("Genre Paintings from Alsace," 1843). While Gotthelf had written only for his peasants, without any regard for others, Auerbach wrote for the same general readers of fiction as the then fashionable writers did. So far as his popularity among the readers of the times and his influence on other authors are concerned, Auerbach has a certain right to the coveted title, for a whole school of village novelists followed at his heels; and his name must remain inseparably connected with the history of the novel of provincial life. The impression his stories made everywhere was so strong as to beggar description. They afforded the genuine delight that we get from murmuring brooks and flowering meadows—although the racy smell of the soil that is wafted toward us from the pages of Gotthelf's writings is no doubt more wholesome for a greater length of time. Auerbach has often been charged with idealizing his peasants too much. It must be admitted that his method and style are idealistic, but, at least in his best works, no more so than is compatible with the demands of artistic presentation. He does not, like Gotthelf, delight in painting a face with all its wrinkles, warts, and freckles, but works more like the portrait painter who will remove unsightly blemishes by retouching the picture without in any way sacrificing its lifelike character. When occasion demands he also shows himself capable of handling thoroughly tragic themes with pronounced success. In his later years, it is true, he fell into mannerism, overemphasized his inclination toward didacticism and sententiousness, and allowed the philosopher to run away with the poet by making his peasant folk think and speak as though they were adepts in the system of Spinoza, with which Auerbach himself, being of Jewish birth and having been educated to be a rabbi, was intimately familiar. On the whole, however, the lasting impression we obtain from Auerbach's literary work remains a very pleasant one—that of a rich and characteristic life, sound to the core, vigorous and buoyant.

Not as a writer of village stories—for in the portrayal of the rustic population, as such, he was not concerned—but in his basic purpose of holding up nature, pure and holy, as an ideal, Adalbert Stifter (1805-1868), an Austrian, must be assigned a place of honor in this group. A more incisive contrast to the general turbulence of the forties could hardly be imagined than is found in the nature descriptions and idyls of this quietist, who "from the madding crowd's ignoble strife" sought refuge in the stillness of the country and among people to whom such outward peace is a physical necessity. His feeling for nature, especially for her minutest and seemingly most insignificant phenomena, is closely akin to religion; there is an infinite charm in his description of the mysterious life of apparently lifeless objects; he renders all the sensuous impressions so masterfully that the reader often has the feeling of a physical experience; and it is but natural that up to his thirty-fifth year, before he discovered his literary talent, he had dreamed of being a landscape painter. Hebbel's epigram, "Know ye why ye are such past masters in painting beetles and buttercups? 'Tis because ye know not man; 'tis because ye see not the stars," utterly fails to do justice to Stifter's poetic individuality. But in avoiding the great tempests and serious conflicts of the human heart he obeyed a healthy instinct of his artistic genius, choosing to retain undisputed mastery in his own field.

It is, of course, an impossibility to treat adequately, in the remainder of the space at our disposal, the poetic and general literary merit of Fritz Reuter (1810-1874), the great regenerator and rejuvenator of Low German as a literary language. His lasting merit in the field of the village story is that by his exclusive use of dialect he threw an effective safeguard around the naturalness of the emotional life of his characters, and through this ingenious device will for all time to come serve as a model to writers in this particular domain. For dialectic utterance does not admit of any super-exaltation of sentiment; at any rate, it helps to detect such at first glance. But there are other features no less meritorious in his stories of rural life, chief of which is that unique blending of seriousness and humor that makes us laugh and cry at the same time. With his wise and kind heart, with his deep sympathy for all human suffering, with the smile of understanding for everything truly human, also for all the limitations and follies of human nature, Reuter has worthily taken his place by the side of his model, Charles Dickens. It is questionable whether even Dickens ever created a character equal to the fine and excellent Uncle Bräsig, who, in the opinion of competent critics, is the most successful humorous figure in all German literature. Bräsig is certainly a masterpiece of psychology; as remote from any mere comic effect, despite his idiosyncrasies, as from maudlin sentimentality; an impersonation of sturdy manhood and a victor in life's battles, no less than his creator, who, although he had lost seven of the most precious years of his life in unjust imprisonment and even had been under sentence of death for a crime of which he knew himself to be absolutely innocent, had not allowed his fate to make him a pessimist. Nor does the central theme and idea of his masterpiece Ut mine Stromtid ("From my Roaming Days," 1862), in its strength and beauty, deserve less praise than the character delineation. Four years previous, in Kein Hüsung ("Homeless ") the author had raised a bitter cry of distress over the social injustice and the deceit and arrogance of the ruling classes. In spite of a ray of sunshine at the end, the treatment was essentially tragic. Now he has found a harmonious solution of the problem; the true nobility of human nature triumphs over all social distinctions; aristocracy of birth and yeomanry are forever united. Thus the marriage of Louise Havermann with Franz von Rambow both symbolizes the fusion of opposing social forces and exemplifies the lofty teaching of Gotthelf—"The light that is to illumine our fatherland must have its birth at a fireside." With his gospel of true humanity the North German poet supplements and brings to its full fruition the religious austerity of the doctrines and precepts of Jeremias Gotthelf, the preacher on the Alpine heights of Switzerland.

* * * *

BERTHOLD AUERBACH

LITTLE BAREFOOT[2 - Editor's note.—Numerous omissions have been made in the course of the narrative, reducing the length of the original text by about one fifth. Wherever necessary for the continuity of the story, the essence of the excluded portions has been supplied by synopses. These synopses are printed enclosed in brackets. Permission Kegan Paul, Trench, Trübner & Co., Ltd., London.] (1856)

A TALE OF VILLAGE LIFE

TRANSLATED BY H.W. DULCKEN, PH.D. REVISED AND ABRIDGED BY PAUL BERNARD THOMAS

CHAPTER I

THE CHILDREN KNOCK AT THE DOOR

Early in the morning through the autumnal mist two children of six or seven years are wending their way, hand in hand, along the garden-paths outside the village. The girl, evidently the elder of the two, carries a slate, school-books, and writing materials under her arm; the boy has a similar equipment, which he carries in an open gray linen bag slung across his shoulder. The girl wears a cap of white twill, that reaches almost to her forehead, and from beneath it the outline of her broad brow stands forth prominently; the boy's head is bare. Only one child's step is heard, for while the boy has strong shoes on, the girl is barefoot. Wherever the path is broad enough, the children walk side by side, but where the space between the hedges is too narrow for this, the girl walks ahead.

The white hoar frost has covered the faded leaves of the bushes, and the haws and berries; and the flips especially, standing upright on their bare stems, seem coated with silver. The sparrows in the hedges twitter and fly away in restless groups at the children's approach; then they settle down not far off, only to go whirring up again, till at last they flutter into a garden and alight in an apple-tree with such force that the leaves come showering down. A magpie flies up suddenly from the path and shoots across to the large pear-tree, where some ravens are perched in silence. The magpie must have told them something, for the ravens fly up and circle round the tree; one old fellow perches himself on the waving crown, while the others find good posts of observation on the branches below. They, too, are doubtless curious to know why the children, with their school things, are following the wrong path and going out of the village; one raven, indeed, flies out as a scout and perches on a stunted willow by the pond. The children, however, go quietly on their way till, by the alders beside the pond, they come upon the high-road, which they cross to reach a humble house standing on the farther side. The house is locked up, and the children stand at the door and knock gently. The girl cries bravely: "Father! mother!"—and the boy timidly repeats it after her: "Father! mother!" Then the girl takes hold of the frost-covered latch and presses it, at first gently, and listens; the boards of the door creak, but there is no other result. And now she ventures to rattle the latch up and down vigorously, but the sounds die away in the empty vestibule—no human voice answers. The boy then presses his mouth to a crack in the door and cries: "Father! mother!" He looks up inquiringly at his sister—his breath on the door has also turned to hoar frost.

From the village, lying in a shroud of mist, come the measured sounds of the thresher's flail, now in sudden volleys, now slowly and with a dragging cadence, now in sharp, crackling bursts, and now again with a dull and hollow beat. Sometimes there is the noise of one flail only, but presently others have joined in on all sides. The children stand still and seem lost. Finally they stop knocking and calling, and sit down on some uprooted tree-stumps. The latter lie in a heap around the trunk of a mountain-ash which stands beside the house, and which is now radiant with its red berries. The children's eyes are again turned toward the door-but it is still locked.

"Father got those out of the Mossbrook Wood," said the girl, pointing to the stumps; and she added with a precocious look: "They give out lots of heat, and are worth quite a little; for there is a good deal of resin in them, and that burns like a torch. But chopping them brings in the most money."

"If I were already grown up," replied the boy, "I'd take father's big ax, and the beechwood mallet, and the two iron wedges, and the ash wedge and break it all up as if it were glass. And then I'd make a fine, pointed heap of it like the charcoal-burner, Mathew, makes in the woods; and when father comes home, how pleased he'll be! But you must not tell him who did it!" the boy concluded, raising a warning finger at his sister.

She seemed to have a dawning suspicion that it was useless to wait there for their father and mother, for she looked up at her brother very sadly. When her glance fell on his shoes, she said:

"Then you must have father's boots, too. But come, we will play ducks and drakes-you shall see that I can throw farther than you!"

As they walked away, the girl said:

"I'll give you a riddle to guess: What wood will warm you without your burning it?"

"The schoolmaster's ruler, when you get the spatters," answered the boy.

"No, that's not what I mean: The wood that you chop makes you warm without your burning it." And pausing by the hedge, she asked again:

"On a stick he has his head, And his jacket it is red, And filled with stone is he—Now who may he be?"

The boy bethought himself very gravely, and cried "Stop! You mustn't tell me what it is!—Why, its a hip!"

The girl nodded assentingly, and made a face as if this were the first time she had ever given him the riddle to guess; as a matter of fact, however, she had given it to him very often, and had used it many times to cheer him up.

The sun had dispersed the mist, and the little valley stood in glittering sheen, as the children turned away to the pond to skim flat stones on the water. As they passed the house the girl pressed the latch once more; but again the door did not open, nor was anything to be seen at the window. And now the children played merrily beside the pond, and the girl seemed quite content that her brother should be the more clever at the sport, and that he should boast of it and grow quite excited over it; indeed, she manifestly tried to be less clever at it, than she really was, for the stones she threw almost always plumped down to the bottom as soon as they struck the water—for which she got properly laughed at by her companion. In the excitement of the sport the children quite forgot where they were and why they had come there—and yet it was a strange and sorrowful occasion.

In the house, which was now so tightly locked up, there had lived, but a short time before, one Josenhans, with his wife and their two children, Amrei (Anna Marie) and Damie (Damien). The father was a woodcutter in the forest, and was, moreover, an adept at various kinds of work; the house, which was in a dilapidated state when he bought it, he had himself repaired and reroofed, and in the autumn he was going to whitewash it inside—the lime was already lying prepared in the trench, covered with withered branches. His wife was one of the best day-laboring women in the village—ready for anything, day and night, in weal and in woe; for she had trained her children, especially Amrei, to manage for themselves at an early age. Industry and frugal contentment made the house one of the happiest in the village. Then came a deadly sickness which snatched away the mother, and the following evening, the father; and a few days later two coffins were carried away from the little house. The children had been taken immediately into the next house, to "Coaly Mathew," and they did not know of their parents' death until they were dressed in their Sunday clothes to follow the bodies.

Josenhans and his wife had no near relations in the place, but there was, nevertheless, loud weeping heard, and much mournful praise of the dead couple. The village magistrate walked with one of the children at each hand behind the two coffins. Even at the grave the children were quiet and unconscious, indeed, almost cheerful, though they often asked for their father and mother. They dined at the magistrate's house, and everybody was exceedingly kind to them; and when they got up from the table, each one received a parcel of cakes to take away.

But that evening, when, according to an arrangement of the village authorities, "Crappy Zachy" came to get Damie, and Black Marianne called for Amrei, the children refused to separate from each other, and cried aloud, and wanted to go home. Damie soon allowed himself to be pacified by all sorts of promises, but Amrei obliged them to use force—she would not move from the spot, and the magistrate's foreman had to carry her in his arms into Black Marianne's house. There she found her own bed—the one she had used at home—but she would not lie down on it. Finally, however, exhausted by crying, she fell asleep on the floor and was put to bed in her clothes. Damie, too, was heard weeping aloud at Crappy Zachy's, and even screaming pitiably, but soon after he was silent.

The much-defamed Black Marianne, on the other hand, showed on this first evening how quietly anxious she was about her foster-child. For many, many years she had not had a child about her, and now she stood before the sleeping girl and said, almost aloud:

"Happy sleep of childhood! Happy children who can be crying, and before you look around they are asleep, without worry or restless tossing!"

She sighed deeply.

The next morning Amrei went early to her brother to help him dress himself, and consoled him concerning what had happened to him, declaring that when their father came home he would pay off Crappy Zachy. Then the two children went out to their parents' house, knocked at the door and wept aloud, until Coaly Mathew, who lived near there, came and took them to school. He asked the master to explain to the children that their parents were dead, because he himself could not make it clear to them—Amrei especially seemed determined not to understand it. The master did all he could, and the children became quiet. But from the school they went back to the empty house and waited there, hungry and forsaken, until they were fetched away.

Josenhans' house was taken by the mortgagee, and the payment the deceased had made upon it was lost; for the value of houses had decreased enormously through emigration; many houses in the village stood empty, and Josenhans' dwelling also remained unoccupied. All the movable property had been sold, and a small sum had thus been realized for the children, but it was not nearly enough to pay for their board; they were consequently parish children, and as such were placed with those who would take them at the cheapest rate.

One day Amrei announced gleefully to her brother that she knew where their parents' cuckoo-clock was—Coaly Mathew had bought it. And that very evening the children stood outside the house and waited for the cuckoo to sing; and when it did, they laughed aloud.