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      The German Classics of the Nineteenth and Twentieth Centuries, Volume 11 Masterpieces of German Literature Translated Into English

      EDITOR'S NOTE

      The illustrations in this volume, devoted to the writings of Spielhagen, Storm, and Raabe, are from paintings by Michael von Munkacsy, Jacob Alberts, and Karl Spitzweg. Munkacsy may be called an artistic counterpart to Spielhagen, inasmuch as he shared with him the conscious striving for effect, the predilection for striking social contrasts, and the desire to make propaganda for liberalism. Spitzweg was allied to Raabe in his truly Romantic inwardness, his joyful acceptance of all phases of life, his glorification of the humble and the lowly, and his inexhaustible humor. Alberts is probably the most talented living painter of that part of Germany which forms the background of Storm's finest novels: the Frisian coast of the North Sea.

Kuno Francke.

      THE LIFE OF FRIEDRICH SPIELHAGEN

By Marion D. Learned, Ph.DProfessor of Germanic Languages and Literatures, University of Pennsylvania

      The struggle for liberal institutions, which found expression in the Wars of Liberation, the July Revolution of 1830, and the March Revolution of 1848 – with visions of a German Republic, with bitter protest against the Reaction, with a new hope of a regenerated social State and a renovated German Empire – marks only the stormy stages of the liberalizing movement which is still going on in the German nation. Since 1848, radical revolt has taken on forms very different from the dreams which fired the spirits of the Forty-eighters. The sword has yielded to the pen, the scene of combat has shifted from the arsenal and the battlefield to the printed book and the Council Chamber; while the necessity of an active policy of military defense has saved the German people from the throes of bloody internal strife.

      In the transition from the armed revolutionary outbreak of 1848 to the evolutionary processes of the present day, the novel of purpose and of living issues (Tendenz-und Zeitroman) has played an important part in teaching the German people to think for themselves and to seek the highest good of the individual and of the classes in the general weal of the nation as a whole. In the front rank, if not the foremost, of the novelists of living issues in this period of social and economic reform was Friedrich Spielhagen, whose novels were almost without exception novels of purpose.

      Friedrich Spielhagen was born in Magdeburg in the Prussian province of Saxony, February 24, 1829. He was the son of a civil engineer, and descended from a family of foresters in Tuchheim. His seriousness and precocity won him the nickname of "little old man," and also admission to the gymnasium a year before the average age of six. In 1835, when he was six years old, his father was transferred to the position of Inspector of Waterworks in Stralsund. It was here by the sea and among the dunes that the young poet spent his most plastic years, and became, like Fritz Reuter, his contemporary and literary colleague of Mecklenburg-Schwerin, the poet of the Flat Land, which he made so familiar to the German public of the '60s and '70s. Spielhagen has given his own account of the first years of his life in his autobiography entitled Discoverer and Inventor which is evidently modeled after Goethe's Poetry and Fact. Here we learn with what delight the boy accompanied his father on his tours of inspection about the harbor city, with what difficulties he contended in school, which he says was to him neither "stepmother" nor "alma mater," what deep impressions his vacation visits at the country homes of his school friends left upon his sensitive mind. Although his family never became fully naturalized in the social life of Stralsund, but remained to the end "newcomers," Spielhagen says of himself that, in his love for Pomeranian nature, he felt himself to be "the peer of the native born of Pomerania, which has come to be, in the truest sense of the word, my home land."

      The sea with its endless variety of moods and scenes opened to him the secrets of his favorite poet Homer. He says: "I count it among the greatest privileges of my life that I could dream myself into my favorite poet, while the Greek original was still a book of seven seals." Following the steps of his great German model, Goethe, he tested his talents for the stage both at home, where he was playwright, manager, stage director, prompter and actor, all in one, and later on the real stage at Magdeburg only to find that he was not called to wear the buskin.

      In his school days he began to read the authors of German fiction and poetry: Tieck, Arnim, Brentano, Stifter, Zschokke, Steffens, Goethe's Hermann and Dorothea and Faust (First Part), Lessing, Uhland, Heine's Book of Songs, Freiligrath, Herwegh. He also browsed about in other literatures: Byron's Don Juan he read first when he was seven years of age; of Walter Scott he says: "In speaking this precious name I mention perhaps not the most distinguished, but nevertheless the greatest and most sympathetic, stimulator of my mind at that time. * * * In comparison with this splendid Walter Scott, the other English and American novelists, Cooper, Ainsworth, Marryat, and whatever their names whose novels came into my hands at that time are stars of the second and third magnitude." He regards Bulwer alone as the peer of the Scottish Bard.

      The English influence of the time was reflected also in the life about him, especially in the sport-life, with its horse-racing, pigeon-shooting, card-playing (Tarok, L'Hombre, Whist or Boston) and kindred pastimes. He knew "that Blacklock was sired by Brownlock from Semiramis, and Miss Jane was bred of the Bride of Abydos by Robin Hood" – an interesting sidelight on the Byronic influence of the time. This sport-life so zealously cultivated by the gentry, and his visits to the manor houses of his school friends during the vacations, afforded him glimpses into the customs and traditions of the agrarian gentry of Pomerania, and the manorial economy and reckless life of the nobles with their castles, dependents, laborers, overseers, apprentices, volunteers and the like – the first impressions of his Problematic Characters.

      In 1847 Spielhagen left Stralsund to study jurisprudence at the University of Berlin, a journey of thirty German miles in twenty-four hours. What a revelation the great capital presented to the youthful provincial, who had never seen a railroad nor a gas jet before he began the journey! Arriving before the opening of the semester he had time to take an excursion into Thuringia, which later became so dear to him and is reflected in his From Darkness to Light (second part of Problematic Characters), Always to the Fore, Rose of the Court, Hans and Grete, The Village Coquette, The Amusement Commissioner, and The Fair Americans. Returning to Berlin he heard, among others, Heidemann on Natural Law and Trendelenburg on Logic. The signs of revolution were already visible in the university circles, but had not as yet awakened the interests of Spielhagen, who declared that revolution was a matter of weather, and that he himself was a republican in the sense that the others were not.

      The next semester Spielhagen went to the University of Bonn, wavering between Law and Medicine. The landscape of the lower Rhineland was not congenial to him. He longed for his Pomeranian shore with its dunes and invigorating sea life. In Bonn he met leaders of the revolutionary party – Carl Schurz, "le bel homme," and Ludwig Meyer. The portrait he sketches of Carl Schurz is an outline of that which the liberator of Kinkel rounded out for himself in his long years of sturdy citizenship in America. Spielhagen warned Schurz at that time that his schemes were quixotic.

      During the following vacation, on a foot-tour through Thuringia, Spielhagen witnessed the effects of the revolution and the ensuing reaction. He arrived at Frankfurt-on-the-Main just after the close of the Great Parliament. He was deeply impressed with the violence done to Auerswald and Lichnowski, and witnessed the trial of Lassalle for the theft of the jewel-casket of the Baroness von Meyendorf. His attention was thus fixed upon the personality of the great socialist reformer who was later to play such an important rôle in his novels, and of whom he said: "Lassalle set in motion the message which not only continues today, but is only beginning to manifest its depth and power, and the end of which no mind of the wise can foresee."

      In Bonn Spielhagen finally went over to classical philology, and devoted much time also to modern literature. His beloved Homer, the Latin poets, Goethe's lyrics, Goetz, Iphigenia, Tasso, Wilhelm Meister, The Elective Affinities, Immermann's Münchhausen, Vilmar, Gervinus, Loebel, Simrock's Nibelungen, Goldsmith's Vicar of Wakefield, Dickens and Shakespeare all claimed his attention. The most interesting incident of his stay at Bonn was his audience with the later Crown Prince Frederick, who had come with his tutor, Professor

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