The German Classics of The Nineteenth and Twentieth Centuries, Volume I | Page 6

he furnished one for the comedy and the didactic drama, for the polemic treatise and the work of scientific research. For is not the tale of the three rings, which forms the kernel of Nathan the Wise, numbered among the great standard pieces of German elocution, in spite of all the contradictions and obscurities which have of late been pointed out in it, but which only the eye of the microscopist can perceive? In general it is the "popular philosophers" who have, more than any one else, produced a fixed prose style; as a reader of good but not exclusively classical education once acknowledged to me that the German of J.J. Engel was more comprehensible to him and seemed more "modern" than that of Goethe. As a matter of fact, the narrator Goethe, in the enchanting youthful composition of Werther, did venture very close to the lyrical, but in his later novels his style at times dangerously approached a dry statement of facts, or a rhetorically inflated declamation; and even in The Elective Affinities, which stands stylistically higher than any of his other novels, he has not always avoided a certain stiltedness that forms a painful contrast to the warmth of his sympathy for the characters. On the other hand, in scientific compositions he succeeded in accomplishing what had hitherto been unattainable--just because, in this case, the new language had first to be created by him.
Seldom are even the great writers of the following period quite free from the danger of a lack-lustre style in their treatment of the language, above all in narrative composition. It is only in the present day that Thomas Mann, Jacob Wassermann, and Ricarda Huch are trying along different lines, but with equal zeal, to form a fixed individual style for the German prose-epic. The great exceptions of the middle period, the writers of prose-epics Jeremias Gotthelf and Gottfried Keller, the novelists Paul Heyse and Marie von Ebner-Eschenbach, the narrator of anecdotes Ludwig Anzengruber, with his greater predecessor Johann Peter Hebel, and his lesser contemporary Peter Rosegger, the portrayer of still-life Adalbert Stifter and a few others, have, more by a happy instinct than anything else, hit upon the style proper to their form of composition, lack of which prevents us from enjoying an endless number of prose works of the nineteenth century, which, as far as their subject matter goes, are not unimportant. In this connection I will only mention Karl Gutzkow's novels describing his own period, or, from an earlier time, Clemens Brentano's fairy tales, Friedrich Hebbel's humoresques, or even the rhetorically emotional historical compositions of Heinrich von Treitschke, found in certain parts of his work. But this lack of a fixed specific style spread likewise to other forms of composition; Schiller's drama became too rhetorical; Friedrich R��ckert's lyric poetry too prosaically didactic; that of Annette von Droste-H��lshoff often too obscure and sketchy.
If, therefore, the struggle with the language was fought out successfully by modern German literature only on the battleground of the lyric (and even there, as we have seen, not without exceptions), on the other hand a second conservative force was placed at the service of the literary development with more uniform success, namely Metrics. To be sure, here again this applies only to verse, for the corresponding art of prose rhythm has been as good as lost to the Germans, in contrast to the French, and almost more so to the English. In prose also a conscious and systematic attempt to make an artistic division into paragraphs, chapters, and books, has only been made in recent times, above all in and since the writings of Nietzsche. For as far as the treatment of language in itself is concerned, German literature has hardly yet fully developed an artistic form; writers still continue to treat it far too much as a mere tool. But verse is felt to be an object for artistic molding, although here too the naturalistic dogmas of the Storm and Stress writers, of the Romanticists, Young Germans and Ultra-Moderns, have often shaken the theories upon which the artistic perfection of our poetry is based.
In this regard, likewise, there was, in the seventeenth century, a great difficulty to be overcome. Changes in language, the effect of French and Italian style, the influence of music, had weakened the foundations of the German art of verse, which were already partly broken down by mechanical wear and tear. The comparatively simple regulation contrived by an ordinary, though clever, poet, Martin Opitz, proved capable of enduring for centuries; a connection was established between the accent of verse and natural accent, which at the same time, by means of more stringent rules, created barriers against variable accent. It was merely a question of arranging the words in such fashion that, without forming too great