The German Classics of The Nineteenth and Twentieth Centuries, Volume I | Page 8

of the English. Whoever shut the door on the influences spoken of, as did Franz Grillparzer or Hebbel, and, in a different way, Annette von Droste-H��lshoff or Heinrich Leuthold, at the same time nullified a good part of his efficiency.
The drama almost exclusively assumed a foreign, though kindred, form as a garb for the more elevated styles of composition: namely, the blank verse of the English stage, which Lessing's Nathan the Wise had popularized and A.W. Schlegel's Shakespeare had rendered omnipotent, and which Schiller forced upon his successors. The Romanticists, by playing unsuccessfully with different forms, as in Ludwig Tieck's Octavianus, or Immerman's Alexis, or by adopting pure antique or Spanish metres, attempted in vain to free themselves from the restraint of form, the great danger of which consisted in its similarity to common-place sentence construction, so that the verse ran the risk either of becoming prosaic, or else, in trying forcibly to avoid this, of growing bombastic. An escape was provided by inserting, in moments of emotion, a metre of a more lyrical quality into the uniform structure of the usual vehicle of dramatic dialogue, particularly when partaking of the nature of a monologue; as Goethe did, for example, in the "Song of the Fates" in Iphigenia, that most metrically perfect of all German dramatic poems, and as Schiller continued to do with increased boldness in the songs introduced into Mary Stuart. Perhaps the greatest perfection in such use of the principle of the "free rhythm" as applied to the drama, was reached by Franz Grillparzer in the Golden Fleece, on the model of certain fragments by Goethe, such as the Prometheus. On the other hand, the interesting experiments in the Bride of Messina are of more importance for the development of the opera into a work of art complete in itself, than for that of the drama. In general, however, it is to be remarked as a peculiarity of modern German drama, that it seeks to escape from monotony, which the French classical theatre hardly ever succeeded in avoiding, by calling in the aid of the other arts. Plastic art is often employed for scenic arrangement, and music to produce effects on and behind the stage. Both were made use of by Schiller; and it was under his influence that they were tried by Goethe in his later period--though we find a remarkable sporadic appearance of them even as early as _G?tz_ and Klavigo. The mastery which Grillparzer also attained in this respect has been striven after by his fellow countrymen with some degree of success: as, for example, by Ferdinand Raimund, by Ludwig Anzengruber, and also by Friedrich Halm and Hugo von Hofmannsthal.
Besides blank verse, the only other garb in vogue for the serious drama was prose: this was not only used for realistic pictures of conditions of a decidedly cheerful type (since Lessing had introduced the bourgeois dramas of Diderot into Germany), but also for pathetic tragedies, the vital power of which the lack of stylistic disguising of language was supposed to increase. This was the form employed in the Storm and Stress drama, and therefore in the prison scene of Faust, as also in Schiller's youthful dramas, and again we find it adopted by Hebbel and the Young Germans, and by the naturalistic school under the leadership of Ibsen. The Old German rhymed verse found only a temporary place between these two forms. It was glorified and made almost sacrosanct by having been used for the greatest of our dramas, Goethe's _Faust_; Wildenbruch in particular tried to gain new effects with it. Other attempts also went hand in hand with deeper-reaching efforts to reconstruct the inner form of the drama; thus the tendency to a veiled polyphony of language in the folk-scenes of Christian Dietrich Grabbe and in all the plays of Heinrich von Kleist; this in Hofmannsthal's Oedipus led to regular choruses, of quite a different type, however, from those of the Bride of Messina. Gerhart Hauptmann's Weavers and Florian Geyer may be considered the culminating points of this movement, in spite of their apparently entirely prosaic form.
Modern German drama, which in its peculiar style is still largely unappreciated because it has always been measured by its real or supposed models, is, together with the free-rhythm lyric, the greatest gift bestowed upon the treasure of forms of the world-literature by the literature of Germany which has so often played the part of recipient.
On the other hand, when speaking of the development of narrative prose, we should remember what we have already accomplished in that line. The "Novelle" alone has attained a fixed form, as a not too voluminous account of a remarkable occurrence. It is formally regulated in advance by the absolute domination of a decisive incident--as, for example, the outbreak of a concealed