THE LIFE OF THEODOR FONTANE
By WILLIAM A. COOPER, A.M.
Associate Professor of German, Leland Stanford Jr. University
Theodor Fontane was by both his parents a descendant of French Huguenots. His grandfather Fontane, while teaching the princes of Prussia the art of drawing, won the friendship of Queen Luise, who later appointed him her private secretary. Our poet's father, Louis Fontane, served his apprenticeship as an apothecary in Berlin. In 1818 the stately Gascon married Emilie Labry, whose ancestors had come from the Cevennes, not far from the region whence the Fontanes had emigrated to Germany. The young couple moved to Neu-Ruppin, where they bought an apothecary's shop. Here Theodor was born on the thirtieth of December, 1819.
Louis Fontane was irresponsible and fantastic, full of bonhomie, and an engaging story teller. He possessed a "stupendous" fund of anecdotes of Napoleon and his marshals, and told them with such charm that his son acquired an unusual fondness for anecdotes, which he indulges extensively in some of his writings, particularly the autobiographical works and books of travel. The problem of making both ends meet seems to have occupied the father less than the gratification of his "noble passions," chief among which was card playing. He gambled away so much money that in eight years he was forced to sell his business and move to other parts. He purposely continued the search for a new business as long as possible, but finally bought an apothecary's shop in Swinemünde.
His young wife was passionate and independent, energetic and practical, but unselfish. To her husband's democratic tendency she opposed a strong aristocratic leaning. Their ill fortune in Neu-Ruppin affected her nerves so seriously that she went to Berlin for treatment while the family was moving.
In Swinemünde the father put the children in the public school, but when the aristocratic mother arrived from Berlin she took them out, and for a time the little ones were taught at home. The unindustrious father was prevailed upon to divide with the mother the burden of teaching them and undertook the task with a mild protest, employing what he humorously designated the "Socratic method." He taught geography and history together, chiefly by means of anecdotes, with little regard for accuracy or thoroughness. Though his method was far from Socratic, it interested young Theodor and left an impression on him for life. His mother confined her efforts mainly to the cultivation of a good appearance and gentle manners, for, as one might perhaps expect of the daughter of a French silk merchant, she valued outward graces above inward culture, and she avowedly had little respect for the authority of scholars and books.
After a while an arrangement was made whereby Theodor shared for two years the private lessons given by a Dr. Lau to the children of a neighbor, and "whatever backbone his knowledge possessed" he owed to this instruction. A similar arrangement was made with the private tutor who succeeded Dr. Lau. He had the children learn the most of Schiller's ballads by heart. Fontane always remained grateful for this, probably because it was as a writer of ballads that he first won recognition. If we look upon the ballad as a poetically heightened form of anecdote we discover an element of unity in his early education, and that will help us to understand why the technique of his novels shows such a marked influence of the ballad.
"How were we children trained?" asks Fontane in My Childhood Years. "Not at all, and excellently," is his answer, referring to the lack of strict parental discipline in the home and to the quiet influence of his mother's example.
[Illustration: Permission Berlin Photo Co, New York
THEODOR FONTANE HANNS FECHNER]
Among the notable events of the five years Theodor spent in Swinemünde, were the liberation of Greece, the war between Russia and Turkey, the conquest of Algiers, the revolution in France, the separation of Belgium from Holland, and the Polish insurrection. Little wonder that the lad watched eagerly for the arrival of the newspapers and quickly devoured their contents.
In Swinemünde the family again lived beyond their means. The father's extravagance and his passion for gambling showed no signs of abatement. The mother was very generous in the giving of presents, for she said that what money they had would be spent anyhow and it might as well go for some useful purpose. The city being a popular summer resort, they had a great many guests from Berlin during the season, and in the winter they frequently entertained Swinemünde friends.
Theodor left home at the age of twelve to begin his preparation for life. The first year he spent at the gymnasium in Neu-Ruppin. The following year (1833) he was sent to an industrial school in Berlin. There he lived with his uncle August, whose character and financial management remind one of our poet's father. Theodor was irregular in his attendance at school and showed more interest in the newspapers and magazines than in his studies. At the age of sixteen he became the apprentice of a Berlin apothecary with the expectation of eventually succeeding his father in business. After serving his apprenticeship he was employed as assistant dispenser by apothecaries in Berlin, Burg, Leipzig, and Dresden. When he reached the age of thirty he became a full-fledged dispenser and was in a position to manage the business of his father, but the latter had long ago retired and moved to the village of Letschin. The Fontane home was later broken up by the mutual agreement of the parents to dissolve their unhappy union. The father went first to Eberswalde and then to Schiffmühle, where he died in 1867; the mother returned to Neu-Ruppin and died there in 1869.
The beginning of Theodor's first published story appeared in the Berliner Figaro a few days before he was twenty years of age. The same organ had previously contained some of his lyrics and ballads. The budding poet had belonged to a Lenau Club and the fondness he had there acquired for Lenau's poetry remained unchanged throughout his long life, which is more than can be said of many literary products that won his admiration in youth. He also joined a Platen Club, which afforded him less literary stimulus, but far more social pleasure. During his year in Leipzig he brought himself to the notice of literary circles by the publication, in the Tageblatt, of a satirical poem entitled Shakespeare's Stocking. As a result he was made a member of the Herwegh Club, where he met, among others, the celebrated Max Müller, who remained his life-long friend. After a year in Dresden Fontane returned to Leipzig, hoping to be able to support himself there by his writings. He made the venture too soon. When he ran short of funds he visited his parents for a while and then went to Berlin to serve his year in the army (1844). He was granted a furlough of two weeks for a trip to London at the expense of a friend. In Berlin he joined a Sunday Club, humorously called the "Tunnel over the Spree," at the meetings of which original literary productions were read and frankly criticised. During the middle of the nineteenth century almost all the poetic lights of Berlin were members of the "Tunnel." Heyse, Storm, and Dahn were on the roll, and Fontane came into touch with them; he and Storm remained friends in spite of the fact that Storm once called him "frivolous." Fontane later evened the score by classing Storm among the "sacred kiss monopolists." The most productive members of the Club during this period (1844-54) were Fontane, Scherenberg, Hesekiel, and Heinrich Smidt. Smidt, sometimes called the Marryat of Germany, was a prolific spinner of yarns, which were interesting, though of a low quality. He employed, however, many of the same motives that Fontane later put to better use. Hesekiel was a voluminous writer of light fiction. From him Fontane learned to discard high-sounding phrases and to cultivate the true-to-life tone of spoken speech. Scherenberg, enthusiastically heralded as the founder of a new epic style, confined himself largely to poetic descriptions of battles.
When Fontane joined the "Tunnel" the particular genre of poetry in vogue at the meetings was the ballad, due to Strachwitz's clever imitations of Scottish models. Fontane's lyrics were too much like Herwegh's to win applause, but his ballads were enthusiastically received. One, in celebration of Derfflinger, established his standing in the Club, and one in honor of Zieten brought him permanently into favor with a wider public; these poems were composed in 1846. Two years later he read two books that for a long time determined his literary trend—Percy's Reliques of Ancient English Poetry and Scott's Minstrelsy of the Scottish Border. He began to write ballads on English subjects and one of them, Archibald Douglas, created a great sensation at the "Tunnel" meeting and has ever since maintained its place among the best German poems. Its popularity is partly due to the fact that it was so appropriately set to music by Carl Löwe. When Fontane returned to Berlin in 1852, after a summer's absence in England, he felt estranged from the "Tunnel" and ceased attending the meetings. Two noblemen members, von Lepel and von Merckel, who had become his friends, introduced him to the country nobility of the Mark of Brandenburg, which enabled him to make valuable additions to his portfolio of studies later drawn upon for his novels, among others, Effi Briest.
In 1847 Fontane passed the apothecary's examination by a "hair's breadth" and soon found employment in Berlin. In the March Revolution (1848) he played a comical rôle, but was subsequently elected a delegate to the first convention to choose a representative. For a year and a quarter he taught two deaconesses pharmacy at an institution called "Bethany." When that employment came to an end he decided that the hoped-for time had finally arrived to give up the dispensing of medicines and earn his living by his pen. Some of his new ballads were accepted by the Morgenblatt, and a volume of verses, dedicated to his fiancée, found a publisher. When news arrived of the victory of Denmark over Schleswig-Holstein at Idstedt (1850) he set out for Kiel to enlist in the army. In Altona he received a letter offering him a position in the press department of the Prussian Ministry of the Interior. He accepted immediately and at the same time wrote to Emilie Kummer, to whom he had been engaged for five years, proposing that they should be married in October. She hastened to secure an apartment in Berlin and furnish it, and the wedding was celebrated on the sixteenth of October. Fontane thought he had entered the harbor of success, but he lost his ministerial position in six weeks and was again at sea. He had, however, a companion ready to share his trials and triumphs, and their union proved to be very happy.
In the summer of 1852 he was sent by the Prussian Ministry to London to study English conditions and write reports for the government journals, Preussische Zeitung and Die Zeit. In 1855 he was again sent to England, and this time his journalistic engagement lasted for four years. Accounts of his experiences are contained in A Summer in London (1854) and Beyond the Tweed (1860). From 1860 to 1870 he was on the staff of the Kreuzzeitung and during this time served as a war correspondent in the campaigns of 1864, 1866, and 1870-71. While accompanying the army in France he was seized with a desire to visit the home of Joan of Arc at Domrémy, and was captured, taken for a spy, and imprisoned for a time on the island of Oléron in the Atlantic Ocean. An interesting account of his experiences is given in Prisoner of War (1871). During his years in England he had taken advantage of the opportunity to visit Scotland and familiarize himself with its picturesque beauties and its wealth of historical and literary associations. In the midst of these travels the thought had occurred to him that his own Mark of Brandenburg had its beauties, too, and its wealth of associations. On returning to Berlin he began his long series of journeyings through his native province, making a thorough study of both country and people, particularly the Junkers, for which his trained powers of observation, combined with warm patriotism and true love of historical research, eminently fitted him. His published records of these travels, Rambles through the Mark of Brandenburg (1862-81) and Five Castles (1889), won for him the title of the interpreter of the Mark. His right to this distinction was further established by the novels in which he later employed the fruits of these studies.
Fontane is equally celebrated as an interpreter of Berlin, where he lived for over fifty years, being the one prominent German writer to identify himself with a great city. His two autobiographical works, From Twenty to Thirty and C.F. Scherenberg, tell of his early experiences in the Prussian capital. From 1870 to 1889 he was dramatic critic for the Vossische Zeitung, for which he reviewed the performances at the Royal Theatre. In one of his last criticisms he hailed Hauptmann as a dramatist of promise. In 1876 he was elected secretary of the Berlin Academy of Arts, but served only a brief time. In 1891 the Emperor made him a present of three thousand marks for his services to German literature. In 1894 the University of Berlin bestowed upon him the honorary title of doctor of philosophy. He died on the twentieth day of September, 1898.
Fontane's lyric poetry in the narrower sense is not of a high order; in fact almost none of his writings show the true lyric quality. There is also a striking lack of the dramatic element in his works, and he seems to have felt this limitation of his genius, for he studiously avoided the portrayal of scenes that might prove intensely dramatic. As a writer of ballads he excelled and ranks among the foremost of Germany. The British subjects he treated were impressed upon him during his travels in England and his study of English history. His German themes were taken largely from Prussian history, particularly the period of Frederick the Great. His permanent place in the history of German literature is due, however, not so much to his verse as to his prose writings. He is best known as a novelist, and in the field of the modern novel he is one of the most conspicuous figures.
German novels of the older school were usually too long for a single volume. Fontane's first important work of fiction, Before the Storm, filled four volumes; but he had so much trouble in finding a publisher for it that he began to write one-volume novels, introducing a practice which has since become the common tradition. He employed in them a typical feature of the technique of the ballad, which leaps from one situation to another, leaving gaps to be filled by the fancy of the reader. He says himself, in Before the Storm: "I have always observed that the leaping action of the ballad is one of the chief characteristics and beauties of this branch of poetry. All that is necessary is that fancy be given the right kind of a stimulus. When that end is attained, one may boldly assert, the less told the better."
At the beginning of Fontane's career the Berlin novelists were disciples of Scott, but the only one to survive was Alexis, who adapted Scott's method to the Mark of Brandenburg. Fontane imitated him in Before the Storm (1878), which deals with conditions in the Mark before the wars of liberation. Schach von Wuthenow (1883), a sort of prelude to Before the Storm, was far superior as a novel and helped to establish Fontane's supremacy among his contemporaries, for he had become the leader of the younger generation after the publication of two stories of crimes, Grete Minde (1880) and Ellernklipp (1881), and the creation of the modern Berlin novel, in L'Adultera (1882). L'Adultera unfolds the history of a marriage of reason between a young wife and a considerably older husband, a situation which Fontane later treated, with important variations and ever increasing skill, in Count Petöfi (1884), Cécile (1887), and Effi Briest (1895). With his inexhaustible fund of observation to draw upon he could make the action of his novels a minor consideration and concentrate his rare psychological powers upon realistic conversations in which characters reveal themselves and incidentally acquaint us intimately with others. We see and hear what the world ordinarily sees and hears. A past master in the art of suggestion, which he acquired in his ballad period, Fontane omits many scenes that others would elaborate with minute detail, such as love scenes and passionate crises, and contents himself with bringing vividly before us his true-to-life figures in their historical and social environments. As a conservative Prussian he believed in the supremacy of the law and the punishment of transgression, and his works reflect this belief.
Trials and Tribulations (1887) and Stine (1890) were the first German novels absolutely to avoid the introduction of exciting scenes merely for effect. These histories of mismated couples from different social strata are recounted with hearty simplicity, deep understanding of life, and frank recognition of human weakness, but without condemnation, tears, or pointing a moral. They made Fontane famous. Frau Jenny Treibel (1892), an exquisitely humorous picture of the Berlin bourgeoisie, and Effi Briest "the most profound miracle of Fontane's youthful art," added considerably to the fame of the gray-haired "modern," while The Poggenpuhls (1896) and Stechlin (1898) won him further laurels at a time when most writers would long ago have been resting on those they had already achieved. If a line were drawn to represent graphically his productivity from his sixtieth year on, it would take the form of a gradually rising curve.
His career as a novelist began so late in life that when he once discovered his particular field he cultivated it with persistent diligence and would not allow himself to be drawn away by enthusiasts into other fields. Strength of character was not, however, a new phenomenon in his life, for as long ago as the days when he was an active member of the "Tunnel" he had come in close contact with the Kugler coterie in Berlin, where the so-called Munich school originated, and yet he did not follow his friends in that eclectic movement. So when the naturalistic school of writers began to win enthusiastic support, even though he found himself in the main in sympathy with their announced creed, he did not join them in practice. He felt that what the literature of the Fatherland needed was "originality," and he sought to attain it in his own way, apart from storm and stress. As his mind matured through accumulated knowledge of the world, and his heart mellowed through years of experience and observation, he rose to a point of view above sentiment and prejudice, where the fogs of passion melt away and the light of kindly wisdom shines.
[Illustration: FONTANE MONUMENT AT NEU RUPPIN.]
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THEODOR FONTANE
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