The objectivity of the Divinity has gone hand in hand with the slavery and corruption of humanity, and is in reality only one sign of the spirit of the times.... Attempts have been made before, but it has been specially reserved for our age to vindicate at least in theory, as the property of man, the treasures which have been hurled up into heaven; but what age will have the power to enforce this right and to place man in possession of his own?
[3] Karl Gutzkow: Rückblicke auf mein Leben, p. 135.
XXI
YOUNG GERMANY AND MENZEL
When, from the all-embracing thought of Hegel, the noble art of Platen, the polished wit of Börne, the lyric and satiric genius of Heine, the classic fulness of Immermann's Oberhof, we pass on to the men to whom the name Young Germany was more particularly applied, we feel the change to be in the artistic sense a fall—a fall from the confidence and perfect skill of masters to the immaturity and makeshifts of beginners. And among the men of Young Germany there were those who were destined for ever to remain beginners. More especially is the transition from Heine to his successors felt like a fall from graceful, god-like audacity to clumsy youthful defiance of all established custom, all conventional morality.
And yet the best of these men in their best moments displayed a self-devotion unknown to Heine.
The Young Germany of accepted tradition includes neither Heine, Börne, and their contemporaries (who were regarded as its fathers), nor the circle of young scientific men who expressed their views in Ruge's and Echtermeyer's Hallische Jahrbücher, nor the group of political poets who in the Forties gave literary expression to the feelings which found practical expression in the deeds of 1848.
The name in its traditional acceptation has a much narrower signification than that given to it in the present volume.
Its originator was a very earnest, but not specially gifted North German author, Ludolf Wienbarg, born at Altona in 1803. In 1834, under the warlike title of An Æsthetic Campaign (a title invented by Campe, the publisher), Wienbarg published a series of lectures which he had delivered in Kiel, and for which he had been deprived of his right to lecture, though their inoffensive matter and their unctuous manner were little calculated to produce excitement of any kind. To this book, which it is a hard task to wade through nowadays, is prefixed the dedication: "To the young Germany, not the old, I dedicate this book" (Dem jungen Deutschland, nicht dem alten, widme ich dieses Buch). This is all that men remember to-day of Wienbarg's lectures. By young Germany he meant all the young German minds that had broken with tradition in art, church, state, and society, and were devoting their literary talents to the furtherance of the reforms which they felt to be imperative.
The programme he proposes for the new literature is alarming in its vagueness. Its conception of life is to be founded on a harmonious union of sensuality and spirituality. He proclaims a new Hellenism, in which the sensual will be more permeated by spirit than in the case of the Greeks, and the spiritual more permeated by the sensual than in the case of the Christians. But before literature can be born again, life itself must be. Not till the life around them has become healthy and harmonious, can the young generation produce a true work of art.