There was, as we see, nothing new in these declamations and prophecies. Heine had already said the same thing in a hundred ways, comic or poetic; even Menzel in his first period had said the same with all the eloquence of the unsuccessful poet and violent partisan. Here it was expressed in the flowery language and with the rhetoric which seldom fails to produce its effect on immature minds.
The only novelty lay in the fact that now for the first time the exponent of these ideas was a representative of that young generation who regarded Heine as the great author of the age, and that now for the first time expression was given to the theory that prose was the literary form of the new age, and of more value than poetry. Wienbarg's æsthetic theories resolve themselves into glorification of Heine, whom he proclaims to be the great, the greatest prose author. Not till now, he declares, under the influence of French prose, has German prose really been formed. Schiller's style he calls the language of the parade, and Goethe's the language of the court. All the earlier great authors, even Jean Paul, lived, according to him, within a magic circle, far removed from the stir of the world. What distinguishes the prose of a Heine, a Börne, a Menzel, a Laube, from that of the earlier writers is, in his opinion, the want of tranquillity, of placidity (Behaglichkeit), but it is this want that gives it its superiority, the superiority of life. Heine especially is praised for having disdained "the passing fame" of a lyric poet in order to play upon the colossal, cosmic instrument which lies under the hands of a master of German prose.
First Mundt and then Laube, neither of whom was capable of writing a respectable verse, joined eagerly in this glorification of prose at the expense of poetry, the more willingly as by so doing they entered a protest against the Swabian school of poetry, the tardy offspring of Uhland's branch of Romanticism. Mundt positively elevated this cult of prose to the rank of the newest gospel. How little real ability Wienbarg possessed is clearly shown by his second work, Zur neuesten Litteratur, a collection of weak essays, in which the only thing we find to admire is his courageous fidelity to Heine at a time when envious rivals and moral doctrinaires had turned the tide of popular opinion against him.
Wienbarg had called the name Young Germany into existence, but as yet it designated no exactly specified group of authors. Strangely enough it was first applied to definite individuals in connection with a public denunciation and harsh legal proceedings.
The facts were as follows: A number of young authors had gradually brought themselves into notice, who were not exactly in league with each other, but whose common watchword was, spiritual emancipation. They all held aloof from Christianity and dreamed of a new, pantheistic religion for the new era. Many of them desired, under the name of "the emancipation of the flesh" or "rehabilitation of the flesh," the abolishment of the traditional code of morals, and more freedom in the conditions regulating the union and separation of the two sexes. Both the expression of this desire and the desire itself were, in the case of a man like Laube, unpleasantly epicurean, in the case of a man like Gutzkow, unnecessarily defiant and curiously morbid; with others again, such as Mundt, it took the form of championship of what he vaguely called the emancipation of woman, by which he merely meant more independence in home life and in marriage. By all these authors certain distinguished women were held in high honour—in France, George Sand, by whom they were strongly influenced; in Germany, Rahel, Bettina, Charlotte Stieglitz.
They all talked much and loudly of the rights of youth, had all imbibed a certain faith in liberty from Hegel, and all owed their general political tendency to the Revolution of July. Their aim was to identify literature with life, as Hegel had reconciled idea with reality. They had no really profound sympathy with each other, and they soon went each his own way. They were widely enough separated as regarded their places of residence. Heine lived in Paris, Weinbarg at Kiel—entirely isolated; Gutzkow resided in South Germany, Mundt was in Berlin, Laube in Leipzig; and the distances separating these places were very considerable then. Laube was very soon in many ways an opponent of Gutzkow, and a cold, unpleasant critic of Mundt and Kühne. Mundt attacked Gutzkow. An accidental meeting between Laube and Gutzkow in the north of Italy in 1833 contributed to their estrangement rather than their reconcilement. There was no other community between these writers than that usually existing between men of the same age and calling; they were much less a political party than a literary coterie; nevertheless literature was not to them its own aim and end; they desired to devote themselves to the service of the spirit of the age.[1]
This was the reason why they did not occupy themselves with the pure forms of literary art, neither with epic nor with lyric poetry, and but sparingly with dramatic. They all idolised the "Zeitgeist" (spirit of the times), and did homage to it in journalism and fiction, in critical and argumentative essays, in fanciful descriptions of travel, after the pattern of Heine's and Prince Pückler-Muskau's, and at times in long-winded novels.
