Germany and the Germans from an American Point of View

by Price Collier

Wise men recognize two things about every other man: that he has his own problems, and that no one else thoroughly understands either another man’s handicaps or his advantages; and that the only way to judge him is not to go behind the returns, but to note how he lives with these same problems. They are there, there is no doubt about that; the question is, does he smile or scowl? does he work away toward a solution, or allow himself to be swamped by them? do they dominate him, or he them? has he that sun of life, vitality, sufficient to burn away the fog, or does he live and die in a moist, semi-impenetrable fog, in which he flounders timidly and rather aimlessly about, always rather discouraged, rather in the dark, and lamentably damp in person and in spirits? The only fair test of a man’s life is his living of it, and the same is true of a nation.

Of Germany’s history, traditions, and temperament I have written. No one can fail to note the chief characteristics: their gregariousness, their melancholic and subjective way of looking at life, their passion for music. It is more what they think, than what they do or see, that gives them pleasure. They agree with Erasmus, that “it is a foolish error to believe that happiness is dependent upon things; it is dependent entirely upon one’s opinion of them.” The indefinite has no terrors for them, they delight indeed in the indefinable. They have done little in great sculpture and architecture, or the founding and ruling of colonies, as compared with their supreme achievements in music, in philosophy, in lyric poetry.

The art of music, which moves one greatly toward nothing in particular; which supplies sounds but not a language for the mysteries of feeling; which easily carries a sensitive soul away from its sorrows or drowns it in tears, and all without offering a semblance of a practical solution; which orchestrates a greater fury, a more poignant jealousy, a sweeter note of bird, a harsher clang of weapons, than any human energy can even imagine to exist; this art with which marching soldiers sing away their fatigue, but not really; with which disconsolate lovers wing their hopes, but not really; with which the pious pipe themselves to heaven, but not really; with which, by strings and beaten skins, organ-pipes and blowing brass, an anaesthesia of ecstasy is produced, leaving one only the weaker against the dourness and doggedness of the devil; with which men and women hymn themselves home to God, only to lose Him when they leave the threshold of His house; which choruses from a thousand throats patriotism, defiance, self-confidence, but arms none of them with any useful weapon; which with drums and brass can send any lout to heroism without his knowing why; this art which burns up the manhood of its devotees - who ever heard of a great tenor who was a great man, or even of a great musician for more than half of whose life one must needs not apologize? - this art flourishes in Germany not without reason, and not for nothing.

In a ragged school in the neighborhood of Posen where the children could hardly speak German they could sing; in a public school in Charlottenburg fifty boys, aged between eight and fifteen, sang the part-song known to every college man in America, “On a Bank Two Roses Grew,” as well as a college glee club; those who know Bayreuth, or have attended a musical festival, or listened to one of the great clubs of male voices, or heard the orchestras and military bands, will not deny the delights of music in Germany. In Berlin there is not a hall suitable for a musical recital that is not engaged a year, sometimes more, in advance.

In the beautiful Golden Hall of the castle of the Grand Duke of Mecklenburg-Schwerin, at Schwerin, I have attended a concert given by the Grand Duke’s own orchestra, where the selections were all compositions of former leaders or members of the orchestra, dating back over a period of two hundred years. For centuries in this particular grand duchy music and the theatre, supported and guided by the sovereign, have offered a school of entertainment and instruction to the people. At this present writing, special trains are run to Schwerin from the surrounding country districts, and the people for miles around subscribe for their seats for the whole winter, and attend the theatre and certain concerts as regularly as children go to school. It sounds oddly to the ears of an American to hear criticism to the effect, that there are more high-class music and more classical plays than the people have either time or money for. Here is a population which is actually overindulging in culture. We complain of too little; here they complain of too much. It makes one wonder whether any of the problems of social life are satisfactorily soluble; whether indeed it be not true that even the virtues carried to an extreme do not become vices. Philanthropy in more than one city in America is spending time, money, and energy to bring about this very enthusiasm for music and the more intellectual arts which, it is maintained, here in Schwerin at least, has gone too far.

These problems are not so easy of solution as the ignorant and the inexperienced think. Imagine the inhabitants of Hoboken, New Jersey; of Lynn, Massachusetts; of Kalamazoo, Michigan; of Bloody Gulch, Idaho, spending too much time and money listening to the music of Palestrina and Bach, or to the plays of Shakespeare; and yet what money and energy would not be spent by certain enthusiasts for the arts did they think such a result possible! And, after all, it might prove not a blessing, but a danger.

Whenever or wherever you are in the company of Germans you notice their pleasure and their keen interest in the subjective, rather than in the objective side of life. It is from within out that they are stirred, not as we are, by outside things working upon us. They are still the dreaming, drinking, singing, impulsive Germans of Tacitus. Titus Livius, Plutarch, and Machiavelli, all maintained that the successive invasions of the Germans into Italy were for the sake of the wine to be found there. Plutarch writes that “the Gauls were introduced to the Italian wine by a Tuscan named Arron, and so excited were they by the desire for more that, taking their wives and children with them, they journeyed across the Alps to conquer the land of such good vintages, looking upon other countries as sterile and savage by comparison. Even if this be not history, it is an impression; and at any rate, from that day to this the Germans have agreed with the dictum of Aulus Gellius: “Prandium autem abstemium, in quo nihil vini potatur, canium dicitur: quoniam canis vino caret.” When the Roman historian first came into contact with them he notes, that their bread was lighter than other bread, because “they use the foam from their beer as yeast.”

Tacitus writes of them: “The Germans abound with rude strains of verse, the reciters of which, in the language of the country, are called ‘Bards.’ ”

I visited a private stable in Bavaria, as well ordered and as well kept as any private stable in America or in England, and the head coachman was a reader of poetry; and though he had received numerous offers of higher wages in the city, declined them, giving as one reason that the view from the window of his room could not be equalled elsewhere! Where can one find a stable-man in our country who reads Shelley or Edgar Allan Poe, or who ever heard of William James and Pragmatism? I may be doing an injustice to the stable-men of Boston, but I doubt it.

There are scores of pages of notes to my hand, recounting similar if not such startling examples of the German temperament among high and low. Musical, melancholic, gregarious, subjective, these are their true characteristics, but the superficial among us do not see these things because they are hidden behind the great army, the new navy and mercantile marine, the factories, the increased commercial values, the strenuous agricultural and industrial pushing ahead of the last thirty years. But they are there, they represent the German temperament, they are the internal character of Germania, always to be taken into account in judging her, or in wondering why she does this or that, or why she does it in this or that way.