Storm was educated at schools in Husum and Lübeck, and studied law at Kiel and Berlin. At Kiel he formed a friendship with the historian Theodor Mommsen and his brother Tycho, and the three published together in 1843 "Songs by Three Friends." In spite of his interest in literature, Storm went on with his legal career, and began practice in his native town. There in 1846 he married his cousin Konstanze Esmarch, and settled down to a happy domestic life.
When Storm was born, Schleswig and Holstein were independent duchies, ruled by the king of Denmark; but when they were forcibly incorporated into the kingdom of Denmark, Storm, who was a strong German in sentiment, felt forced to leave his home, and in 1853 became assistant judge in the circuit court in Potsdam. The bureaucratic society of the Prussian town was uncongenial, and three years later he was glad to be transferred to Heiligenstadt in Thuringia. In 1864 Schleswig-Holstein was conquered by Prussia, and though Storm was disappointed that it did not regain its independence, it was at least once more German, and he returned to Husum as "Landvogt," or district magistrate, in 1865, and lived there till 1880. The last eight years of his life he spent at a country house in the neighboring village of Hademarschen, where he died July 4, 1888. Konstanze had died in 1865, and he married as his second wife Dorothea Jensen. Both marriages brought him much happiness.
Storm began his literary career as a lyric poet, and his work in this field gives him a high place among the best in a kind in which German literature is very rich. His story writing began with "Immensee" (1849), perhaps his best known work. His early prose shared some of the quality of his poetry in that it sought rather to convey a mood than describe action; but, as his talent matured, incident and character stood out more and more distinctly.
The progress can be traced from "Immensee" through "At the Castle" and "At the University" to the objective narrative of "In the Village on the Heath" and "At Cousin Christian's." In "Eekenhof" and "Hans and Heinz Kirsch" he is frankly realistic, and the complete evolution from his early subjectivity is seen in the dramatic depicting of human struggles in "The Sons of the Senator," "Renate," and, last and greatest of his works, "The Rider on the White Horse."
In this masterpiece, Storm exhibits a man's will in conflict, on one side, with unintelligent conservatism among his fellowmen and, on the other, with the forces of nature. The figure of the dike-master emerges from the double struggle with a fine impressiveness; and the tragedy which finally engulfs him and his family is profoundly moving. At the same time we are given a vivid picture of the landscape of the low-lying coast of the North Sea, with the ever-present menace of the flood tide; and the sternness of the action is tempered with glimpses of humor and a picture of warm affection. Here Storm's art reached a pitch which places him beside the masters of the short novel.
W. A. N.
[CRITICISM AND INTERPRETATION]
By Adolf Stern
Within his special North German world, Storm's view extends back through the decades and centuries. It reaches also, from the humblest classes of the people, whose solidity and peculiar virtues he understands as well as anyone, up to the circles of the most liberal and profound culture. But the class that stands out most conspicuously is the bourgeoisie, with their moderate means and their traditional eagerness to assure to their children circumstances as good as their own or better; among them his novels are usually laid; and among them he finds his richest and most original characters. All these people are deeply rooted in the soil of the family, of the home in the narrower sense; with all of them the memories of childhood, the earliest surroundings, play a more important part than would be the case with people of the same type of mind and the same social position from another region. With all of them a conservative element is predominant, which makes itself felt in all their doings, their way of seeing things, their habits. Men and women appear to be in the peculiar bondage of a convention more formal than severe; they seem possessed by a feeling of responsibility towards a conception of life which dominates them, a conception which does not, to be sure, exclude free will, a noble passion or warm affection, but which recognizes such and admits them to their world only under special conditions, watchfully, carefully, and with reserve. They are more dependent on the opinion of their environment than the more careless and indifferent children of other stocks. But though all the characters which Storm likes to portray are wonderfully and apparently inextricably overgrown with tradition and custom, yet they are, on the other hand, strong individualities, independent to the point of stubbornness, and fully conscious of their right to their own inner life. In these natures so honestly sober, testing and weighing so sensibly, living in such well-established order, there reigns secretly a powerful imagination, a longing and a determination to win, each for himself, a piece of life after his heart's desire. They are all ready under certain circumstances to enter into the sharpest conflict, even into the most irreconcilable struggle with all the conventions, as soon as they feel their inmost being seized by such a yearning. They have little inclination to yield to their imaginations in the things of everyday life, or to urge their desires beyond the usual. But sometimes in decisive moments they are carried away, they become conscious of the ardor and at the same time of the strength of their hearts, for once they must follow the call of their feelings which tells them they are free and have to work out their own salvation. It is among such natures that there is scope for the strong and deep passion of love, for that faithful affection that gives no outward sign--we stand on the shore whence rose the song of Gudrun in the gray days of old.
Of course, not every one of these peculiar and silent characters is victorious in the strife with the hard, stubborn, conventional world, nor does their struggle for their highest good always lead to a tragic ending. Storm's eye rests too serenely and securely on the object; he is an artist filled with too deep a sympathy with life to deceive himself sentimentally about the fatal chain of human destiny, about guilt and error, about the secret relation between weakness and its results in life, about the places in the way which we cannot pass. He is a better, even a keener, realist than many who call themselves by that name, and has looked deeper into the eye of Nature than those who imagine that their microscope has laid bare to them every eyelid of the eternal mother.--From "Studien zur Litteratur der Gegenwart" (1895).