After this blast of the tempest, the poet turned to the more placid scenes of his native heath in the novel entitled Flat Land (1879), in which he describes the conditions of Pomerania between 1830-1840. The wealth of description and incident, the variety of motive and situation, make this story one of the most characteristic of Pomeranian scenery and life.
In the novel What Is to Come of It? (1887), liberalism, social democracy, nihilism, held in check by the grip of the Iron Chancellor, contend for the mastery. And what shall the result? The poet answers: "There is a bit of the Social Democrat in every one," but the result will be "a and lofty one and a new, glorious phase of an ever-striving humanity." Here are brought into play typical characters, the Bismarckian Squire, the reckless capitalist, the particularist with his feigned liberalism.
Spielhagen's pessimism finds vent in A New Pharaoh (1889), which is a protest against the Bismarck régime. The ideals of the Forty-eighter are represented by Baron von Alden, who comes back from America to visit his old home only to find a new Pharaoh, who knows nothing of the Joseph of 1848. Finding the Germans a race of toadies and slaves, in which the noble-minded go under while the base triumph, he turns his back upon the new empire for good and all. "Nothing is accomplished by the sword which another sword cannot in turn destroy. The permanent and imperishable can be accomplished only by the silent force of reason."
In addition to his more pretentious novels, Spielhagen wrote a large number of shorter novels and short stories. To these belong Klara Vere and On the Dunes, already mentioned, At the Twelfth Hour (1863), Rose of the Court (1864), The Fair Americans (1865), Hans and Grete, and The Village Coquette (1869), German Pioneers (1871), What the Swallow Sang (1873), Ultimo (1874), The Skeleton in the Closet (1878), Quisisana (1880), Angela (1881), Uhlenhans (1883), At the Spa (1885), Noblesse Oblige (1888). The most important of Spielhagen's latest novels are The Sunday Child (1893), Self Justice (1896), Sacrifices (1899), Born Free (1900).
FRIEDRICH SPIELHAGEN
Permission Berlin Photo. Co., New York A. Weiss
The place of Spielhagen in German literature is variously estimated. Heinrich and Julius Hart in Kritische Waffengänge (1884) contest his claim to a place among artists of the first rank and condemn his use of the novel for purposes of reform; while Gustav Karpeles in his Friedrich Spielhagen (1889) assigns him a place among the best novelists of his time. This latter position is more nearly correct. The modern disposition to cry art for art's sake, and to denounce all art which has a didactic purpose, is the offspring of ignorance of the real nature of art. In a general way all art has a didactic purpose of varying degrees of directness. It is just this didactic purpose which has entitled the novel to its place among the literary forms, and it is this purpose which made Spielhagen's novels such a potent power in the social revolution of the later nineteenth century.
The charge has been made against Spielhagen that his characters are mechanical types used as vehicles of the author's doctrines or of the tendencies of the time. This charge is not sustained by the facts, even in the case of his first somewhat crude novel, the Problematic Characters, of which he says later: "There was not a squire in Rügen nor a townsman in Stralsund or Greifswald who did not feel himself personally offended." And the pronounced and clearly defined characters of Storm Flood, in their sharp contrasts and fierce conflicts with social tradition and natural impulse, present a vivid picture of the surging life of the New Empire.
Spielhagen possessed an intimate knowledge of literary technique. Few if any of his contemporaries had given more careful attention to the principles of esthetics and of literary workmanship, as may be seen from his critical essays and particularly the treatises, Contributions to the Theory and Technique of the Novel, and New Contributions to the Theory and Technique of the Epic and Drama.
It was but poetic justice that the novelist of the stormy days of the Revolution should be permitted to spend the declining years of his long life in the sunshine of the new Berlin, in whose making he had participated and whose life he had chronicled. He died February 24, 1911, having passed his fourscore years.