(b) Mid-Century Literature.—When once the revolution of 1848 was over, a spirit of tranquillity came over German letters; but it was due rather to the absence of confidence in the future than to any hopefulness or real content. The literature of the middle of the century was not wanting in achievement, but there was nothing buoyant or youthful about it; most significant of all, the generation between 1848 and 1880 was either oblivious or indifferent to the good work and to the new and germinating ideas which it produced. Hegel, who held the earlier half of the 19th century in his ban, was still all-powerful in the universities, but his power was on the wane in literature and public life. The so-called “Hegelian Left” had advanced so far as to have become incompatible with the original Hegelianism; the new social and economic theories did not fit into the scheme of Hegelian collectivism; the interest in natural science—fostered by the popular books of J. Moleschott (1822-1893), Karl Vogt (1817-1895) and Ludwig Büchner (1824-1899)—created a healthy antidote to the Hegelian metaphysics. In literature and art, on which Hegel, as we have seen, had exerted so blighting an influence, his place was taken by the chief exponent of philosophic pessimism, Arthur Schopenhauer (1788-1860). Schopenhauer’s antagonism to Hegelianism was of old standing, for his chief work, Die Welt als Wille und Vorstellung, had appeared as far back as 1819; but the century was more than half over before the movement of ideas had, as it were, caught up with him, before pessimism became a dominant force in intellectual life.
The literature produced between 1850 and 1870 was preeminently one of prose fiction. The beginnings which the “Young German” school had made to a type of novel dealing with social problems—the best example is Gutzkow’s Ritter vom Geiste—developed rapidly in this succeeding epoch. Friedrich Spielhagen (born 1829) followed immediately in Gutzkow’s footsteps, and in a series of romances from Problematische Naturen (1860) to Sturmflut (1876), discussed in a militant spirit that recalls Laube and Gutzkow the social problems which agitated German life in these decades. Gustav Freytag (1816-1895), although an older man, freed himself more successfully from the “Young German” tradition; his romance of German commercialism, Soll und Haben (1855), is the masterpiece of mid-century fiction of this class. Less successful was Freytag’s subsequent attempt to transfer his method to the milieu of German academic life in Die verlorene Handschrift (1864). As was perhaps only natural in an age of social and political interests, the historical novel occupies a subordinate place. The influence of Scott, which in the earlier period had been strong, produced only one writer, Wilhelm Häring (“Willibald Alexis,” 1798-1871), who was more than a mere imitator of the Scottish master. In the series of six novels, from Der Roland von Berlin to Dorothe, which Alexis published between 1840 and 1856, he gave Germany, and more particularly Prussia, a historical fiction which might not unworthily be compared with the Waverley Novels. But Alexis had no successor, and the historical novel soon made way for a type of fiction in which the accurate reproduction of remote conditions was held of more account than poetic inspiration or artistic power. Such are the “antiquarian” novels of ancient Egyptian life by Georg Ebers (1837-1898), and those from primitive German history by Felix Dahn (born 1834). The vogue of historical fiction was also transferred to some extent, as in English literature, to novels of American life and adventure, of which the chief German cultivators were K.A. Postl, who wrote under the pseudonym of Charles Sealsfield (1793-1864) and Friedrich Gerstäcker (1816-1872).
Of greater importance was the fiction which owed its inspiration to the Romantic traditions that survived the “Young German” age. To this group belongs the novel of peasant and provincial life, of which Immermann had given an excellent example in Der Oberhof, a story included in the arabesque of Münchhausen. A Swiss pastor, Albrecht Bitzius, better known by his pseudonym “Jeremias Gotthelf” (1797-1854), was, however, the real founder of this class of romance; and his simple, unvarnished and naïvely didactic stories of the Swiss peasant were followed not long afterwards by the more famous Schwarzwälder Dorfgeschichten (1843-1854) of Berthold Auerbach (1812-1882). Auerbach is not by any means so naïve and realistic as Gotthelf, nor is his work free from tendencies and ideas which recall “Young German” rationalism rather than the unsophisticated life of the Black Forest; but the Schwarzwälder Dorfgeschichten exerted a decisive influence; they were the forerunners of a large body of peasant literature which described with affectionate sympathy and with a liberal admixture of dialect, south German village life. With this group of writers may also be associated the German Bohemian, A. Stifter (1805-1868), who has called up unforgettable pictures and impressions of the life and scenery of his home.
Meanwhile, the Low German peoples also benefited by the revival of an interest in dialect and peasant life; it is to the credit of Fritz Reuter (1810-1874) that he brought honour to the Plattdeutsch of the north, the dialects of which had played a fitful, but by no means negligible rôle in the earlier history of German letters. His Mecklenburg novels, especially Ut de Franzosentid (1860), Ut mine Festungstid (1863) and Ut mine Stromtid (1862-1864), are a faithful reflection of Mecklenburg life and temperament, and hold their place beside the best German fiction of the period. What Reuter did for Plattdeutsch prose, his contemporary, Klaus Groth (1819-1899), the author of Quickborn (1852), did for its verse. We owe, however, the best German prose fiction of these years to two writers, whose affinity with the older Romanticists was closer. The north German, Theodor Storm (1817-1888) is the author of a series of short stories of delicate, lyric inspiration, steeped in that elegiac Romanticism which harmonized so well with mid-century pessimism in Germany. Gottfried Keller (1819-1890), on the other hand, a native of Zürich, was a modern Romanticist of a robuster type; his magnificent autobiographical novel, Der grüne Heinrich (1854-1855), might be described as the last in the great line of Romantic fiction that had begun with Wilhelm Meister, and the short stories, Die Leute von Seldwyla (1856-1874) and Züricher Novellen (1878) are masterpieces of the first rank.
In the dramatic literature of these decades, at least as it was reflected in the repertories of the German theatres, there was little promise. French influence was, in general, predominant; French translations formed the mainstay of the theatre-directors, while successful German playwrights, such as R. Benedix (1811-1873) and Charlotte Birch-Pfeiffer (1800-1868), have little claim to consideration in a literary survey. Gustav Freytag’s admirable comedy, Die Journalisten (1852), was one of the rare exceptions. But the German drama of this epoch is not to be judged solely by the theatres. At the middle of the century Germany could point to two writers who, each in his way, contributed very materially to the development of the modern drama. These were Friedrich Hebbel (1813-1863) and Otto Ludwig (1813-1865). Both of these men, as a later generation discovered, were the pioneers of that dramatic literature which at the close of the century accepted the canons of realism and aimed at superseding outward effects by psychological conflicts and problems of social life. Hebbel, especially, must be regarded as the most original and revolutionary German dramatist of the 19th century. Unlike his contemporary Grillparzer, whose aim had been to reconcile the “classic” and the “romantic” drama with the help of Spanish models, Hebbel laid the foundations of a psychological and social drama, of which the most modern interpreter has been Henrik Ibsen. Hebbel’s first tragedy, Judith, appeared in 1840, his masterpieces, Herodes und Marianne, Agnes Bernauer, Gyges und sein Ring, and the trilogy of Die Nibelungen between 1850 and 1862.
In this period of somewhat confused literary striving, there is, however, one body of writers who might be grouped together as a school, although the designation must be regarded rather as an outward accident of union than as implying conformity of aims. This is the group which Maximilian II. of Bavaria gathered round him in Munich between 1852 and 1860. A leading spirit of the group was Emanuel Geibel, who, as we have seen, set a model to the German lyric in this age; F. von Bodenstedt (1819-1892), the popular author of Mirza Schaffy; and J.V. von Scheffel (1826-1886), who, in his verse-romance, Der Trompeter von Säckingen (1854), broke a lance for a type of literature which had been cultivated somewhat earlier, but with no very conspicuous success, by men like O. von Redwitz (1823-1891) and G. Kinkel (1815-1882). The romance was, in fact, one of the favourite vehicles of poetic expression of the Munich school, its most successful exponents being J. Wolff (b. 1834) and R. Baumbach (1840-1905); while others, such as H. Lingg (1820-1905) and R. Hamerling (1830-1889) devoted themselves to the more ambitious epic. The general tone of the literary movement was pessimistic, the hopelessness of the spiritual outlook being most deeply engrained in the verse of H. Lorm (pseudonym for Heinrich Landesmann, 1821-1902) and H. Leuthold (1827-1879). On the whole, the most important member of the Munich group is Paul Heyse (b. 1830), who, as a writer of “Novellen” or short stories, may be classed with Storm and Keller. An essentially Latin genius, Heyse excels in stories of Italian life, where his lightness of touch and sense of form are shown to best advantage; but he has also written several long novels. Of these, Kinder der Welt (1873) and, in a lesser degree, Im Paradiese (1875), sum up the spirit and tendency of their time, just as, in earlier decades, Die Ritter vom Geiste, Problematische Naturen and Soll und Haben were characteristic of the periods which produced them.
(c) German Literature after 1870.—In the years immediately following the Franco-German War, the prevailing conditions were unfavourable to literary production in Germany, and the re-establishment of the empire left comparatively little trace on the national literature. All minds were for a time engrossed by the Kulturkampf, by the financial difficulties—the so-called Gründertum—due to unscrupulous speculation, and, finally, by the rapid rise of social democracy as a political force. The intellectual basis of the latter movement was laid by Ferdinand Lassalle (1825-1864) and Karl Marx (1818-1883), author of Das Kapital (vol. i, 1867). But even had such disturbing elements been wanting, the general tone of German intellectual life at that time was not buoyant enough to inspire a vigorous literary revival. The influence of Hegel was still strong, and the “historical” method, as enunciated in Der alte und der neue Glaube (1872) by the Hegelian D.F. Strauss, was generally accepted at the German universities. To many the compromise which H. Lotze (1817-1881) had attempted to establish between science and metaphysics, came as a relief from the Hegelian tradition, but in literature and art the dominant force was still, as before the war, the philosophy of Schopenhauer. In his Philosophie des Unbewussten (1869), E. von Hartmann (1842-1906) endeavoured to bring pessimism into harmony with idealism. In lyric poetry, the dull monotony was broken by the excitement of the war, and the singers of the revolution of 1848 were among the first to welcome the triumph and unification of Germany. At the same time, men of the older generation, like Herwegh, Freiligrath and Geibel could ill conceal a certain disappointment with the new régime; the united Germany of 1871 was not what they had dreamed of in their youth, when all hopes were set on the Frankfort parliament.
The novel continued to be what it was before 1870, the most vigorous form of German literature, but the novelists who were popular in the early ’seventies were all older men. Laube, Gutzkow and Auerbach were still writing; Fritz Reuter was a universal favourite; while among the writers of short stories, Storm, who, between 1877 and 1888, put the crown to his work with his Chroniknovellen, and Paul Heyse were the acknowledged masters. It was not until at least a decade later that the genius of Gottfried Keller was generally recognized. The historical novel seemed, in those days, beyond hope of revival. Gustav Freytag, it is true, had made the attempt in Die Ahnen (1872-1881), a number of independent historical romances linked together to form an ambitious prose epic; but there was more of the spirit of Ebers and Dahn in Freytag’s work than of the spacious art of Scott, or of Scott’s disciple, Willibald Alexis.
The drama of the ’seventies was in an even less hopeful condition than during the preceding period. The classical iambic tragedy was cultivated by the Munich school, by A. Wilbrandt (b. 1837), A. Lindner (1831-1888), H. Kruse (1815-1902), by the Austrian F. Nissel (1831-1893), and A. Fitger (b. 1840); but it was characteristic of the time that Halm was popular, while Hebbel and Grillparzer were neglected, it might even be said ignored. The most gifted German dramatist belonging exclusively to the decade between 1870 and 1880 was an Austrian, Ludwig Anzengruber (1839-1889), whose Pfarrer von Kirchfeld (1870) recalled the controversies of the Kulturkampf. This was Anzengruber’s first drama, and it was followed by a series of powerful plays dealing with the life of the Austrian peasant; Anzengruber was, indeed, one of the ablest exponents of that village life, which had attracted so many gifted writers since the days of Gotthelf and Auerbach. But the really popular dramatists of this epoch were either writers who, like Benedix in the older generation, cultivated the bourgeoise comedy—A. L’Arronge (b. 1838), G. von Moser (1825-1903), F. von Schönthan (b. 1849) and O. Blumenthal (b. 1852)—or playwrights, of whom P. Lindau (b. 1839) may be regarded as representative, who imitated French models. The only sign of progress in the dramatic history of this period was the marked improvement of the German stage, an improvement due, on the one hand, to the artistic reforms introduced by the duke of Meiningen in the Court theatre at Meiningen, and, on the other hand, to the ideals of a national theatre realized at Bayreuth by Richard Wagner (1813-1883). The greatest composer of the later 19th century is also one of Germany’s leading dramatists; and the first performance of the trilogy Der Ring der Nibelungen at Bayreuth in the summer of 1876 may be said to have inaugurated the latest epoch in the history of the German drama.
The last fifteen or twenty years of the 19th century were distinguished in Germany by a remarkable literary activity. Among the younger generation, which was growing up as citizens of the united German empire, a more hopeful and optimistic spirit prevailed. The influence of Schopenhauer was on the wane, and at the universities Hegelianism had lost its former hold. The sponsor of the new philosophic movement was Kant, the master of 18th-century “enlightenment,” and under the influence of the “neo-Kantian” movement, not merely German school philosophy, but theology also, was imbued with a healthier spirit. L. von Ranke (1795-1886) was still the dominant force in German historical science, and between 1881 and 1888 nine volumes appeared of his last great work, Weltgeschichte. Other historians of the period were H. von Sybel (1817-1895) and H. von Treitschke (1834-1896), the latter a vigorous and inspiring spokesman of the new political conditions; while J. Burckhardt (1818-1897), author of the masterly Kultur der Renaissance in Italien (1860) and the friend of Nietzsche, exerted an influence on German thought which was not confined to academic circles. Literary criticism perhaps benefited most of all by the dethronement of Hegel and the more objective attitude towards Schopenhauer; it seemed as if in this epoch the Germans first formed definite ideas—and ideas which were acceptable and accepted outside Germany—as to the rank and merits of their great poets. A marked change came over the nation’s attitude towards Goethe, a poet to whom, as we have seen, neither the era of Hegel nor that of Schopenhauer had been favourable; Schiller was regarded with less national prejudice, and—most important of all—amends were made by the new generation for the earlier neglect of Kleist, Grillparzer, Hebbel and Keller.